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True Crime Mock/Documentary and the Performance of Authenticity

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True Crime Mock/Documentary and the Performance of Authenticity Arresting Narratives: True Crime mock/documentary and the performance of authenticity Lex Griffiths Research Master Thesis Department of Media Studies Universiteit Van Amsterdam Completed 06/07/18 Supervisor: Toni Pape Second Reader: Mark Stewart Griffiths (11312513) Contents Introduction……………………………………………………………………………………………………………………………1 1. Documentary: An Authentic Construction and the Puzzle of ‘Truth’…………………………………….4 1.1. True Crime – Sensationalism and Investigation……………………………………………………………….……4 1.2. Authenticity – How Documentary Depicts Reality………………………………………………………………..5 1.3. ‘Authorial Voice’ as a Rhetorical Strategy……………………………………………………………………………..6 1.4. Modes of Representation – How Documentary Frames the Authentic………………………………...7 1.5. Modes of Representation and True Crime…………………………………………………………………………...9 1.6. Narrative Patterns and Authentic Reality……………………………………………………………………………..10 1.7. Audiovisual Strategies Towards Constructing Authenticity…………………………………………………..12 1.8. Key Points…………………………………………………………………………………………………………………………...15 2. Case Study – Making a Murderer……………………………………………………………………………………….16 2.1. Aesthetic Style and Mode of Representation……………………………………………………………………...17 2.2. Authorial Voice – and Audience………………………………………………………………………………………….19 2.3. Making a Murderer and Criminal Narrative………………………………………………………………………...23 2.4. Media ‘Complicity’ - Making a Murderer and News Media………………………………………………...25 2.5. Closing Thoughts………………………………………………………………………………………………………………..28 3. Critical Strategies of Mockumentary………………………………………………………………………………….29 3.1. Defining Mockumentary…………………………………………………………………………………………………….29 3.2.Further Definition – Degrees of Mockumentary………………………………………………………………….30 3.3. Mockumentary and Authenticity……………………………………………………………………………………….32 3.4. Authorial Voice in Mockumentary……………………………………………………………………………………..35 3.5. Revisiting Modes of Representation – Modes as Critique…………………………………………………..36 3.6. Narrators in Mockumentary – Straight Man to Unreliable………………………………………………….38 3.7. Reframing Documentary’s Tools…………………………………………………………………………………………40 3.8. Key Points, American Vandal……………………………………………………………………………………………..41 4. Case Study – American Vandal………………………………………………………………………………………….43 4.1. Series Overview – Seriousness and Subversion………………………………………………………………….43 4.2. American Vandal and Authentic Representation………………………………………………………..……..46 4.3. Tautological Investigation……………………………………………………………………………………………...….47 4.4. Critical Shift – From Implicit to Explicit Critique in American Vandal……………………………..….49 4.5. Interviewed Subjects and Authority………………………………………………………………………………….52 4.6. “It didn’t prove anything, it had nothing to do with Dylan”…………………………………………..….55 Conclusion…………………………………………………………………………………………………………………………56 References…………………………………………………………………………………………………………………………59 2 Griffiths (11312513) Introduction Since the release of crime podcast Serial (2014) and HBO series The Jinx (2015) there has been an increasing prevalence of True Crime documentary in the cultural mainstream. As it has increased in popularity, there has recently also been an emergence of True Crime mockumentary and other satirical forms of media targeting these series. Some comment could certainly be made on why this development has happened now – for example how the move to a “quality television” (Alvey, 2004) format has impacted the popularity and in turn the critique of True Crime as a sub-genre. Certainly True Crime has roots in more sensationalist low-culture media (Biressi, 44) and the transition to a more culturally accepted media could lead to backlash, or a critical reconsideration of the tropes of the sub-genre. However, what I am primarily interested in is how this emergence and response is an instructive overview of the mechanism of documentary and mockumentary; how one emerges to be changed by the other. The forms have a complex structure; mockumentary exists purely based in the aesthetics of documentary, but is revealing of flaws within documentary that are not always typically reflected well by documentaries themselves. This recent transformation in True Crime means that both can be usefully examined as they emerge in a contemporary context. In this thesis I intend to examine recent examples of True Crime series from both documentary and mockumentary. I am primarily interested in how the formats intersect in relation to authenticity, the structures through which they present a convincing representation of reality (Trilling, 93). This is a primary concern of documentary, the need to present truth is the essence of the form. As such the success of that authentic representation is of great interest, and a useful place to examine the interaction with mockumentary. Furthermore in a social moment increasingly moving towards “post- truth” (Keyes, 2004) it is useful to consider those forms of media and art that we consider to have some unique mandate to the truth and to authentic representation, and how that mandate is expressed. Part of the argument of this thesis is that authenticity beyond being a construct of representation, is also heavily aestheticised – as the documentary form has a mandate to the truth, so must its techniques come to possess a culturally understood quality of truthfulness. In adopting this 1 Griffiths (11312513) aesthetic, mockumentary can expose the artifice of the style and question the associations of authenticity that these styles have. True Crime has been selected as a sub-genre in part due to the implications of the name – as a sub-genre it is incredibly interested in confirming for the audience that its content is true, and as such it has a particular focus on the aesthetic of authenticity. As mentioned above it is also useful as a gauge on the interaction between documentary and mockumentary due to its recent cultural relevance and subsequent mocking. As such a case study has been selected for both documentary and mockumentary, to analyse how authenticity is constructed, and how mockumentary responds to documentary. The case studies have been selected for their responsiveness to one another – the mockumentary series is directly inspired by the documentary – and for their interest in the nature of authenticity and their methods of authentic depiction. This interaction will be assessed largely through study into mockumentary by researchers Jane Roscoe and Craig Hight – they have provided perhaps the most comprehensive study into mockumentary as a form to date and provide many useful tools through which to assess mockumentary as a response to documentary. Their work on taxonomising mockumentary is a useful position from which to start any analysis and subsequently much of their understanding of the functioning of mockumentary forms the basis for a theoretical understanding of the genre. I have also chosen to include documentary theory as it pertains to the construction of authenticity to better show the specific interaction between the two forms. In addition to examining the construction itself, analysis has been performed on the way authenticity is use within the case studies, what it contributes to the documentary and how its construction affects arguments made therein. As authenticity functions as an aesthetic choice, it is useful to see what purpose this aesthetic serves beyond a convincing representation of reality. This study begins with a breakdown of the theoretical framework of documentary studies that is being used, as well as some insight into specific theoretical elements of True Crime documentary that have relevance to authenticity. After this theory chapter there is an in-depth case study of the series Making a Murderer (2016), with an interest in how it uses authenticity to frame a persuasive argument. This structure then follows on with mockumentary; beginning with a theoretical breakdown 2 Griffiths (11312513) before moving into the second case study; the series American Vandal (2017). The final case study will look at how the various elements of authentic representation are responded to in mockumentary, and what critique it presents of the current True Crime zeitgeist. 3 Griffiths (11312513) Chapter 1: Documentary – An Authentic Construction and the Puzzle of ‘Truth’ A primary interest of this thesis are the specific ways in which authenticity affects documentary representation. The authentic takes on an extra layer of significance in the case of the True Crime documentary sub-genre – as the name suggests, the specific ‘truthfulness’ of the presented subject is a primary interest and repeated aesthetic motif. To begin I will provide an overview of the development of True Crime, before exploring the facets of documentary that work towards producing authenticity. 1.1. True Crime - Sensationalism and Investigation True Crime is a sub-genre of documentary, focused on the criminal procedure. It has emerged from a tradition of public fascination in particularly gruesome crimes that have been committed. Anita Biressi traces a “constellation of ‘beginnings’” (44) in her exploration of the literary form of the genre. While much of the tropes of True Crime documentary can be found in the literary form Biressi describes, the documentary movement also has roots in a “tradition of crime cinema” Matthew Sorrento outlines, drawing on noir cinema and other criminal narratives (245). Sorrento does discuss an adaptation of Truman Capote’s In Cold Blood (1966), which Biressi considers an “American landmark of True Crime”, suggesting some narrative link between the literary and filmed movements.
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