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1. 1.

   
   
   
   Why Docudrama? Fact-Fiction on Film and TV » Read Now

   by Alan Rosenthal. 392 pgs.

   Collections: Entire Library

   When the 1990 English docudrama Who Bombed Birmingham? cast serious doubt on the guilt of six men convicted of bombing two British pubs in 1974, Prime Minister Margaret Thatcher declared that a "television program alters nothing". But, as Alan Rosenthal concludes, Thatcher was wrong. The film...

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   When the 1990 English docudrama Who Bombed Birmingham? cast serious doubt on the guilt of six men convicted of bombing two British pubs in 1974, Prime Minister Margaret Thatcher declared that a "television program alters nothing". But, as Alan Rosenthal concludes, Thatcher was wrong. The film engendered a new inquiry that led to the release of the convicted men.

   Rosenthal notes that docudrama wields more influence than the average documentary and that "reality-based stories taken from topical journalism are the most popular drama genre on U.S. and British television today". This three-part collection of diverse and provocative essays addresses the dominant questions and controversies the genre poses.

   Defining and examining the rationale of docudrama, the nine essayists in the first part discuss the history and development of docudrama on TV and in film; they also consider the place of truth in docudrama, the main critiques of the form, and the audience's susceptibilities and expectations. In investigating the actual filmmaking process, the eight essays in the second part focus on how "docudrama as a 'commodity' is created in the United States and England". Part essay, part case study, and part interview, this section also explores how Hollywood and the commercial networks as well as producers and writers work and think. The final part presents an in-depth critique of a number of controversial docudramas that have helped form and shape public opinion, including Battleship Potemkin, Roots, Reds, JFK, Mississippi Burning, Schindler's List, and In the Name of the Father.

   In addition to Rosenthal, the contributors are John Corner, George E Custen, David Edgar, Leslie Fishbein, GeorgeMacDonald Fraser, Todd Gitlin, Douglas Gomery, Richard Grenier, Sumiko Higashi, Tom W. Hoffer, Jerry Kuehl, Steve Lipkin, Yosefa Loshitsky, Ian McBride, Richard Alan Nelson, Conor Cruise O'Brien, Derek Paget, Robert A. Rosens

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   Writing, Directing, and Producing Documentary Films and Videos (Chap. 18 "Documentary Drama") » Read Now

   by Alan Rosenthal. 306 pgs.

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   ...Verite 223 18. Documentary Drama 233 19. The Historical...rewritten. Thus, chapter 18, on documentary drama, has had to take into account...The War Game is a horrifying...
   
3. 3.

   
   
   
   Television Aesthetics: Perceptual, Cognitive, and Compositional Bases ("Documentaries and Docudramas" begins on p. 193) » Read Now

   by Nikos Metallinos. 305 pgs.

   Collections: Philosophy, Entire Library

   ...North America, was an actor of the National Theater of Greece where he took part in more than 50 plays--mostly ancient Greek drama. He studied television at the Department...
   
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   TV Genres: A Handbook and Reference Guide (Chap. 10 "Docudrama") » Read Now

   by Brian G. Rose, Robert S. Alley. 456 pgs.

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   "This book fills a need. It will be used by scholars and revered by undergraduates doing papers. It is a highly desirable acquisition for libraries of all types." Choice "[an] essential purchase for universityand most college libraries as well as large public libraries." Reference Books Bulletin
   
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   A Cognitive Psychology of Mass Communication ("The Docudrama: Fact or Fiction?" begins on p. 164) » Read Now

   by Richard Jackson Harris. 344 pgs.

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6. 6.

   
   
   
   Television Myth and the American Mind ("Television Docudrama: Truth at What Price?" begins on p. 240) » Read Now

   by Hal Himmelstein. 411 pgs.

   Collections: Entire Library

   This book offers an interpretation of the myths that shape television images and reinforce this culture's dominant ideology. It provides histories of all television genres and connects developments within each genre to political, social, and cultural shifts in the larger society. This new Second...

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   This book offers an interpretation of the myths that shape television images and reinforce this culture's dominant ideology. It provides histories of all television genres and connects developments within each genre to political, social, and cultural shifts in the larger society. This new Second Edition updates the previous edition's close textual analysis of representative series and serials to mid-1993, reflecting the significant changes that have occurred in both the business of television in the United States and in the larger society's dominant ideology. The Second Edition also reflects significant advances in critical theory related to the study of television that have occurred over the past decade, and it incorporates both the structuralist critical position (dominant in the first edition) and a post-structuralist position which moves away from a determinist textual analysis of ideology to a consideration of possible multiple decodings.

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7. 7.

   
   
   
   They Must Be Represented: The Politics of Documentary (Chap. 6 "History in Your Own Home: Cinema Verite, Docudrama, and America's Families") » Read Now

   by Paula Rabinowitz. 264 pgs.

   Collections: Entire Library

   ...in an aesthetic of reality to use Andre Bazins phrase -- as much as the fictionality of documentary. For example, Spike Lee begins his historical drama Malcolm X 1992 with...
   
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   Spotlight on the Death Penalty, in The Progressive » Read Now

   by Brian Gilmore. 2 pgs.

   Collections: Entire Library

   ...performance of Jessica Blank and Erik Jensens documentary drama, The Exonerated, actor-entertainer Ben...The Exonerated is a simple piece of drama. It is six independent...