The story behind the cinematic true crime documentary: working towards a typology

Historically, documentaries have employed cinematic techniques, but since the 1990s there has been a pronounced application of such devices for theatrical appeal. This trend, amplified by digital streaming platforms, raises concerns about representations of reality. To understand the scope of such concerns, a key question arises: what constitutes some of these ‘cinematic’ techniques used within documentaries? Despite claims that appealing documentaries often employ Hollywood storytelling strategies, there is limited understanding of how the genre adopts specific devices for cinematic entertainment. This article examines true crime documentary The Imposter, analysing its use of cinematic screenwriting and story devices, specifically dramatic structure. An analytical model is synthesised through genre theory (thriller) with Lucy V. Hay's understanding of the Three-Act-Structure, underpinned by relevant literature. This examination reveals how the documentary employs ‘cinematic’ aesthetics and thriller conventions to engage audiences. Drawing on Murray Smith’s ‘Structure of Sympathy’, the article explores the filmmaker's application of these storytelling techniques, shedding light on their potential capacity to shape audience appraisal of real-world events and subjects in true crime documentaries. The analysis aims to identify and unpack these specific storytelling devices, contributing to a deeper understanding of the impact of cinematic techniques in nonfiction filmmaking for representing reality.