Nemla 2019 - Truth in Documentary and Docufiction: Images of Transnational Realities

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H-Announce NeMLA 2019 - Truth in Documentary and Docufiction: Images of Transnational Realities Announcement published by Caroline Wakaba Futamura on Tuesday, August 14, 2018 Type: Call for Papers Date: September 30, 2018 Location: District Of Columbia, United States Subject Fields: French History / Studies, Film and Film History Although the term “documentary” with respect to film was not coined until 1926 by John Grierson, precursors to this genre have existed for ethnographic purposes from the late-nineteenth century. Defined by Merriam-Webster’s online dictionary as “a presentation (such as a film or novel) expressing or dealing with factual events: a documentary presentation,” this cinematographic form, even from its very inception, has been grappling with the hybrid version, docu-fiction. This latter genre, a combination of seemingly mutually exclusive elements—objective factual and subjective fictional—seems to undermine the very essence of what constitutes documentary cinema. Yet even Robert Flaherty’s ethnographic motion picture Moana, the first film ever associated with Grierson’s notion of “documentary,” is considered a docu-fiction. From ethnographic colonial cinema on West Africa to documentaries about immigrants and refugees in Calais’s “Jungle” in France, French motion pictures have (audio)visually portrayed intersections of cultures, languages, and peoples for over a century. Yet today more than ever, given the extraordinary reach and accessibility of videos and films on account of social and digital media, publics globally have been confronted with the challenging feat of discerning between fact and fiction, particularly with respect to local, national, and international events and crises. In this light, to what extent has (pseudo) non-fiction film been exposing rather than fabricating truth? This panel thus aims to examine how French and Francophone documentary and docu-fiction films depict transnational realities and the role that political lenses play in dictating truth. This panel welcomes papers that examine how French and Francophone documentary and docufiction films have created a cinematographic space for (un)truthfully representing transnational realities. Possible themes can include but are not limited to: colonial documentary cinema, representations of immigrant and/or refugee identities, media and “truth.” If you would like to submit an abstract, please do so by creating an account at the following website: https://www.cfplist.com/nemla/Home/Login Contact Email: [email protected] URL: https://www.cfplist.com/nemla/Home/Login Citation: Caroline Wakaba Futamura. NeMLA 2019 - Truth in Documentary and Docufiction: Images of Transnational Realities. H- Announce. 08-14-2018. https://networks.h-net.org/node/73374/announcements/2199570/nemla-2019-truth-documentary-and-docufiction-images Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1.

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Introduction
INTRODUCTION The wuxia film is the oldest genre in the Chinese cinema that has remained popular to the present day. Yet despite its longevity, its history has barely been told until fairly recently, as if there was some force denying that it ever existed. Indeed, the genre was as good as non-existent in China, its country of birth, for some fifty years, being proscribed over that time, while in Hong Kong, where it flowered, it was gen- erally derided by critics and largely neglected by film historians. In recent years, it has garnered a following not only among fans but serious scholars. David Bordwell, Zhang Zhen, David Desser and Leon Hunt have treated the wuxia film with the crit- ical respect that it deserves, addressing it in the contexts of larger studies of Hong Kong cinema (Bordwell), the Chinese cinema (Zhang), or the generic martial arts action film and the genre known as kung fu (Desser and Hunt).1 In China, Chen Mo and Jia Leilei have published specific histories, their books sharing the same title, ‘A History of the Chinese Wuxia Film’ , both issued in 2005.2 This book also offers a specific history of the wuxia film, the first in the English language to do so. It covers the evolution and expansion of the genre from its beginnings in the early Chinese cinema based in Shanghai to its transposition to the film industries in Hong Kong and Taiwan and its eventual shift back to the Mainland in its present phase of development. Subject and Terminology Before beginning this history, it is necessary first to settle the question ofterminology , in the process of which, the characteristics of the genre will also be outlined.
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