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Drama --- Film --- Mass communications --- Documentary mass media. --- Documentary mass media --- Mass media

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This second edition of No other Way To Tell It defines the form, analyses its codes and conventions, and reviews contrasting histories in America and British practice - taking into account new developments since the first edition.These include television’s radically new ecology; with factual formats a growth area. Docudrama in film has also burgeoned recently, partly because the industries themselves have grown closer and partly because of continued interest in the lives of the famous and of those in the news. International co-production now exploits many different screening opportunities and possibilities, with the result that docudrama and become a cinematic as well as televisual staple. Docudrama is not only popular with audiences; it also causes constant flurries of commentary and controversy. Concerns about ‘borders’ and ‘boundaries’, a questioning of documentary’s claim to represent the real, doubts about the popular audience’s ability to cope with new approaches to the ideas of witness, testimony and confession, authenticity and truth - all fuel the debate.This new edition situates docudrama and its ongoing debates within a newly vibrant and still highly contentious field of practice. This book will interest readers - academic and general - with an interest in fact-based drama in film, theatre and television

Television plays --- Historical drama --- History and criticism. --- 1990s co-pros. --- American television. --- British television. --- Griersonian documentary. --- Todd Gitlin. --- fiction. --- film. --- hybridization. --- keywords. --- mass audience. --- media-literate environment. --- modern docudrama. --- personal stories. --- pre-production research. --- television production. --- terrorism.

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This book explores docudrama as a creative response to troubled times. With generic characteristics formed via traditions in theatre as well as film, and with claims to fact underscored by investigative journalism, television docudrama examines key events and personalities in unfolding national histories. Post-Fall of the Berlin Wall, docudrama has become a means for nations to work through traumatic experiences both within national borders and Europe-wide. In this regard, it is an important genre for television networks as they attempt to make sense of complex current events. These authors offer a template for further study, and point towards ways in which European television cultures beyond those discussed here might be considered in the future.

Culture --- Ethnology --- Motion pictures and television. --- Journalism. --- Cultural and Media Studies. --- Film and Television Studies. --- European Culture. --- Study and teaching. --- Europe. --- Historical drama. --- Cultural studies --- Chronicle histories (Drama) --- Chronicle history (Drama) --- Chronicle plays --- Docudrama --- Documentary plays --- Historical plays --- History --- Verbatim plays --- Drama --- Ethnology-Europe. --- Screen Studies. --- Moving-pictures and television --- Television and motion pictures --- Television --- Ethnology—Europe. --- Writing (Authorship) --- Literature --- Publicity --- Fake news --- Europa. --- Abendland --- Okzident --- Europäer

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This book explores docudrama as a creative response to troubled times. With generic characteristics formed via traditions in theatre as well as film, and with claims to fact underscored by investigative journalism, television docudrama examines key events and personalities in unfolding national histories. Post-Fall of the Berlin Wall, docudrama has become a means for nations to work through traumatic experiences both within national borders and Europe-wide. In this regard, it is an important genre for television networks as they attempt to make sense of complex current events. These authors offer a template for further study, and point towards ways in which European television cultures beyond those discussed here might be considered in the future.

Mass communications --- Europe