Pretend documentaries mimic documentary style expectancies, unraveling the documentary’s authority and dismantling understandings of identification, historical past, and kingdom. The interdisciplinary essays in F Is for Phony talk about a huge scope of works and discover concerns raised through “fake docs” corresponding to the fiction/documentary divide, the ethics of reality-based manipulation, and no matter if documentariness derives from shape or reception.
Defining the borderline among truth and fiction, the participants show what faux documentaries suggest and customarily make particular: that many documentaries deceive inform the reality, and that in fact relative.
Contributors: Steve Anderson, Catherine L. Benamou, Mitchell W. Block, Luis Buñuel, Marlon Fuentes, Craig Hight, Charlie Keil, Alisa Lebow, Eve Oishi, Robert F. Reid-Pharr, Gregorio C. Rocha, Jane Roscoe, Catherine Russell, Elisabeth Subrin.
Alexandra Juhasz is professor of media reports at Pitzer collage. She is writer of Women of imaginative and prescient: Histories in Feminist movie and Video (Minnesota, 2001).
Jesse Lerner is affiliate professor of media reports at Pitzer university.
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Extra info for F Is For Phony: Fake Documentary And Truth's Undoing (Visible Evidence, Volume 17)
The manuscript benefited from the careful copyediting of Hillary Baker and Nizan Shaked, who also provided indispensable assistance with the book’s images and filmography. The staff at the University of Minnesota Press were consistently encouraging, and their readers—some anonymous, as well as those named: Carolyn Anderson, John Katz, and Matthew Tinkcom—made many suggestions that we have heeded. Finally, to our contributors, who bore with us during this long process, go our thanks, both for their support and for their wonderful contributions.
From a newspaper advertisement reproduced in the outstanding analysis of “greaser films,” newsreels (staged and otherwise) on the Mexican Revolution, Margarita de Orellana, La Mirada circular: El cine norteamericano de la Revolución mexicana, 1911–1917 (Mexico City: Joaquín Moritz, 1991), 25. This text provides a useful context for Rocha’s essay, and is now available in English translation as Filming Pancho Villa: How Hollywood Shaped the Mexican Revolution, trans. John King (London: Verso, 2003).
Dirk Eitzen, “When Is a Documentary: Documentary as a Mode of Reception,” Cinema Journal 35, no. 1 (1995): 81–102. 13. Vivian Sobchack, “Toward a Phenomenology of Nonfictional Film Experience,” in Collecting Visible Evidence, ed. Jane Gaines and Michael Renov (Minneapolis: University of Minnesota Press, 1999), 241. 14. , 251. 15. , 249. 16. Michelle Citron, “Fleeing from Documentary: Autobiographical Film/Video and the ‘Ethics of Responsibility,’” in Feminism and Documentary (Minneapolis: University of Minnesota Press, 1999), 283.
F Is For Phony: Fake Documentary And Truth's Undoing (Visible Evidence, Volume 17)