(redirected from Pseudo-documentary)


n. pl. mock·u·men·ta·ries
A fictional movie or television program that is a parody made in the style of a factual documentary.

[Blend of mock and documentary.]


(ˌmɒkjʊˈmɛntərɪ; -trɪ)
n, pl -ries
(Broadcasting) a satirical television or radio programme in the form of a parody of a documentary
[C20: from mock + (doc)umentary]
References in periodicals archive ?
It presents a pseudo-documentary about a boy whose "bleep doesn't stink," alluding to a profane phrase that commonly refers to people who are full of .
These stylistic signifiers seemingly prime Beast for the international film-festival circuit, as cinematographer Michael Steel's roaming camera lends a digital, pseudo-documentary sheen to the mostly nocturnal activities captured on screen.
The result is a coming-of-age story, period piece, living art experiment, and, even, pseudo-documentary in which the characters literally age before our eyes.
20pm-11pm: 20,000 |Days On Earth - Nick Cave pseudo-documentary by Jane Pollard and Iain Forsyth, Centre Square Big Screen.
Rumormonger: A 1994 pseudo-documentary distributed by the Reverend Jerry Falwell
Catfishing,' a slang term for creating fake profiles on social media to create false identities, has its origins in the 2010 movie 'Catfish,' a pseudo-documentary that chronicled a young man's online friendship with a woman that turned out to be very different from her Facebook profile.
If the audience went home after watching a movie like Syriana or a pseudo-documentary like Sicko and actually did some reading, they would realize that they have been given at best a distorted view of the subject, and might actually learn something.
As mercilessly as Stevenson--part cultural historian, part paranoid conspiracy theorist--lampoons forgotten moments of artistic hubris, misjudgment, and parochialism, his nuanced pseudo-documentary installations and films belie a fascination with, even an empathy for, the romance of pretense and failure.
She argues that recent cinema instead "constructs social knowledge" by way of epistemological crisis, producing a loss of faith in the traditional forms of film-based knowledge, specifically that of the implied promise of documentary (or pseudo-documentary fiction) film.
And the fourth part is a pseudo-documentary in which Ginsberg answers questions from an off-screen interviewer.
The result is a faith-based pseudo-documentary that is interesting rather than conclusive: Since it embraces scientific tools, it ought to have put its conclusions to actual scientists for comment.
Or, some may look at this film as a pseudo-documentary on food production for the gullibly inclined who never questioned the accuracy of facts or half-truths.