Temat: docufiction - Katalog OPAC zbiorów

Skocz do pozycji: 1.

Tytuł:: Pushkin and Ovid
Puszkin i Owidiusz
Autorzy:: Schade, Gerson
Powiązania:: https://bibliotekanauki.pl/articles/1045695.pdf
Data publikacji:: 2019-12-15
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: ‘docufiction’
Tynyanov
Stendhalian
Pnin
Propertius
Opis:: Alexander Pushkin knew what he shared with Ovid. Both were exiled, having enjoyed a splendid life, both were highly gifted, and not too shy of erotic adventures – of which they speak amply in their poetry. The Russian formalist Tynyanov pointed at such similarities, inventing the literary genre of ‘docufiction’.
Źródło:: Symbolae Philologorum Posnaniensium Graecae et Latinae; 2019, 29, 2; 105-117
0302-7384
Pojawia się w:: Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 2.

Tytuł:: Fakes of reality. Do we really need the paradigm of the documentary? From the ontology to the epistemology of movie images, i.e. there and back again
Autorzy:: Jakubowska, Małgorzata
Powiązania:: https://bibliotekanauki.pl/articles/923109.pdf
Data publikacji:: 2018-04-26
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: mock-dokumentary
docufiction
contemporary cinema
ontology of cinema
epistemology of cinema
Opis:: The starting point for this paper is the statement that we are witnessing a “mock-documentary boom” in contemporary cinema. Viewers today can be surprised and confused by the variety of “intercrossings” that are used in documentary and fictional strategies. The fact that there has been a growing number of films that do not respect the traditional division between fictional and non-functional cinema deserves deeper consideration. The introduction of the paper is focused on historical sources and classifications of this complex phenomenon (for example: the brothers Lumière tradition contrasts with that of Méliès). The main body of the paper is concentrated on the question of what cinema can offer in lieu of a documentary paradigm. It also tries to explore ontological and epistemological perspectives which can clarify some of the reasons for the popularity of mock-documentary and docufiction productions. It ends with a suggestion that the cinema is a domain of fakes of reality regardless of whether fictional or non-fictional narration is used to tell their stories.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 21, 30
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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Skocz do pozycji: 3.

Tytuł:: Zelig jako docufiction
Zelig as docufiction
Autorzy:: Hendrykowski, Marek
Powiązania:: https://bibliotekanauki.pl/articles/923100.pdf
Data publikacji:: 2018-04-26
Wydawca:: Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:: cinema
documentary
fiction
docufiction
mockumentary
narration
narrative
moving image
reality
truth
Opis:: This close-reading analysis and interpretation examines the original form of Woody Allen’s masterpiece Zelig (1983). The author combines a film studies approach with an investigation of epistemological and semiotic reflections on moving images. The author emphasises that more than three decades ago Allen gave to a wide audience a critical, sceptical and ironic vision of the “documentary” (esp. regarding the “truth”) status of moving pictures. This study also introduces also important terminological distinction between “mockumentary” (“fake-documentary”) and a contrasting category, that is, “documentary fiction” (also called “docufiction”), giving an instructive and precise definition of both.
Źródło:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2017, 21, 30
1731-450X
Pojawia się w:: Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
Dostawca treści:: Biblioteka Nauki

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