Apseudo-documentary orfake documentary is a film or video production that takes the form or style of adocumentary film but does not portray real events. Rather, scripted and fictional elements are used to tell the story. The pseudo-documentary, unlike the relatedmockumentary, is not always intended as satire or humor. It may use documentary camera techniques but with fabricated sets, actors, or situations, and it may use digital effects to alter the filmed scene or even create a wholly synthetic scene.[1][2][3]
Orson Welles gained notoriety with hisradio show andhoaxWar of the Worlds which fooled listeners into thinking the Earth was being invaded by Martians. Film criticJonathan Rosenbaum says this is Welles' first pseudo-documentary.[4] Pseudo-documentary elements were subsequently used in hisfeature films. For instance, Welles created a pseudo-documentarynewsreel which appeared within his 1941 filmCitizen Kane, and he began his 1955 film,Mr. Arkadin, with a pseudo-documentary prologue.[5]
Peter Watkins has made several films in the pseudo-documentary style.The War Game (1965), which reported on a fake nuclear bombing of England, was seen as so disturbingly realistic that theBBC chose not to broadcast it. The film won theAcademy Award for Best Documentary Feature. Watkins' other such films includePunishment Park (1971) andLa Commune (2002).
The filmMad Max 2 first frames the story by showing a staged documentary-style sequence of images designed to inform the viewer that what follows is the aftermath of an apocalyptic global war.[6]
Related to, and in exact opposition to pseudo-documentary, is the notion of “fake-fiction”. A fake-fiction film takes the form of a staged, fictional movie, while actually portraying real, unscripted events.
The notion of fake-fiction was coined[7] byPierre Bismuth to describe his 2016 filmWhere Is Rocky II?, which uses documentary method to tell a real, unscripted story, but is shot and edited to appear like a fiction film. The effect of this fictional aesthetic is precisely to cancel the sense of reality, making the real events appear as if they were staged or constructed.
Unlike the relatedmockumentary, fake-fiction does not focus on satire, and in distinction withdocufiction, it does not re-stage fictional versions of real past events.[citation needed]
Another filmmaker whose work could be associated with the concept of fake-fiction isGianfranco Rosi. For example,Below Sea Level[8] uses the language of fiction cinema in its rendering of unscripted, documentary material. Of his own work, Rosi said, "I don’t care if I'm making a fiction film or documentary — to me it's a film, it's a narrative thing."[9]
The termfound footage has sometimes been used to describe pseudo-documentaries where the plot involves the discovery of the film's footage.Found footage is originally the name of an entirely different genre, but the magazineVariety, for example, used the term "faux found-footage film" to describe the 2012 filmGrave Encounters 2. The film scholarDavid Bordwell has criticized this recent use because of the confusion it creates, and instead prefers the term "discovered footage" for the narrative gimmick.[10]
Pseudo-documentary forms have appeared in television advertisements andcampaign advertising. The"Revolving Door" ad used in theUS presidential campaign of 1988 to attack candidateMichael Dukakis showed scripted scenes intended to look like documentary footage of men entering and exiting a prison through a revolving door.[11] Boston-based bandthe Del Fuegos appeared in a 1984 commercial forMiller beer, with scripted scenes shot inhand-held camera/pseudo-documentary style. The band was criticized for selling out and for the falseness of the commercial; founding member Warren Zanes said making the ad was a mistake, that their core audience turned away, and the larger audience gained by the exposure did not maintain interest for long.[12]
Peter Greenaway employed pseudo-documentary style in his French television productionDeath on the Seine in 1988. He used fabricated scenes to reconstruct a historic event that was otherwise impossible to shoot, and portrayed it as reality.[13]
Reality television has been described as a form of pseudo-documentary.[14] An early and influential example is 1992'sThe Real World byMTV, ascripted "reality" show bordering onsoap opera.[15]
