The Philosophy of Documentary Film

Herausgeber: Larocca, David

• Gebundenes Buch

Produktbeschreibung

The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.

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Produktdetails

• The Philosophy of Popular Culture
• Verlag: Lexington Books
• Seitenzahl: 646
• Erscheinungstermin: 20. Dezember 2016
• Englisch
• Abmessung: 235mm x 157mm x 39mm
• Gewicht: 1074g
• ISBN-13: 9781498504515
• ISBN-10: 1498504515
• Artikelnr.: 45642227

Autorenporträt

David LaRocca is visiting assistant professor in the Department of Philosophy at the State University of New York College at Cortland.

Inhaltsangabe

Foreword At the Center of Our Age Timothy Corrigan Introduction
Representative Qualities and Questions of Documentary Film David LaRocca
Part I: The Medium, Morals, and Metaphysics of Documentary Film Chapter 1:
What Photography Calls Thinking: Theoretical Considerations on the Power of
the Photographic Basis of Cinema Stanley Cavell Chapter 2: Cinematic
Representation and Spatial Realism: Reflections After/Upon André Bazin Noël
Carroll Chapter 3: Documentary Traces: Film and the Content of Photographs
Gregory Currie Chapter 4: The Limits of Appropriation: Subjectivist
Accounts of the Fiction/Nonfiction Distinction Carl Plantinga Chapter 5:
Inscribing Ethical Space: Ten Propositions on Death and Documentary Vivian
Sobchack Part II: Strategies and Styles of Documenting with Film Chapter 6:
Before Documentary: Early Nonfiction Films and the "View" Aesthetic Tom
Gunning Chapter 7: Ruminating on the Ideologies of Nature Film Scott
MacDonald Chapter 8: Jean Rouch's Cine-trance and Modes of Experimental
Ethnofiction Filmmaking William Rothman Chapter 9: The Ecstasy of Time
Travel in Werner Herzog's Cave of Forgotten Dreams William Day Chapter 10:
Habitats of Documentary: Landscapes, Color Fields, and Ecologies in the
Avant-Docs of Vincent Grenier Claudia Pederson and Patricia R. Zimmermann
Part III: Documentary Theorist-Filmmakers at Work Chapter 11: Promises and
Contracts Found in the Archive Are Not About the Past: Renewing Civil
Alliances-Palestine 1947-48 Ariella Azoulay Chapter 12: "See and Remember":
The Golden Days of Said Otruk Diana Allan Chapter 13: Intimacy, Modesty,
Silence: Documentary Filmmaking in the Face of Trauma Mieke Bal Chapter 14:
Provoking the Truth: Applying the Method of Cinéma Vérité Bernadette
Wegenstein Chapter 15: Reenvisioning Dziga Vertov: 10 Enduring Diktats for
Documentary Cinema Dan Geva Chapter 16: Whose Strife is it Anyway? The
Erosion of Agency in the Cinematic Production of Kitchen Sink Realism Elan
Gamaker  Chapter 17: Redefining Documentary Materialism: from Actuality to
Virtuality in Victor Erice's Dream of Light Selmin Kara Part IV:
Interventions and Reconstitutions of Documentary Modes, Methods, and
Meanings Chapter 18: Four and a Half Film Fallacies Rick Altman Chapter 19:
The Dogma 95 Manifesto and The Vow of Chastity Lars von Trier and Thomas
Vinterberg Chapter 20: Minnesota Declaration: Truth and Fact in Documentary
Cinema Werner Herzog Chapter 21: Omission and Oversight in Close
Reading-The Final Moments of Frederick Wiseman's High School V. F. Perkins
Chapter 22: Cinematic Consciousness: Animal Subjectivity, Activist
Rhetoric, and the Problem of Other Minds in Blackfish Jennifer L. McMahon
Chapter 23: Understanding (and) the Legacy of the Trace: Reflections After
Carroll, Currie, and Plantinga Keith Dromm Chapter 24: The Big Short: Adam
McKay's Vehicle for Truth Claims K. L. Evans Chapter 25: Letter to Errol
Morris: Feelings of Revulsion and the Limits of Academic Discourse Bill
Nichols Part V: Auto/biography and the Composition of Identity in
Documentary Film Chapter 26: "You are Never Alone": On Douglas Gordon and
Philippe Parreno's Zidane: A Twenty-First Century Portrait Michael Fried
Chapter 27: On Patience (After Sebald): Documentary as a True Portrait of
Sensibility Garry L. Hagberg Chapter 28: Fiction and Nonfiction in Chantal
Akerman's Films Charles Warren Chapter 29: Vérité Fiction, Dramatized
Documentary: On Michelle Citron's Aesthetic Provocations Linda Williams
Chapter 30: "Deceiving into the Truth": The Indirect Cinema of Stories We
Tell and The Act of Killing Karen D. Hoffman Chapter 31: A Reality
Rescinded: The Transformative Effects of Fraud in I'm Still Here David
LaRocca