Documentary Film Reader

History, Theory, Criticism
Herausgeber: Kahana, Jonathan

• Broschiertes Buch

Produktbeschreibung

The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film.

Produktdetails

• Verlag: Oxford University Press, USA
• Seitenzahl: 1056
• Erscheinungstermin: 18. Februar 2016
• Englisch
• Abmessung: 251mm x 178mm x 48mm
• Gewicht: 1792g
• ISBN-13: 9780199739653
• ISBN-10: 019973965X
• Artikelnr.: 47867044

Autorenporträt

Jonathan Kahana is Associate Professor of Film and Digital Media at the University of Santa Cruz. He is the author of Intelligence Work: The Politics of American Documentary.

Inhaltsangabe

* Foreword by Charles Musser
* Introduction
* I. Early Documentary: From the Illustrated Lecture to the Factual
Film
* Jonathan Kahana, Introduction to Section I
* Rick Altman, "From Lecturer's Prop to Industrial Product: The Early
History of Travel Films" (2006)
* Anonymous, "Burton Holmes Pleases a Large Audience at the Columbia"
(1905)
* Kristen Whissel, "Placing the Spectator on the Scene of History:
Modern Warfare and the Battle Reenactment at the Turn of the Century"
(2008)
* Dai Vaughan, "Let There Be Lumière" (1999)
* Boleslas Matuszewski, "A New Source of History" (1898)
* Tom Gunning, "Before Documentary: Early Nonfiction Films and the
'View' Aesthetic" (1997)
* Edward Curtis et al., "The Continental Film Company" (1912)
* W. Stephen Bush, "In The Land of the Head Hunters" (1914)
* Catherine Russell, "Playing Primitive" (1999)
* Anonymous, "Movies of Eskimo Life Win Much Appreciation" (1915)
* Anonymous, "Nanook of the North" (1922)
* John Grierson, "Flaherty's Poetic Moana" (1926)
* John Grierson, "Flaherty" (1931-32)
* Hamid Naficy, "Lured by the East: Ethnographic and Expedition Films
about Nomadic Tribes; The Case of Grass" (2006)
* Béla Balázs, "Compulsive Cameramen" (1925)
* Anonymous, "New Films Make War Seem More Personal" (1916)
* Nicholas Reeves, "Cinema, Spectatorship, and Propaganda: Battle of
the Somme (1916) and Its Contemporary Audience" (1997)
* II. Modernisms: State, Left, and Avant-Garde Documentary Between the
Wars
* Jonathan Kahana, Introduction to Section II
* Robert Allerton Parker, "The Art of the Camera: An Experimental
'Movie'" (1921)
* Siegfried Kracauer, "Montage" (1947)
* Annette Michelson, "The Man with the Movie Camera: From Magician to
Epistemologist" (1972)
* Seth Feldman, "Cinema Weekly and Cinema Truth: Dziga Vertov and the
Leninist Proportion" (1973)
* Dziga Vertov, "WE: Variant of a Manifesto" (1922)
* Jay Leyda, "Bridge" (1964)
* Mikhail Iampolsky, "Reality at Second Hand" (1991)
* Joris Ivens, "The Making of Rain" (1969)
* Joris Ivens, "Reflections on the Avant-Garde Documentary" (1931)
* Tom Conley, "Documentary Surrealism: On Land Without Bread" (1986)
* John Grierson, "The Documentary Producer" (1933)
* John Grierson, "First Principles of Documentary" (1932-34)
* Otis Ferguson, "Home Truths from Abroad" (1937)
* Charles Wolfe, "Straight Shots and Crooked Plots: Social Documentary
and the Avant-Garde in the 1930s" (1995)
* Samuel Brody, "The Revolutionary Film: Problem of Form" (1934)
* Leo T. Hurwitz, "The Revolutionary Film: Next Step" (1934)
* Ralph Steiner and Leo T. Hurwitz, "A New Approach to Filmmaking"
(1935)
* Willard Van Dyke, Letter from Knoxville (1936)
* Ralph Steiner, Letter to Jay Leyda (1935)
* John T. McManus, "Down to Earth in Spain" (1937)
* Charles Wolfe, "Historicizing the 'Voice of God': The Place of
Voice-Over Commentary in Classical Documentary" (1997)
* Steve Neale, "Triumph of the Will: Notes on Documentary and
Spectacle" (1979)
* Richard Griffith, "Films at the Fair" (1939)
* III: Documentary Propaganda: World War II and the Post-War Citizen
* Jonathan Kahana, Introduction to Section III
* James Agee, Review of Iwo Jima newsreels (1945)
* James Agee, Review of San Pietro (1945)
* Thomas Cripps and David Culbert, "The Negro Soldier (1944): Film
Propaganda in Black and White" (1979)
* André Bazin, "On Why We Fight: History, Documentation, and the
Newsreel" (1946)
* Jim Leach, "The Poetics of Propaganda: Humphrey Jennings and Listen
to Britain" (1998)
* George C. Stoney, "Documentary in the United States in the Immediate
Post-World War II Years" (1989)
* Zoë Druick, "Documenting Citizenship: Reexamining the 1950s National
Film Board Films about Citizenship" (2000)
* Srirupa Roy, "Moving Pictures: The Films Division of India and the
Visual Practices of the Nation-State" (2007)
* Jennifer Horne, "Experiments in Propaganda: Reintroducing James
Blue's Colombian Trilogy" (2009)
* Peter Watkins with James Blue and Michael Gill, "Peter Watkins
Discusses His Suppressed Nuclear Film The War Game" (1965)
* IV. Aesthetics of Liberation: Free, Direct, and Vérité Cinemas
* Jonathan Kahana, Introduction to Section IV
* Jean Painlevé, "The Castration of Documentary" (1953)
* Jean Cocteau, "On Blood of the Beasts" (1963)
* Lindsay Anderson, "Free Cinema" (1957)
* Tom Whiteside, "The One-Ton Pencil" (1962)
* Edgar Morin, "Chronicle of a Film" (1962)
* Jonathan Rosenbaum, "Radical Humanism and the Coexistence of Film and
Poetry in The House is Black" (2003)
* Jean Rouch with Dan Georgakas, Udayan Gupta, and Judy Janda, "The
Politics of Visual Anthropology" (1977)
* Ricky Leacock, "For an Uncontrolled Cinema" (1961)
* Bruce Elder, "On the Candid-Eye Movement" (1977)
* Jonas Mekas, "To Mayor Lindsay / On Film Journalism and Newsreels"
(1966)
* Jeanne Hall, "Realism as a Style in Cinema Verite: A Critical
Analysis of Primary" (1991)
* Margaret Mead, "As Significant as the Invention of Drama or the
Novel" (1973)
* V: Talking Back: Radical Voices and Visions After 1968
* Jonathan Kahana, Introduction to Section V
* Robert Stam, "Hour of the Furnaces and the Two Avant Gardes" (1981)
* Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, "Toward a
Definition of the Didactic Documentary: A Paper Presented to the
First National Congress of Education and Culture" (1978)
* Marilyn Buck, Norm Fruchter, Robert Kramer, and Karen Ross,
"Newsreel" (1969)
* Frederick Wiseman with Alan Westin, "'You Start Off With a Bromide':
Conversation with Film Maker Frederick Wiseman" (1974)
* David MacDougall, "Beyond Observational Cinema" (1973/1992)
* Pauline Kael, "Beyond Pirandello" (1970)
* Pearl Bowser, "Pioneers of Black Documentary Film" (1999)
* Michael Chanan, "Rediscovering Documentary: Cultural Context and
Intentionality" (1990)
* Santiago Alvarez with the editors of Cineaste, "'5 Frames Are 5
Frames, Not 6, But 5': An Interview with Santiago Alvarez" (1975)
* Abé Mark Nornes, "The Postwar Documentary Trace: Groping in the Dark"
(2002)
* Emile de Antonio with Tanya Neufeld, "An Interview with Emile de
Antonio" (1973)
* Annette Michelson, Reply to de Antonio (1973)
* Bill Nichols, "The Voice of Documentary" (1983)
* James Roy MacBean, "Two Laws from Australia, One White, One Black:
The Recent Past and the Challenging Future of Ethnographic Film"
(1983)
* Lee Atwell, Review of Word is Out (1979)
* Julia Lesage, "The Political Aesthetics of the Feminist Documentary
Film" (1978)
* E. Ann Kaplan, "Theories and Strategies of the Feminist Documentary"
(1983)
* Jill Godmilow, "Paying Dues: A Personal Experience with Theatrical
Distribution" (1977)
* Coco Fusco, "A Black Avant-Garde? Notes on Black Audio Film
Collective and Sankofa" (1988)
* Renee Tajima, Letter to Scott MacDonald (1995)
* John Greyson, "Strategic Compromises: AIDS and Alternative Video
Practices" (1990)
* VI. Truth Not Guaranteed: Reflections, Revisions, and Returns
* Editor's section introduction
* Robert Sklar, "Documentary: Artifice in the Service of Truth" (1975)
* Jonas Mekas, "The Diary Film (A Lecture on Reminiscences of a Journey
to Lithuania)" (1972)
* Chick Strand, "Notes on Ethnographic Film by a Film Artist" (1978)
* Michael Renov, "Toward a Poetics of Documentary" (1993)
* Trinh T. Minh-ha, "Mechanical Eye, Electronic Ear and the Lure of
Authenticity" (1984)
* Brian Winston, "The Tradition of the Victim in Griersonian
Documentary" (1988)
* J. Hoberman, "Shoah: The Being of Nothingness" (1985-86)
* Claude Lanzmann with Marc Chevrie and Hervé Le Roux, "Site and
Speech: An Interview with Claude Lanzmann about Shoah" (1985)
* Linda Williams, "Mirrors without Memories: Truth, History, and the
New Documentary" (1993)
* Peter Bates, "Truth Not Guaranteed: An Interview with Errol Morris"
(1989)
* Harlan Jacobson with Michael Moore, "Michael and Me" (1989)
* Thomas Waugh, "'Acting to Play Oneself': Notes on Performance in
Documentary" (1990)
* Phillip Brian Harper, "Marlon Riggs: The Subjective Position of
Documentary Video" (1995)
* Paula Rabinowitz, "Melodrama/Male Drama: The Sentimental Contract of
American Labor Films" (2002)
* Marsha Orgeron and Devin Orgeron, "Familial Pursuits, Editorial Acts:
Documentaries After the Age of Home Video" (2007)
* Vivian Sobchack, "Inscribing Ethical Space: 10 Propositions on Death,
Representation, and Documentary" (1984)
* Paul Arthur, "Jargons of Authenticity (Three American Moments)"
(1993)
* VII: Documentary Transformed: Transnational and Transmedial Crossings
* Jonathan Kahana, Introduction to Section VII
* Harun Farocki and Jill Godmilow with Jennifer Horne and Jonathan
Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill
Godmilow" (1998)
* Rachel Gabara, "Mixing Impossible Genres: David Achkar and African
Autobiographical Documentary" (2003/2013)
* Jean-Marie Teno, "Writing on Walls: The Future of African Documentary
Cinema" (2010)
* Chris Berry, "Getting Real: Chinese Documentary, Chinese
Postsocialism" (2007)
* Wu Wenguang, "DV: Individual Filmmaking" (2006)
* Richard Porton, "Weapon of Mass Instruction: Michael Moore's
Fahrenheit 9/11" (2004)
* Scott MacDonald, "Up Close and Political: Three Short Ruminations on
Ideology in the Nature Film" (2006)
* Amy Villarejo, "Bus 174 and the Living Present" (2006)
* Barbara Klinger, "Cave of Forgotten Dreams: Meditations on 3D" (2012)
* Index