Drama Features оf Documentary: Movie, TV Film, Streaming Platform

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The article examines drama features and directing decisions of non-fiction TV movies and documentary films. Using two films as examples – a renowned movie “Katyusha” (dir. V.Lisakovich, 1964, USSR) and a television film “Katyusha Big and Small” (dir. I.Firsova, 2008, Russia) author examines fundamental differences between for-screen film and television stylistics. As the choice of these films for a comparative analysis, author underlines that both products share the same plot – the combat path of the nurse Ekaterina Demina, her reflections on the War from peacetime perspective; meanwhile, both films have very different director's attitudes. In the first case, director in his masterpiece has used innovative techniques to unfold the heroine, while the second one represents a high-quality but a mediocre television direction. The author also explores the dramaturgical features of a non-fiction produced specifically for Internet platforms, and makes predictions of future transformations in the film language. The author analyses the director's techniques and methods in the documentary movie “This is Eddie. The Tale of a Lost and Stolen Childhood” (dir. R.Super, 2020). The author analyzes the stylistic features of a movie and a TV movie, taking into account the specifics of using voice-over text, working with fact and image, ways of forming the image of the hero, and many other directorial tools. Documentary films is gradually gaining new opportunities for distribution with the help of global on-demand video streaming sites where the viewer can see documentaries. Similarly with feature series documentaries should update their language, presentation and dramaturgy at the same time. However, it is assumed that the real documentary film will again be on the periphery of mass culture, and the expected renewal of the film language will be a borrowing of the TV language of American documentaries, which is characterized by the use of dramaturgically constructed interviews instead of informative voiceover text, which is the main technique for domestic modern TV documentaries. The article compares these two TV formats.

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Trusevich Elizaveta

автор и режиссер, доцент Института кино и телевидения (ГИТР), соискатель ученой степени кандидата наук (научный руководитель научный руководитель кандидат искусствоведения, доцент, заведующая кафедрой режиссуры и операторского мастерства Шергова Ксения Александровна)


ФГБОУ ДПО «Академия медиаиндустрии»

Author for correspondence.
Email: li-tr@yandex.ru

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