Despite different genres of the documentary, first-person filmmaking still stands out as one of the most unique styles. Not all filmmakers are attracted to this genre of documentary, and every filmmaker has their own special interest in a genre. The autobiographical documentary has raised a lot of issues in concern with the growth of our ideas towards the documentary. Therefore, this paper presents the real context of autobiographical filmmaking, about the film Tarnation. In relation to this, my focus is using Tarnation as a subject matter to settle the fact in autobiographical documentary, the effect of fact and fiction in autobiographical documentary, how tarnation is built upon reality effect, looking at it from an angle of character development, dramatic scenes (performative role) with the use of technology. This leads me to my question; How does fact and fiction influence Autobiographical Documentary in the film Tarnation?
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“one cast the net of memory, throws it over oneself and pulls oneself in, predator and prey all in one, over the threshold of time, the threshold of space, in other to see who we were and who we have become (Bachmann, 1990: 9). Apart from just telling the truth, autobiography has other obligation that makes it exceptional from other biographical genres, and this is a commitment towards self-disclosure, that is the writer gives us an account of his private life, their record must reveal motives, weakness, aspiration and
“one cast the net of memory, throws it over oneself and pulls oneself in, predator and prey all in one, over the threshold of time, the threshold of space, in other to see who we were and who we have become (Bachmann, 1990: 9). Apart from just telling the truth, autobiography has other obligation that makes it exceptional from other biographical genres, and this is a commitment towards self-disclosure, that is the writer gives us an account of his private life, their record must reveal motives, weakness, aspiration and