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Docufiction (or docu-fiction), often confused with docudrama, is the cinematographic combination of documentary and fiction, this term often meaning narrative film. It is a film genre which attempts to capture reality such as it is (as direct cinema or cinéma vérité) and which simultaneously introduces unreal elements or fictional situations in narrative in order to strengthen the representation of reality using some kind of artistic expression.
More precisely, it is a documentary mixed with fictional elements, in real time, filmed when the events take place, and in which the main character or characters—often portrayed by non-professional or amateur actors—are essentially playing themselves, or slightly fictionalized versions of themselves, in a fictionalized scenario. In this sense, docufiction may overlap to an extent with some aspects of the mockumentary format, but the terms are not synonymous.
This radio interview was never broadcasted !
An interview is a conversation between two or more people where questions are asked by the interviewer to elicit facts or statements from the interviewee. Interviews are a standard part of qualitative research. They are also used in journalism and media reporting (see Interview (journalism)) and in various employment-related contexts.
The qualitative research interview seeks to describe and the meanings of central themes in the life world of the subjects. The main task in interviewing is to understand the meaning of what the interviewees say. Interviewing, when considered as a method for conducting qualitative research, is a technique used to understand the experiences of others.
In filmmaking and video production, a crane shot is a shot taken by a camera on a crane or jib. The most obvious uses are to view the actors from above or to move up and away from them, a common way of ending a movie. Camera cranes go back to the dawn of movie-making, and were frequently used in silent films to enhance the epic nature of large sets and massive crowds.
The major supplier of cranes in Hollywood throughout the 1940s, 1950s, and 1960s was the Chapman Company supplanted by dozens of similar manufacturers around the world. The typical design provided seats for both the director and the camera operator, and sometimes a third seat for the cinematographer as well. Large weights on the back of the crane provided a perfect balance to compensate for the weight of the people riding the crane. The crane operator and camera operator had to precisely coordinate their moves so that focus, pan, and camera position all started and stopped at the same time, requiring great skill and rehearsal.
Some filmmakers like to have the camera on a boom arm just to make it easier to move around between ordinary set-ups. Most cranes accommodate both the camera and an operator, but some can be operated by remote control. They are usually, but not always, found in what are supposed to be emotional or suspenseful scenes.
During the last few years, camera cranes have been miniaturized and costs have dropped so dramatically that most aspiring film makers have access to these tools. What was once a "Hollywood" effect is now available for under $400.
