By Tobias Ebbrecht-Hartmann, Derek Paget
This publication explores docudrama as an inventive reaction to distressed occasions. With general features shaped through traditions in theatre in addition to movie, and with claims to truth underscored by way of investigative journalism, tv docudrama examines key occasions and personalities in unfolding nationwide histories. Post-Fall of the Berlin Wall, docudrama has turn into a method for countries to paintings via hectic reports either inside nationwide borders and Europe-wide. during this regard, it really is an immense style for tv networks as they try to make experience of complicated present occasions. those authors provide a template for additional examine and aspect in the direction of ways that eu tv cultures, past these mentioned the following, can be thought of within the future.
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Extra resources for Docudrama on European Television: A Selective Survey
285–287). After German unification, in a third phase during the mid-1990s and early 2000s, these mainly journalistic docudramatic attempts slowly turned towards more dramatic forms and began to generate particular television GERMAN DOCUDRAMA: ALIGNING THE FRAGMENTS AND ACCESSING THE PAST 31 events by commemorating central historic incidents from the German past, often related to ‘“anniversary” moments in history’ (Paget 2012, p. 245). Thus docudrama on German television transformed into what I term elsewhere ‘historical event television’ (Ebbrecht 2007a, b).
245). Thus docudrama on German television transformed into what I term elsewhere ‘historical event television’ (Ebbrecht 2007a, b). This historical event television increasingly affected its programme environment. As mentioned in the introduction we may therefore face a further transformation of docudrama on German television, with docudramatic structure shaping the whole programme context. Historical event movies address huge audiences who are then also drawn to additional documentaries based on eyewitness testimonies and personal memories, talk shows and news reports, thereby virtually turning the whole television schedule into an extended docudrama.
258). 279). It transformed a basically educational focus into a critical perspective, depicting controversial topics and reconstructing images and scenes omitted by the selective perspective of 34 T. EBBRECHT-HARTMANN television news broadcasting and approved historical narratives (Hißnauer 2008, p. 259). The influence of Brecht and docu-theatre was still visible, but in even more radical form. In combination with interviews and eyewitness accounts, re-enactments in a docudrama like Die Staatskanlei (The State Office, NDR/WDR, 1989, dir.
Docudrama on European Television: A Selective Survey by Tobias Ebbrecht-Hartmann, Derek Paget