Titlebook: Docudrama on European Television; A Selective Survey Tobias Ebbrecht-Hartmann,Derek Paget Book 2016 The Editor(s) (if applicable) and The A

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2634-615X 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 bor

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Book 2016urope-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..

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Introduction: A New Europe, the Post-Documentary Turn and Docudrama,fall of the Wall, the forests of aerials pointing westwards in East Germany, remarked by many visitors from the West during the long Cold War period, were testament to many things, including the desire for a ‘free’ media in the East that would open up proscribed subjects. The extent to which any med

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German Docudrama: Aligning the Fragments and Accessing the Past,nstallation combined symbolic re-enactment, archival footage, personal memories from the past and testimonies, thus ‘forming a collective landscape of memories of Berlin’ (Hausen 2014)—a kind of a ‘real life docudrama’ that was broadcast nationally and around the world.

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Polish Docudrama: Finding a Balance Between Difficult and Easy Pleasures,first 40 years of Polish television. I will argue that the situation was caused by political and social factors, and not by factors within the medium itself. The turn of the twenty-first century marked a short-lived eruption of docudrama, when there was some bewilderment about the ‘play with reality

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British Docudrama: New Directions in Reflexivity,studio re-enactments. This practice resulted from television’s initial limitations in recording on location, but was seen by programme makers as a strength, generating a ‘distinctive aesthetic’ and ‘particular dynamics of narrative’ (Corner 1996, p. 31), and enabling ‘a(chǎn)udience identification’ – thes