Analysis/Reflection 3. Question 2.

A point that stood out from the reading is that of the ‘drama documentary’, a documentary that is treated dramatically. This excited me as I thought about my documentary I am to make this semester and thought, as my documentary is dealing with a subject that is already so dramatic (Larping) it could be an interesting idea to play with this idea. We could use the adapted convention of real people acting out medieval reconstructions, or we could film all of our subjects in character before, during and after the game and simply film their fantasy game like its a real event. After watching a game last week I saw that they walk around in character so we would be filming true events.  I was also talking to a friend last night who is making a documentary about her auntie who is a hoarder and schizophrenic. The auntie is too paranoid to have anything that identifies her on screen so we were saying that she could reenact her entire documentary with another actress in place of her auntie.

The example of the Aileen Wuornos story and the various positions on the spectrum between fictional and documentary that a film can be placed. It’s something that everyone has seen before but is interesting when pointed out. The fictionalised docudramas like Monster must annouce the ‘true’ basis of their story where documentaries of the same subject rely on the audience preconceptions of it being true. The ‘truth’ of the subject lies somewhere inbetween these stories.

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