On January 30, 1972, in Derry, Northern Ireland, British soldiers opened fire on Irish citizens participating in a peaceful civil rights march, killing thirteen men and injuring as many others. This event, called “Bloody Sunday,” was the subject of two formal inquiries by the British government, one conducted by Lord Widgery in 1972 that exonerated the British soldiers and one led by Lord Saville, which published its findings in June 2010 and found the British troops to be at fault. Before the second investigation gave its report, a number of dramatic productions had contradicted the official British version of events and presented the Irish point of view. Two films and two plays in particular—the drama The Freedom of the City (1973), the filmed docudramas Bloody Sunday and Sunday (both 2002), and the documentary theater production Bloody Sunday: Scenes from the Saville Inquiry (2005)—were aimed at audiences that did not recognize the injustices that took place in Derry. All four dramatic presentations in some way replicate the words and actions of one or more significant individuals involved in the march or in the investigation that followed it. This report examines the possibilities and limitations of the three different genres the authors used to present the truth about the atrocity that the British government refused to acknowledge for thirty-eight years. It also reassesses the success and value of each production in the light of the Saville Inquiry findings. / text

Made available in DSpace on 2017-07-21T14:49:45Z (GMT). No. of bitstreams: 1 Luis Alberto G Junior.pdf: 2140220 bytes, checksum: e145b6570ac187db3f86959b066db854 (MD5) Previous issue date: 2016-08-31 / This work arose from the need to think about the ways in which national cinema seeks to deconstruct a particular worldview. From this, the objective of this study was to analyze the deconstruction of the myth of a Transamazônica the progress of a military government, from the intellectual traditions and representations of Jorge Bodanzky and Orlando Senna, in Iracema: uma transa amazônica. We opted for the choice of film for its hybrid cinematic language that mixes the fictional to the documentary, it brings a denunciativo and demystifying tone of government propaganda that was the Transamazônica highway in the Brazilian dictatorial period. When doing this exercise, the filmmakers bring in their influences some elements of the New Cinema (German and Brazilian), the Italian neorealism, the Nouvelle Vague, the environmental film and a leftist militant political discourse. Through this path, appropriating from the work of filmmakers such as Jean Rouch, John Nicholas Cassavetes and Arne Sucksdorff to develop the narrative of a half-breed girl who prostitutes herself on the banks of the Trans-Amazon Highway. Methodologically, this work covers the influences and trajectories of these filmmakers and articulates every scene of the film, trying to understand the times in which the Trans Myth deconstruction appears. In this wide range of filmic readings linked to the social reality of the people who inhabited the region where they built the Trans-Amazon highway, there is the look the filmmakers about the neglect of the population, such as checking neglect appears. / Este trabalho surgiu da necessidade de pensar as formas pelas quais o cinema nacional busca desconstruir uma determinada visão de mundo. A partir disso, o objetivo deste trabalho foi analisar a desconstrução do mito de uma Transamazônica que simboliza o progresso de um governo militar, a partir das tradições intelectuais e representações de Jorge Bodanzky e Orlando Senna, no filme Iracema: uma transa amazônica. Optou-se pela escolha do filme por sua linguagem cinematográfica híbrida, que mescla o ficcional ao documental, traz um tom denunciativo e desmistificador da propaganda governamental que se fazia da rodovia Transamazônica no período ditatorial brasileiro. Ao efetuar esse exercício, os cineastas trazem em suas influências alguns elementos do Novo Cinema (Alemão e Brasileiro), do Neorrealismo Italiano, da Nouvelle Vague, do cinema ambiental e de um discurso político militante de esquerda. Por meio desta trajetória, apropriam-se do trabalho de cineastas, como Jean Rouch, John Nicholas Cassavetes e Arne Sucksdorff para elaborarem a narrativa de uma menina cabocla que se prostitui às margens da rodovia Transamazônica. Metodologicamente, este trabalho percorre as influências e trajetórias destes cineastas e as articula a cada cena do filme, buscando perceber os momentos pelos quais a desconstrução do mito da Transamazônica aparece. Nessa ampla gama de leituras fílmicas, atreladas à realidade social da população que habitava a região onde se construía a rodovia Transamazônica, destaca-se o olhar dos cineastas sobre o descaso com a população, verificando como tal descaso aparece.

Com o propósito de discorrer em que medida a telenovela brasileira se aproxima do docudrama ao desenvolver narrativas híbridas entre a ficção e a realidade, este trabalho investiga a origem e os mecanismos de funcionamento desse gênero ainda pouco explorado pela comunidade científica. Partindo de uma periodização, já proposta e consolidada em outras investigações, avançamos na hipótese de que a telenovela brasileira, na contemporaneidade, acelerou o processo de hibridação do formato, iniciado desde sua origem, ao combinar e mesclar linguagens e formatos de diversas ordens. O docudrama é um gênero audiovisual híbrido composto por convenções formais do documentário com o drama, mais especificamente o melodrama. A partir da proposta de leitura de documentários, formulada pelo cineasta francês Roger Odin, que nos permite identificar, no nível da imagem, uma estrutura estilística típica dos documentários, pensamos numa proposta de leitura específica de docudramas. Através da análise de programas como Linha Direta e Por Toda Minha Vida, identificamos características comuns ao gênero: uso intensivo de referentes (fotografias, imagens de arquivo, depoimentos) misturados com a dramatização de fatos reais. Tal qual um fait divers, uma espécie de crônica adaptada ao romance-folhetim e que fez grande sucesso entre os leitores no século XIX, os docudramas apresentam temáticas que priorizam tragédias, crimes, acidentes e assuntos de repercussão popular. Com base nessas razões, a pesquisa segue para a telenovela brasileira para verificar em que medida esse formato de ficção seriada aproxima-se do docudrama ao trazer fatos e pessoas \"reais\" para a ficção. Esta investigação parte da premissa de que a telenovela brasileira encontra-se num período que denominamos de \"novelas híbridas\" que apresenta narrativas em sintonia com o período histórico, político, social e econômico pautados por um processo de globalização em curso nas quais as fronteiras comerciais e culturais tornam-se mais tênues. Nesse contexto, a telenovela brasileira, reconhecida nacional e internacionalmente, pela qualidade técnica e de criação, viaja pelo mundo representando a cultura do país e divulgando seu modo de produção dessa modalidade de ficção seriada que, cada vez mais, cria histórias baseadas em fatos reais na contramão da ficção: a antificção. / With the purpose to discuss the extent to which Brazilian telenovela approaches is close to docudrama while developing fiction and reality hybrid narratives, this paper investigates the origin and the mechanisms of this genre still largely unexplored by the scientific community. Starting with a timeline, already proposed and consolidated in other investigations, we further hypothesized that the Brazilian telenovela, in contemporary times, accelerated the hybridization of the format, launched from its origin to combine and merge languages and formats of various orders. The docudrama is an audiovisual hybrid genre composed of formal conventions of the documentary with the drama, specifically the melodrama. From the reading of the proposed documentary, made by French filmmaker Roger Odin, which allows us to identify the level of the image, a stylistic structure typical of documentaries, we proposed a specific reading of docudramas. Through the analysis of shows such as Linha Direta and Por Toda Minha Vida, characteristics common to the genre: the intensive use of referents (photographs, archival images, testimonies) mixed with the dramatization of actual events were identified. Like a fait divers, a kind of chronicle adapted to paper-novel and that was a big hit among readers in the nineteenth century, the docudramas have themes that prioritize tragedies, crimes, accidents and issues of popular repercussion. Based on these reasons, the search goes to the Brazilian telenovela to see to what extent the format of serial fiction approaches the docudrama to bring facts and real people into fiction. This research assumes that the Brazilian telenovela is set in a period we call \"hybrid telenovelas\" that present narratives in line with the historical, political, social and economic period guided by an ongoing globalization process in which commercial and cultural borders become more tenuous. In this context the Brazilian telenovela, recognized nationally and internationally for the quality and technical creation, travels the world representing the country\'s culture and spreading its mode of production of this type of fiction serial that increasingly creates stories based on real facts counter to the fiction: the anti-fiction.

Com o propósito de discorrer em que medida a telenovela brasileira se aproxima do docudrama ao desenvolver narrativas híbridas entre a ficção e a realidade, este trabalho investiga a origem e os mecanismos de funcionamento desse gênero ainda pouco explorado pela comunidade científica. Partindo de uma periodização, já proposta e consolidada em outras investigações, avançamos na hipótese de que a telenovela brasileira, na contemporaneidade, acelerou o processo de hibridação do formato, iniciado desde sua origem, ao combinar e mesclar linguagens e formatos de diversas ordens. O docudrama é um gênero audiovisual híbrido composto por convenções formais do documentário com o drama, mais especificamente o melodrama. A partir da proposta de leitura de documentários, formulada pelo cineasta francês Roger Odin, que nos permite identificar, no nível da imagem, uma estrutura estilística típica dos documentários, pensamos numa proposta de leitura específica de docudramas. Através da análise de programas como Linha Direta e Por Toda Minha Vida, identificamos características comuns ao gênero: uso intensivo de referentes (fotografias, imagens de arquivo, depoimentos) misturados com a dramatização de fatos reais. Tal qual um fait divers, uma espécie de crônica adaptada ao romance-folhetim e que fez grande sucesso entre os leitores no século XIX, os docudramas apresentam temáticas que priorizam tragédias, crimes, acidentes e assuntos de repercussão popular. Com base nessas razões, a pesquisa segue para a telenovela brasileira para verificar em que medida esse formato de ficção seriada aproxima-se do docudrama ao trazer fatos e pessoas \"reais\" para a ficção. Esta investigação parte da premissa de que a telenovela brasileira encontra-se num período que denominamos de \"novelas híbridas\" que apresenta narrativas em sintonia com o período histórico, político, social e econômico pautados por um processo de globalização em curso nas quais as fronteiras comerciais e culturais tornam-se mais tênues. Nesse contexto, a telenovela brasileira, reconhecida nacional e internacionalmente, pela qualidade técnica e de criação, viaja pelo mundo representando a cultura do país e divulgando seu modo de produção dessa modalidade de ficção seriada que, cada vez mais, cria histórias baseadas em fatos reais na contramão da ficção: a antificção. / With the purpose to discuss the extent to which Brazilian telenovela approaches is close to docudrama while developing fiction and reality hybrid narratives, this paper investigates the origin and the mechanisms of this genre still largely unexplored by the scientific community. Starting with a timeline, already proposed and consolidated in other investigations, we further hypothesized that the Brazilian telenovela, in contemporary times, accelerated the hybridization of the format, launched from its origin to combine and merge languages and formats of various orders. The docudrama is an audiovisual hybrid genre composed of formal conventions of the documentary with the drama, specifically the melodrama. From the reading of the proposed documentary, made by French filmmaker Roger Odin, which allows us to identify the level of the image, a stylistic structure typical of documentaries, we proposed a specific reading of docudramas. Through the analysis of shows such as Linha Direta and Por Toda Minha Vida, characteristics common to the genre: the intensive use of referents (photographs, archival images, testimonies) mixed with the dramatization of actual events were identified. Like a fait divers, a kind of chronicle adapted to paper-novel and that was a big hit among readers in the nineteenth century, the docudramas have themes that prioritize tragedies, crimes, accidents and issues of popular repercussion. Based on these reasons, the search goes to the Brazilian telenovela to see to what extent the format of serial fiction approaches the docudrama to bring facts and real people into fiction. This research assumes that the Brazilian telenovela is set in a period we call \"hybrid telenovelas\" that present narratives in line with the historical, political, social and economic period guided by an ongoing globalization process in which commercial and cultural borders become more tenuous. In this context the Brazilian telenovela, recognized nationally and internationally for the quality and technical creation, travels the world representing the country\'s culture and spreading its mode of production of this type of fiction serial that increasingly creates stories based on real facts counter to the fiction: the anti-fiction.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-03-30T12:20:25Z No. of bitstreams: 1 irisdearaujojatene.pdf: 2103076 bytes, checksum: 3b1300dad43f637d565e0ac013fb99b5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-04-24T02:51:34Z (GMT) No. of bitstreams: 1 irisdearaujojatene.pdf: 2103076 bytes, checksum: 3b1300dad43f637d565e0ac013fb99b5 (MD5) / Made available in DSpace on 2016-04-24T02:51:34Z (GMT). No. of bitstreams: 1 irisdearaujojatene.pdf: 2103076 bytes, checksum: 3b1300dad43f637d565e0ac013fb99b5 (MD5) Previous issue date: 2013-03-15 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação propõe analisar as biografias nas minisséries brasileiras recentes por meio da análise textual (CASSETTI; DI CHIO, 1999), em conjunto com as moldurações (KILPP, 2003). O primeiro método visa decompor elementos de audiovisuais e reagrupá-los com uma visão crítica, destacando a arquitetura, funcionamento, estrutura teórica e estratégias. A técnica das molduras entra como coadjuvante na identificação de tais elementos. A proposta foi conceituar a forma de reconstituição biográfica adotada pela ficção televisiva brasileira, a partir dos conceitos de teledramaturgia nacional e docudrama. É a partir dessas definições que se traçaram os contornos próprios das telebiografias Dalva e Herivelto (Globo, 2010) e Maysa (Globo, 2009), escolhidas para análise empírica, já que, dentre os exemplos mais atuais, foram obras produzidas diretamente para a televisão, envolvem períodos históricos próximos (mas não semelhantes) e narram as biografias de ídolos de um meio comum, a MPB. O que se constatou foi uma atual tendência de representações biográficas (foram cinco dessas minisséries, em cinco anos), no formato de microssérie (com poucos capítulos), que priorizam uma narrativa ficcional baseada em fatos reais. Narrativas estas chamadas aqui de telebiografias e moldadas pelos contornos de um dos mais significantes gêneros das matrizes culturais brasileiras na TV: a teledramaturgia. / This work proposes the analysis of recent biographies in Brazilian miniseries by using Textual Analysis (CASSETTI; DI CHIO, 1999) together with the ―Moldurações‖ (KILPP, 2003). The first method aims to decompose audiovisuals elements and regroup them with a critical vision, emphasizing their architecture, functioning, theoretical structure and strategies. Kilpp‘s technique of frames is here a supporting to identify those elements. The propose was to conceptualize the way of biographic representation adopted by Brazilian television fiction, from the national teledramaturgy and docudrama concepts. From these definitions, the contours of telebiographies were plotted. Dalva e Herivelto (Globo, 2010) and Maysa (Globo, 2009) were the chosen miniseries to the empirical analysis, because, among the most recent examples, both miniseries were produced only to TV, involving near (but not similar) historical periods and narrating about MPB idols life. The research noted that there is a current trend of biographical representations (five of this kind of miniseries were produced in the last five years) shaped like a ―microseries‖ (Brazilian way of designating series with few episodes), which prioritize a fictional narrative based on real facts. These narratives are called telebiographies here and they are molded by the contours of teledramaturgy, one of the most important genres of Brazilian cultural matrices on TV.

Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity. A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.

Emily Mann's play Still Life is a story of a Vietnam War veteran who returns home to a less than enthusiastic welcome. Like most veterans from this war, he struggles to come to terms with the atrocities he witnessed and even carried out himself. The play consists of three characters: Mark, a Vietnam veteran, Cheryl, his wife, and Nadine, his lover. Both women believe they intrinsically understand Mark, but neither truly can. Mark has returned from the war violent, irrevocably broken, and feeling that he has been abandoned by society. Emily Mann interviewed real people and transcribed their words into theatre of fact to provide a fresh outlook into a tumultuous period of American history. This thesis will explore the historical and artistic significance of Emily Mann's Still Life and its depiction of the political and cultural atmosphere of post-war America. Specifically, I will discuss the reception of the Vietnam soldiers and how they were affected by the war socially, psychologically and economically. I will explore interviews detailing what these young men experienced while at war, how it affected them then and now, and discuss how these issues are reflected in Emily Mann's Still Life. In addition to interviews, my methodology will consist of scriptural analysis and quantitative research.

My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.

Ce mémoire de recherche création s’intéresse à la problématique de la frontière entre les genres documentaire et fiction et à sa conception comme un espace de rencontre cinématographique pouvant ambitionner de constituer un 3e genre en soi. Genre que nous proposons de nommer « hybride ». Qu’est-ce qui justifie la persistance de l’attachement à un système binaire réductionniste ? Pourquoi les films métissant les approches documentaires et fictions font-ils souvent l’objet d’une désapprobation ou d’une négation de leur double parenté générique ? Comment penser l’hybridité ? Quels sont les critères et modèles positifs possibles de son élection en tant que genre ? Ce mémoire vise à analyser un riche corpus de films afin d’identifier comment se constitue l’hybridité et aussi comment elle est perçue, tant de la part des historiens et penseurs du cinéma que des médias et du public. Cette étude cherche à analyser des œuvres cinématographiques regroupées en quatre types emblématiques que sont le faux documentaire, le docufiction, le docudrame et le film dit hybride, afin de dégager les caractères propres à ces catégories et à proposer une modélisation du film hybride comme genre, de manière constructive et positive. Le volet création de ce mémoire est constitué d’un dossier de présentation d’un projet de film hybride intitulé La Légende de Tarō. / This Master’s memoir focuses on the border issue between documentary and fiction genres and its conception as a cinematic space for encounters, which could constitute a 3rd genre in itself. Genre that we propose to name hybrid. What justifies the persistence of the attachment to a reductionist binary system? Why do films that mix documentary and fiction approaches often meet with disapproval or negation of their duality? How to think about hybridity? What are the possible positive criteria and models for its election as a genre? This dissertation aims to analyze a rich corpus of films in order to identify how hybridity is constituted and also how it is perceived, both by film historians and thinkers, as well as by the media and the public. This study seeks to analyze cinematographic works grouped under four emblematic types, namely the mockumentary, the docufition, the docudrama and the so-called hybrid film, in order to identify the specific characteristics of these categories and to propose a model of hybrid film as a genre, in constructive and positive way. The creative component of this dissertation consists of a presentation file of a hybrid film project entitled The Legend of Tarō.

El presente trabajo tiene como objetivo de investigación analizar la construcción narrativa y ética de las dos primeras temporadas de la serie Narcos Colombia, según los conceptos docudramatic research y performing of memory, que se desprenden de la teoría de Stephen N. Lipkin y Alan Rosenthal. Así pues, para evaluar el enfoque argumental de la serie bajo estas dos nociones, se configuran dos principios éticos del docudrama: la fidelidad y la autenticidad de la postura. Para la exploración metodológica, se utiliza un modelo de análisis sistemático de fuentes, significantes semióticos y súper-objetivos por escenas, de igual modo, en apoyo a la información cualitativa recogida en cinco entrevistas, se logra contrastar algunos datos históricos y ficcionales del caso fílmico. Con esta tesis, se pretende redescubrir la importancia de las historias basadas en eventos reales, por consiguiente, se acaba dotando al campo audiovisual de una mirada ética sobre el argumento docudramático. / The present work analyzes the narrative and ethical construction of the first two seasons of the Narcos Colombia series, according to the concepts of docudramatic research and perform of memory, which emerge from the theories of Stephen N. Lipkin and Alan Rosenthal’s theories. Evaluating the argument of the series under these two notions, it is configured two ethical principles of the docudrama: fidelity and authenticity of the recreation approach. In methodology, is used a model of systematic analysis of sources, semiotic signifiers and super-goals by scenes, also in support of the qualitative information within five interviews, it is possible to contrast some historical and fictional data of the filmic case. In this thesis, it is intended to rediscover the importance of stories based on real events, therefore it ends up providing the audiovisual field with an ethical view of the docudramatic argument. / Tesis