Le Genre Docufiction : Realite Ou Fiction Au Cameroun ?
Mémoires
Paul ANIMBOM P; Annette ANGOUA NGUEA 2019 à IBAN
2019
Le Genre Docufiction : Realite Ou Fiction Au Cameroun ? (2019)
Au regard des productions filmiques, le cinéma camerounais se consacre beaucoup plus à la fiction et quelques fois au documentaire. En ce qui concerne le docufiction, c'est un genre pas très abordé par les cinéastes. Ce genre n'est pas encore effectif dans les productions camerounaises car les cinéastes tardent encore à voir en ce genre des avantages que seul le documentaire ou la fiction n'a pas. Ce constat pose le problème de la place du docufiction dans les productions cinématographiques camerounaises. L'objectif principal est de montrer que le docufiction n'est pas effectif dans les productions filmiques camerounaises et de le promouvoir.
L'approche narratologique est abordée dans ce travail dans l'optique d'étudier la structure narrative du docufiction. De plus, les approches sémio-pragmatique et sémiologique permettent de comprendre le message contenu dans chaque élément constitutif du docufiction et son rapport avec le public. À travers une enquête sur 115 cinéastes afin de vérifier s'il existe un docufiction camerounais, il en ressort qu'un seul docufiction camerounais est connu dans le milieu des cinéastes: My african dream (2016) de Gervais DJIMELI. Suite à ce constat, nous proposons un film qui permet de mettre en exergue les codes du documentaire et de la fiction qui sont des éléments qui caractérisent ce genre. Ce film Silence Brisé est un moyen d'amener les cinéastes à s'intéresser au docufiction.
Mots clés: Genre cinématographique, fiction, documentaire, docufiction, sémio-
Pragmatique
ABSTRACT
The overall appraisal of film production in Cameroon clearly reveals a strong and steady propensity to fiction and documentary. As far as fiction-based documentary is concerned, it is a genre yet to be explored by film producers or scenario writers in Cameroon. In the course of our field investigations, just a single case of fiction-based documentary was recorded. This is a clear proof that this cinematographic genre has not effectively taken roots in the minds and hearts of film producers who seem to be reluctant as to seeing into this genre some advantages that fiction or documentary can't offer separately. This certified fact poses the problem of the place that fiction-based documentary occupies in the Cameroonian cinematographic industry. The main objective here is to promote this genre in order to lift it up to the same standards with the existing ones. In the course of this work, we shall adopt the narrative approach to study the structure of a fiction-based documentary. Furthermore, the semio-pragmatic and semiotic approaches enabled the understanding of the message contained in each and every element that makes up a fiction-based documentary. Through an investigation from 115 filmmakers in order to know if they practice or know of the existence of docufiction films in Cameroon, it was revealed that only one is known to some of them. This is My African dream produced in 2016 by Gervais DJIMELI.
We shall propose a film that throws into relief the codes of a documentary and those of a fiction, which are the main characteristic features of a fiction-based documentary. The film, entitled silence brised is aimed at developing some interest into film producers so as to get them more involved and bent to this cinematographic genre.
Key-words: cinematographic genre, fiction, documentary, fiction based documentary, semio-pragmatic.
