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Because he had the full kitchen on his side of the apartment, I asked that he pay $100 more in rent than I did. During the period when Roommate #1 was around less and less, and I was preparing the space for another potential occupant, I opened the cabinet beneath the kitchen sink and leaned down to remove a tied-off sack of garbage from the red wastebasket. The apartment was immediately beneath a flight pattern to LaGuardia, and throughout the day, if able to tune out the street noise-bus brakes, car alarms, sirens, the general clamor-I would hear flights passing overhead, each an echo of the next. [...]he'd been among the prospective roommates I'd shown the room to almost a year before when I ended up offering the place to Roommate #1. Since they were both students, and with Roommate #3 having no school to report to in the city, one or the other of them was usually around.

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

As the Kremlin’s crackdown on freedom of expression continues to tighten, Russian playwrights and directors are using documentary theatre to create space for the public discussion of injustice in the civic sphere and its connections to the country’s twentieth-century past. Witness Onstage traces the history of documentary theatre’s rapid growth in twenty-first century Russia and situates the form within the socio-political setting of the Putin years. It argues that through the practice of performing documents, Russian theatre artists are creating a new type of cultural and historical archive that challenges the dominance of state-sponsored media and invites individuals to participate in a collective renegotiation of cultural narratives.

Trailers for movies are generally considered aesthetic independent multimodal fragmented discourse. Since one of the key features of trailers for docudramas is to promote arguments in order to propagate the importance and worthiness of documentaries to be watched, trailers rely heavily on limited fragmented compositions and implicitness to arouse the viewer’s curiosity. This study aims to provide an enthymematic interpretation of the trailer for Netflix’s brand-new docudrama Queen Cleopatra, which has resulted in immense controversy in Egypt since its release in April 2023. Thus, the study investigates how the enthymematic property of the selected trailer is constructed through the illocutionary pluralism in the characters’ argumentative polylogues and presented through the interplay of verbal-visual semiotic resources such as montage techniques, music, moving images, colors, etc. This study adopts Wildfeuer and Pollaroli’s (2017) theoretical framework of multimodal argumentation in movie trailers supported by Lewinski’s (2021) illocutionary pluralism in argumentative polylogues. The framework foregrounds the importance of the surrounding context (Pragma-Dialectics) in multimodal rhetoric and dwells upon two levels: logic of film discourse interpretation and argumentative reconstruction of the movie trailer. Findings have revealed that the interplay of cross-modal devices and speech acts stimulates spectators to form hypotheses and draw inferences on the cinematic discourse they are subsequently invited to watch and thus to retrieve arguments in support of the claim that the advertised documentary is worth watching.

In contemporary international relations, we are facing a lively discussion among scholars who are using all sorts of visual artifacts. Since representations of international politics in popular culture and mass media have been theorized more systematically, fictional films, TV series, as well as non-fictional documentaries have become relevant research objects. What is still missing is a conceptualization of the genre located between fictional and non-fictional film—docudrama. This genre is highly relevant for IR because many filmmakers have specialized in docudramatic depictions of historic events or more recent issues in international politics in which facts and fiction are combined into narratives about the events and the behavior of the people involved. But analyzing films is not unproblematic. Although a debate on the importance of film analysis in IR is occurring, methodological reflections have only just begun. Accordingly, this article draws on a film analytical methodology developed by Bordwell, which is applied to a docudrama about the Kunduz airstrike of September 2009.

‘Flight Risk’ is a radio play exploring the thoughts and fears of Elizabeth, a woman seeking asylum in Ireland, adrift and asleep on a flight bound for Dublin. Elizabeth seeks protection in the Ireland celebrated for its ‘one hundred thousand welcomes’. But this bounty of welcomes is limited by immigration law. Elizabeth dreams that the pilot speaks to her directly over the tannoy, quizzing her about travel documents and tormenting her with his predictions of a swift deportation. This dramatic scenario is intercut with documentary material to describe the experience of those seeking protection in Ireland.Ellie Kisyombe drew on her personal experiences to play the role of Elizabeth. The text includes her improvisations in the role. Her words merge with testimonies at protest rallies and from RTÉ Radio 1’s phone-in programme, ‘Liveline’, presented by Joe Duffy. Felix Dzamara from Zimbabwe describes what people in his home country are running from – the violence of that country’s Central Intelligence Organisation. Others describe the dehumanising conditions of the Irish Direct Provision system, where people are accommodated as they await the outcome of their asylum applications. Direct Provision was established in 2000. Since then, thousands of people have lived in this system, in some cases for periods in excess of five years, without the right to work, without the means to cook for themselves, and on a small weekly allowance.The play was produced by RTÉ Drama On One, and broadcast on RTÉ Radio 1 on 29 January 2017. This coincided with President Trump’s first travel ban, by chance echoing the concerns of a multitude of people taking their own ‘flight risk’. ‘Flight Risk’ was a Gold Radio Winner in the Entertainment Best Drama Special category at the New York Festival Radio Awards in 2017.The play is available as a podcast at rte.ie/dramaonone.###DEVISING FLIGHT RISK (Commentary by Kevin Brew)‘Flight Risk’ is a radio play exploring the thoughts and fears of Elizabeth, a woman seeking asylum in Ireland, adrift and asleep on a flight bound for Dublin. Radio producer Kevin Brew devised the piece in collaboration with activist Ellie Kisyombe, who herself has been in the Irish asylum process for over 9 years. The play was produced by RTÉ Drama On One, and broadcast on RTÉ Radio 1 on 29 January 2017. Asylum narratives like ‘Flight Risk’ rely for their authenticity on multiple storytellers with direct experience of the traumas of displacement and the asylum process. Ellie Kisyombe performed the central role of Elizabeth. The script became more authentic when Ellie changed it into her own way of speaking. Ellie also improvised completely new elements that made the script more credible. The programme’s documentary layer passed the microphone to members of the asylum-seeking community. For example, people are heard describing the restrictive conditions of the Direct Provision system on RTÉ Radio 1’s phone-in programme, ‘Liveline’. This asylum narrative employs a form of auto-fiction, fusing dramatic scenes and documentary elements, while inviting Ellie to perform a version of her own life story. Docudrama is also a reference point for ‘Flight Risk’, in that the programme fuses together factual texts to create a script. The programme aims to highlight issues in plain sight, but in the heightened form of a radio drama, in order to invite listeners to think again about social injustice in Irish life.

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