Results 31 to 40 of about 136 (125)

Quando il mockumentary si fa italiano: Il ritorno di Cagliostro sulla scia di Forgotten Silver

open access: yesBetween, 2019
Giocato sulla fusione tra le strategie estetiche di un documentario e segnali discorsivi che ne metton in evidenza il carattere finzionale, Il ritorno di Cagliostro (Ciprì e Maresco: 2003) va inscritto all’interno di quella categoria filmica felicemente ...
Emanuele Broccio
doaj   +1 more source

Laughing from the Outside‐In: Considering ‘What's Up Africa’ as an(other) humorous humanitarian digilantism

open access: yesJournal of International Development, Volume 36, Issue 5, Page 2393-2413, July 2024.
Abstract This article examines the intersection of humour and humanitarianism in engaging Northern audiences with global Southern poverty issues. It analyses witty social media campaigns that critique humanitarian practices and Africa’s representation, notably What’s Up Africa (WUA) on YouTube, Radi‐Aid on YouTube, Humanitarians of Tinder on Tumblr and
Edward Ademolu
wiley   +1 more source

A potência narrativa nos falsos documentários

open access: yesRevista Espaço Acadêmico, 2017
Esse artigo propõe uma investigação sobre os falsos documentários audiovisuais a partir da análise de alguns filmes que se utilizam de narrativas que mesclam gêneros cinematográficos.
Caue Fernandes Nunes
doaj  

Audiovisual Hybridized Media Product in a New Technological Environment

open access: yesRUDN Journal of Studies in Literature and Journalism
Examines a phenomenon that is referred to by the term ‘animadoc’ - a synthesis of documentary and animation, when the latter acts as a visually expressed relationship to a document and uses various technologies, including docudrama (feature films in a ...
Marina A. Myasnikova   +2 more
doaj   +1 more source

Documentary Style in Fiction Film

open access: yesВісник Київського національного університету культури і мистецтв. Серія: Аудіовізуальне мистецтво і виробництво
The purpose of the research is to analyse the genesis and development of the documentary style in fiction film; to investigate the prerequisites for its emergence, its main characteristics and their evolution, and the reasons and peculiarities of its ...
Олександр Безручко   +1 more
doaj   +1 more source

Work in Progress di Gianina Cărbunariu

open access: yesMimesis Journal, 2018
The paper describes the development of the project Work in Progress, organized in 2018 by Emilia Romagna Teatro Fondazione and led by the Romanian director and playwright Gianina Cărbunariu, as an experience of theatre creation, based on the result of ...
Thea Dellavalle
doaj   +1 more source

He’s Still Here

open access: yesAkademisk Kvarter, 2015
On 11 February 2009, Joaquin Phoenix announced that he would be retiring from acting to pursue his ambition of becoming a hip hop musician. One year later, ‘documentary’ feature film, I’m Still Here was theatrically released; chronicling the life of ...
Penny Spirou
doaj   +1 more source

‘Cunk on everything’

open access: yesThe European Journal of Humour Research
The trope of the stupid, and/or disingenuous, media ‘interviewer’ character invented and performed by comedians, from This is Spinal Tap, to Ali G, to Parks and Recreation, has been enormously popular.
Adrian Hale
doaj   +1 more source

Barbara Hammer’s History Lessons as a documentary utopia

open access: yesImages, 2018
This article is devoted to the third part of Barbara Hammer’s documentary trilogy, History Lessons. The author analyzes and interprets the form and message of this post-queer essay, with the aim of describing its formula in relation to the mockumentary ...
Monika Talarczyk-Gubała
doaj   +1 more source

Documentary Style as Post-Truth Monstrosity in the Mockumentary Horror Film [PDF]

open access: yesQuarterly Review of Film and Video, 2020
This article argues that the mockumentary horror film uses its stylistic hybridity to address the ontological and epistemic challenges posed to factual media in a post-truth and post-modern age through an analysis of the film Apollo 18 (Gonzalo López-Gallego, 2011). By adopting the visual aesthetics associated with factual media, and particularly those
openaire   +1 more source

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