What is it about?
This paper explores how docufiction as a film genre collects from real occurrences, such as disasters, wars, insurgency, starvation, and political or economic strife from states of Nigeria ravaged by insurgency and Boko Haram, banditry, and the Fulani Herdsmen. From a serialised television script, Dissent, this paper highlighted how a surrogate character, Pam becomes the archetype of loss, fighter, and redemption.
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Why is it important?
We discovered through Dissent, that dramatic characters for docufiction evolve naturally because the incident is real and familiar to the people whose story is already commonplace. The case of Dissent is a national tragedy and an indictment of bad government, corruption, and nepotism.
Perspectives
This paper is like a biography of sorts because the two authors share the bitter experience of the violent invasion of their tribal spaces either for ethnic cleansing or politically motivated attacks. Finally, the reception of Dissent as a docufiction script shows the power of an evidence-based story with verifiable contents through photographs, speeches, and familiar ambiance.
John Iwuh
Redeemer's University
Read the Original
This page is a summary of: Reading the docufiction script: Harnessing the thin line between facts and fiction, Journal of Screenwriting, November 2022, Intellect,
DOI: 10.1386/josc_00107_1.
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