In Person looks at the ways that documentary film is affected when people are cast to reenact their own stories on screen.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Ivone Margulies is Professor in the Department of Film & Media at Hunter College of the City University of New York.
Inhaltsangabe
Acknowledgements Introduction- Estrangement and Exemplarity: In Person Reenactment Exemplarity Stages of Actualization In Person the book Chapter 1 Casting Relatives: The Spectrum of Substitution Orson Welles' Four Men in a Raft (It's All True) Endurance : Kinship and the Exceptional Body Reenacting Heredity: Sons Chapter 2 Neorealist Reenactment as postwar Pedagogy Zavattini's "Last Judgment" Cinema The Story of Caterina Footprints: Streetwalkers and Maggiorani's Back Attempted Suicides: Antonioni's Singularities Star Anonymous: Donatella Marrosu, Anna Magnani Chapter 3 Celebrity Reenactment, Biopic and the Mortal Body Her Own Story Bazin's Cinemythographies Cinema's Existential Arena Torero Replicants Mexican ciné-verdad, Carlos Velo, Hugo Butler, Zavattini Chapter 4 A Sort of Psychodrama: Verité Moments 58-61 Role-play: the Real in Balance Provisional Closure: Reflexivity and Death in The Human Pyramid Chronicle of a summer (1960-1) as Autocritique (1958) A "Nascent" register: Group Dynamics and the Worker Chapter 5 Ascetic Stages: Reenactment in post-holocaust cinema Pedovision: ritual, wandering words Marceline Loridan, Testimony with (out) an "I" Splitting: Oumarou Ganda's Solo Karski's Report of a report Filming and Re-filming: Phatic reenactment Ascetic Stages, next Chapter 6 Trial Stages: Rithy Panh's Para-juridical theatre Solo Routines: the Critical valence of Alienation Paintings, desks, files and faces: Reflexive Platforms S21's Judicial context An Internal Chorus: Files and Faces Para-juridical Scenarios and the confessional imperative Chapter 7 Reenactment and A-filiation in Serras da Desordem When is Carapiru? Twenty Years Later: Brazilian films on "first" and on recurrent contact Leading to Serras The Actor as Agent: Carapiru, Pereio, Tonacci A-Filiation Disrupted Transmission Conclusion- Senseless Mimesis Select Bibliography
Acknowledgements Introduction- Estrangement and Exemplarity: In Person Reenactment Exemplarity Stages of Actualization In Person the book Chapter 1 Casting Relatives: The Spectrum of Substitution Orson Welles' Four Men in a Raft (It's All True) Endurance : Kinship and the Exceptional Body Reenacting Heredity: Sons Chapter 2 Neorealist Reenactment as postwar Pedagogy Zavattini's "Last Judgment" Cinema The Story of Caterina Footprints: Streetwalkers and Maggiorani's Back Attempted Suicides: Antonioni's Singularities Star Anonymous: Donatella Marrosu, Anna Magnani Chapter 3 Celebrity Reenactment, Biopic and the Mortal Body Her Own Story Bazin's Cinemythographies Cinema's Existential Arena Torero Replicants Mexican ciné-verdad, Carlos Velo, Hugo Butler, Zavattini Chapter 4 A Sort of Psychodrama: Verité Moments 58-61 Role-play: the Real in Balance Provisional Closure: Reflexivity and Death in The Human Pyramid Chronicle of a summer (1960-1) as Autocritique (1958) A "Nascent" register: Group Dynamics and the Worker Chapter 5 Ascetic Stages: Reenactment in post-holocaust cinema Pedovision: ritual, wandering words Marceline Loridan, Testimony with (out) an "I" Splitting: Oumarou Ganda's Solo Karski's Report of a report Filming and Re-filming: Phatic reenactment Ascetic Stages, next Chapter 6 Trial Stages: Rithy Panh's Para-juridical theatre Solo Routines: the Critical valence of Alienation Paintings, desks, files and faces: Reflexive Platforms S21's Judicial context An Internal Chorus: Files and Faces Para-juridical Scenarios and the confessional imperative Chapter 7 Reenactment and A-filiation in Serras da Desordem When is Carapiru? Twenty Years Later: Brazilian films on "first" and on recurrent contact Leading to Serras The Actor as Agent: Carapiru, Pereio, Tonacci A-Filiation Disrupted Transmission Conclusion- Senseless Mimesis Select Bibliography
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