Drawing on archival documents, industry trade journals and popular press, and interviews with filmmakers and film distributors, this book illuminates how documentary features have become more plentiful, popular, and profitable than ever before.
Drawing on archival documents, industry trade journals and popular press, and interviews with filmmakers and film distributors, this book illuminates how documentary features have become more plentiful, popular, and profitable than ever before.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Nora Stone is a film historian and filmmaker teaching at the Birmingham-Southern College. She earned a PhD from the University of Wisconsin-Madison, and has published work in Media Industries Journal, Historical Journal of Film, Radio, and Television, and Los Angeles Review of Books. Her short films have screened at the Maryland Film Festival, Wisconsin Film Festival, Architecture and Design Film Festival, among others. She produced and art-directed the independent feature film A Dim Valley (distributed by Altered Innocence).
Inhaltsangabe
* Introduction: How Documentaries Went Mainstream * Chapter 1: 1960 to 1977, Direct Cinema Blossoms, But Little Support for Documentary Films in Theaters * Chapter 2: 1978 to 1989, A Rising Tide: How the Independent Film Movement Boosted Documentaries * Chapter 3: 1978 to 1990, Fighting For A Place On Public Television: Independent Filmmakers Lobby * Chapter 4: 1990 to 1999, Television or Cinema? Redefining Documentary for Prestige and Profit * Chapter 5: 2000 to 2007, The Docbuster Era * Chapter 6: 2008 to 2022, Streaming Video Drives Documentary Production Trends and Private Investment * Conclusion: Documentary Film Inches Closer to the Center, But Core Tensions Remain * Bibliography * Index
* Introduction: How Documentaries Went Mainstream * Chapter 1: 1960 to 1977, Direct Cinema Blossoms, But Little Support for Documentary Films in Theaters * Chapter 2: 1978 to 1989, A Rising Tide: How the Independent Film Movement Boosted Documentaries * Chapter 3: 1978 to 1990, Fighting For A Place On Public Television: Independent Filmmakers Lobby * Chapter 4: 1990 to 1999, Television or Cinema? Redefining Documentary for Prestige and Profit * Chapter 5: 2000 to 2007, The Docbuster Era * Chapter 6: 2008 to 2022, Streaming Video Drives Documentary Production Trends and Private Investment * Conclusion: Documentary Film Inches Closer to the Center, But Core Tensions Remain * Bibliography * Index
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