Fictionality and Narrativity in Documentary Film

Abstract

Bazin's realist aesthetic concept establishes the ontology of cinema on three pillars: first, the potential of the world to be completely reproduced in film; second, the authentic presentation of time and space dimensions; third, the essential identity between the screen image and its real-world counterpart. It is for this reason that documentary films have acquired their unique "documentary character". However, in the subsequent evolution process, documentaries have gradually shifted towards the domain of feature films. Starting from Robert Flaherty's creative practice, elements of reenactment and reconstruction have increasingly permeated this genre. Documentaries have paid more and more attention to narrative arrangement and plot construction, and are no longer limited to direct recording and faithful reflection of the real world.

Keywords

• documentary film
• fiction
• narrative

References

1. Nigel Coates. The Image of the Street [M]. Beijing: Beijing United Publishing Co., Ltd., 2006.
2. Long Diyong. Research on Spatial Narrative [M]. Beijing: SDX Joint Publishing Company, 2004.
3. Sigmund Freud. Introductory Lectures on Psychoanalysis [M]. Translated by Gao Juefu. Beijing: The Commercial Press, 1984.
4. Han Xiaolei. Course on Film Director Art [M]. Beijing: China Film Press, 2004.