Pregled bibliografske jedinice broj: 1266062
Between Fact and Fiction: Storytelling in True-Crime Documentaries
Between Fact and Fiction: Storytelling in True-Crime Documentaries // Crossing Boundaries: Rethinking the Humanities across Disciplines
Sofija, Bugarska, 2022. (predavanje, međunarodna recenzija, neobjavljeni rad, znanstveni)
CROSBI ID: 1266062 Za ispravke kontaktirajte CROSBI podršku putem web obrasca
Naslov
Between Fact and Fiction: Storytelling in
True-Crime Documentaries
Autori
Jurković, Irena
Vrsta, podvrsta i kategorija rada
Sažeci sa skupova, neobjavljeni rad, znanstveni
Skup
Crossing Boundaries: Rethinking the Humanities across Disciplines
Mjesto i datum
Sofija, Bugarska, 02.12.2022. - 04.12.2022
Vrsta sudjelovanja
Predavanje
Vrsta recenzije
Međunarodna recenzija
Ključne riječi
true crime, storytelling, documentaries
Sažetak
This presentation investigates the narrative conventions in contemporary true-crime documentaries, discussing specifically the blurring of lines between fiction and journalism and the genre's raising awareness on various forms of systemic injustices. Even though true crime today is among the most read fiction, and its popular media formats—film, podcasts, documentaries — are highly consumed and enjoyed by both audiences and critics, the discussion of this specific genre is somewhat limited pertaining to questions of ethical dilemma and the affective response of readers/viewers. However, storytelling in true-crime documentaries opens up another set of questions and conflicts regarding genre and media boundaries as well as the question of destabilizing existing interpretations. In The Rise of True Crime: 20th Century Murder and American Popular Culture, Jean Murley analyzes the narrative conventions of the true-crime genre and concludes that „although laying strong claims to factuality, truthfulness and realistic representation of actual events, [true-crime] is driven by and preoccupied with themes of an updated, contemporary gothic horror“(5). By observing narrative conventions in most contemporary true-crime documentaries it becomes apparent that this nonfiction medium utilizes numerous techniques and rhetorical devices typical for detective fiction and/or horror stories while framing it within investigative journalism. In an attempt to answer questions such as how true crime challenges our notions of narrative conventions and how do they affect interpretation, this presentation will specifically address three recent true-crime documentaries: Beware the Slenderman (2016), Mommy Dead and Dearest (2017), and The Girl in the Picture (2022).
Izvorni jezik
Engleski
