Docufiction

Prior to the Revolution, Cuba had been a leading Latin American producer of commercial radio and television and a leading consumer of Hollywood movies (Chanan, 1997, p. 33). After its establishment in 1959, ICAIC emphasized on documentary filmmaking as one of the its principal activities. Documentary film and fictional production were expected to apply new thinking and to experiment with revolutionary aesthetics, engaging the audience in a way that reflected the new social order (Lopez, 1992). Fictional and documentary filmmaking in ICAIC were intertwined, sharing concerns, themes, and formal strategies. In fiction and documentary film production, there were two central themes: history and underdevelopment. On one hand, Cubans’ interpretation of underdevelopment was the economic and technological heritage of colonial dependency, “which has its more stubborn manifestations in individual and collective psychology, ideology, and culture.” On the other hand, history was a “complex of formative influences which elucidates the present and informs the future” (Burton, 1997, p. 128). Both themes have had an impact on the form as well as the content of revolutionary Cuban cinema; this can be seen throughout Gutiérrez Alea’s film, Memorias del subdesarrollo (“Memories of Underdevelopment,” 1968), which has been argued to have become itself a "memory of underdevelopment;” Gutiérrez Alea noted that he “felt most free … in spite of the ever present limitations imposed by underdevelopment”…

A documentary can best be defined as a visual representation of a past occurrence. Taking this simple definition and applying it to a large-scale production is challenging, therefore, it will be stated that in order for a film to be considered a documentary, the film must contain authentic material from the subject matter. In the text Visible Traces, Gregory Currie takes multiple cases and explains how each of them might add to the viability that documentaries are a collection of loose…

“I saw it in a movie once!” Everyone has heard these words at least sometime in their lives and everyone knows that whatever came before it is most likely not true. Most movies are meant to entertain with various fantastical events that one way or another couldn’t really happen in reality. However, movies like this don’t present themselves as informational. But what about those that do? Documentaries by definition are movies that contain factual information. The documentary genre has, in recent…

Documentaries are different from movies in the fact that they work to inform the public of facts instead of entertaining them. An example of this is the Oscar winning documentary A Murder on a Sunday Morning. The documentary talks about how a woman was shot and killed on a Sunday morning and a young black male was arrested and how the defense builds a case that frees the wrongly convicted man. The documentary mainly talks racism, the imperfections of the police system, and the injustice in said…

Megalodon , meaning "big tooth," is an extinct species of shark that lived approximately 23 to 2.6 million years ago (mya), during the Early Miocene to the end of the Pliocene. There has been some debate regarding the taxonomy of megalodon: some researchers argued that it was of the family Lamnidae and closely related to the great white shark, while others argued that it belonged to the extinct family Otodontidae; presently, there is consensus that the latter view is correct. Its genus…

eugenics. With this project, I wanted to depict two specific things: I wanted to analyse how Sierra’s life plays into the idea of leading a “normal life.” In addition to that, I wanted to examine how new ways of treatment are replacing old ideas of eugenics, and whether eugenics plays into Sierra’s experience in any way. In the case of scaryturtle13’s experiences, Sierra goes through emotions ranging from confusion to betrayal. During the early development of her character, I wanted her to…

He refers to his work as Docufiction but in these narratives I liked the form in which he presents the snippets of the story. I tried to recreate this within my story “The Day After”. In Jaffe’s narrative he sections off his work by adding titles to the points where it changes. I liked this way of doing a daisy chain so using the protagonist’s names as titles it gave a clear indication of whose pov it became. Each snippet of Jaffe’s narrative creates a clearer picture of the whole story. Jaffe…