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Call No: 761 BAR
Author: Barnouw, Erik, 1908
Source: US
Place: New York
Publisher: Oxford University Press
PubDate: 1974
PhysDes: vi, 332 p. : ill. ; 24 cm
Subject: DOCUMENTARY FILMS; FASCISM AND THE CINEMA; DOCUMENTARY FILMS. JAPAN; DOCUMENTARY FILMS. UK; OLYMPICS IN FILMS; ART AND THE CINEMA; ARCHIVES & INSTITUTES, FILM; NUCLEAR ISSUES IN FILMS; COMPILATION FILMS; DOCUMENTARY FILMS. US; DOCUMENTARY FILMS. USSR; VIETNAM WAR IN FILMS; CINEMA-DIRECT; CINEMA VERITE; NAZIS IN FILMS; NEWSREELS; POETRY AND THE CINEMA; DOCUMENTARY FILMS. FRANCE; PARAMOUNT STUDIOS; WORLD WAR II FILMS; SHELL FILM UNIT [AUSTRALIA]; EMPIRE MARKETING BOARD; GPO FILM UNIT; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; REISZ, KAREL; RIEFENSTAHL, LENI; ROUCH, JEAN; RUTTMAN, WALTER; FLAHERTY, ROBERT; CAPRA, FRANK; GRIERSON, JOHN; IVENS, JORIS; JENNINGS, HUMPHREY; KAUFMAN, MIKHAIL; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT & DAVID; MURROW, EDWARD R.; LUMIERE, AUGUSTE & LOUIS; VERTOV, DZIGA; WRIGHT, BASIL; SUCKSDORFF, ARNE; MOANA (US, Robert Flaherty, 1926); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BACK OF BEYOND, THE (AT, John Heyer, 1953); AMERICAN DREAM (US, Barbara Kopple, 1990); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT MAIL (UK, Harry Watt & Basil Wright, 1936); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969); SONG OF CEYLON, THE (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); WHY WE FIGHT SERIES (US, 1942-44)
Summary: Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.
Notes: Includes index; Bibliography: p. [297]-311
ISBN: 0195018354 : $10.95
LON: 74079618; 462942

Call No: 761 BAR
Author: Barnouw, Erik, 1908
Edition: 2nd rev. ed
Place: New York
Publisher: Oxford University Press
PubDate: 1993
PhysDes: 400 p. : ill. ; 21 cm
Subject: DOCUMENTARY FILMS; ARCHIVES & INSTITUTES, FILM; NUCLEAR ISSUES IN FILMS; CINEMA VERITE; COMPILATION FILMS; DOCUMENTARY FILMS. USSR; DOCUMENTARY FILMS. USA; VIETNAM WAR IN FILMS; CINEMA-DIRECT; NAZIS IN FILMS; NEWSREELS; POETRY AND THE CINEMA; DOCUMENTARY FILMS. FRANCE; FASCISM AND THE CINEMA; DOCUMENTARY FILMS. JAPAN; DOCUMENTARY FILMS. UK; OLYMPICS IN FILMS; ART AND THE CINEMA; PARAMOUNT STUDIOS; WORLD WAR II FILMS; SHELL FILM UNIT [AUSTRALIA]; EMPIRE MARKETING BOARD; GPO FILM UNIT; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; REISZ, KAREL; RIEFENSTAHL, LENI; ROUCH, JEAN; RUTTMAN, WALTER; FLAHERTY, ROBERT; CAPRA, FRANK; Grierson, John; IVENS, JORIS; JENNINGS, HUMPHREY; KAUFMAN, MIKHAIL; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT & DAVID; MURROW, EDWARD R.; LUMIERE, AUGUSTE & LOUIS; VERTOV, DZIGA; WRIGHT, BASIL; SUCKSDORFF, ARNE; MOANA (US, Robert Flaherty, 1926); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BACK OF BEYOND, THE (AT, John Heyer, 1953); AMERICAN DREAM (US, Barbara Kopple, 1990); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT MAIL (UK, Harry Watt & Basil Wright, 1936); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969); SONG OF CEYLON (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); WHY WE FIGHT SERIES (US, 1942-44)
Summary: This is the second revised edition of Documentary: A History of the Non-fiction Film. Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.
Notes: Includes bibliographical references (p. [361]-375) and index
ISBN: 0195078985 (pbk. : acid-free paper) : $10.95
LON: 9430204

Call No: 761 BAR
Author: Barnouw, Eric
Source: US
Place: New York
Publisher: Oxford University Press
PubDate: 1974
PhysDes: 332 p. ; 24 cm
Subject: DOCUMENTARY FILMS; ARCHIVES & INSTITUTES, FILM; NUCLEAR ISSUES IN FILMS; CINEMA VERITE; COMPILATION FILMS; DOCUMENTARY FILMS. USSR; DOCUMENTARY FILMS. USA; VIETNAM WAR IN FILMS; CINEMA-DIRECT; NAZIS IN FILMS; NEWSREELS; POETRY AND THE CINEMA; DOCUMENTARY FILMS. FRANCE; FASCISM AND THE CINEMA; DOCUMENTARY FILMS. JAPAN; DOCUMENTARY FILMS. UK; OLYMPICS IN FILMS; ART AND THE CINEMA; PARAMOUNT STUDIOS; WORLD WAR II FILMS; SHELL FILM UNIT [AUSTRALIA]; EMPIRE MARKETING BOARD; GPO FILM UNIT; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; REISZ, KAREL; RIEFENSTAHL, LENI; ROUCH, JEAN; RUTTMAN, WALTER; FLAHERTY, ROBERT; CAPRA, FRANK; Grierson, John; IVENS, JORIS; JENNINGS, HUMPHREY; KAUFMAN, MIKHAIL; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT & DAVID; MURROW, EDWARD R.; LUMIERE, AUGUSTE & LOUIS; VERTOV, DZIGA; WRIGHT, BASIL; SUCKSDORFF, ARNE; MOANA (US, Robert Flaherty, 1926); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); BACK OF BEYOND, THE (AT, John Heyer, 1953); AMERICAN DREAM (US, Barbara Kopple, 1990); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT MAIL (UK, Harry Watt & Basil Wright, 1936); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); SALESMAN (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1969); SONG OF CEYLON, THE (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); WHY WE FIGHT SERIES (US, 1942-44)
Summary: Barnouw traces the documentary from its beginning at the dawn of film history - the work of the Lumiere brothers - to the remarkable group of films that have portrayed the Vietnam war. Films are placed within their broader social perspective, and Barnouw traces filmmaking developments in a single country to global uptake. Particular emphasis is placed on the influence of governments and large corporations on the content of films. The book covers television documentary, direct cinema, cinema verite as well as film-makers dealing with exploration, animals, aspects of war, human behaviour, social problems and propaganda. Such diverse film-makers as Flaherty, Vertov, Grierson, Ivens, Lorentz, Jennings, Sucksdorff, Rouch, Leacock, and the Maysles are included.
ISBN: 0195018354
Donation: donated by the family of Wayne Levy, 2006
Contents: -- 1: glimpse of wonders -- 2: images at work -- 3: sound and fury -- 4: clouded lens -- sharp focus -- afterword -- source notes -- bibliography -- index --

Call No: 761 BEA
Author: Beattie, Keith
Place: London
Publisher: Wallflower
PubDate: 2008
PhysDes: xiv, 187 p. ; 24 cm
Subject: DOCUMENTARY FILMS; CINEMA-DIRECT; COMPILATION FILMS; IMAX; MONTAGE; NON-FICTION FILMS; BUNUEL, LUIS; GRIERSON, JOHN; MAYSLES, ALBERT & DAVID; PENNEBAKER, D. A.; VERTOV, DZIGA; VIGO, JEAN; DONT LOOK BACK (US, D.A. Pennebaker, 1967)
Summary: "Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches as they occur within the process of 'documentary display' - a practice which emphasises the visual attractions of documentary representation. Works of documentary display explore modes of exhibitionistic 'showing' in which sensation is frequently the vehicle of cognition and knowledge. Such a display is analysed within the popular and prominent forms of found-footage film, 'rockumentary', the city film, nonfiction surf film and video, and certain views of natural science topics. This accessible and informed study - with its focus on entertaining, popular, spectacular and sensational froms of nonfiction representation - makes an important contribution to theoretical analyses of documentary film and video."--BOOK JACKET
Notes: Includes bibliographical references (p. 155-181) and index.
ISBN: 9781905674725 (pbk)
Contents: Introduction -- 1. Show and tell: revealing documentary display -- 2. The corporeal and the urban: from city symphony to global city film -- 3. Direct cinema and performance: it's not only rock and roll -- 4. Found-footage film and history: seeing double -- 5. Nonfiction surf film and video: sick, filthy and delirious -- 6. Natural science film: from microcinema to IMAX -- Afterward

Call No: 721.210.8 MIN
Author: Ishizuka, Karen L; Zimmerman, Patricia R
Source: US
Place: Berkely and Los Angeles, California
Publisher: University of California Press
PubDate: 2008
PhysDes: xix, 333 p. : ill. ; 23 cm
Subject: AMATEUR FILMS; HOME MOVIES; COMPILATION FILMS; ARCHIVES & INSTITUTES, FILM; WITTGENSTEIN TRACTATUS (HU, Peter Foracs, 1992); SONG OF AIR (AT, Merilee Bennett, 1987); MAELSTROM, THE (NE, Peter Forgacs, 1997); [NINETY] 90 MILES (US, Juan Carlos Zaldivar, 2001); SOMETHING STRONG WITHIN (US, Robert A. Nakamura, 1994)
Notes: Outgrowth of an international symposium at the Getty Center, Los Angeles in 1998, called The past as present: the home movie as cinema of record. Includes bibliographical references (p. 299-307) and index Includes filmography and videography: p. 289-297
ISBN: 9780520248076
Donation: Donated by Senses Of Cinema, 2009
Contents: 1 Remaking home movies: Richard Fung -- 2 The human studies film archives, Smithonian institution: John Homiak and Pamela Wintle -- 3 Wittgenstein Tractatus: personal reflections on home movies: Peter Forgacs -- 4 La Filmoteca de la Universidad Nacional Autonama de Mexico: Ivan Trujillo -- 5 Ordinary film: Peter Forgac's The Maelstrom: Michael S. Roth -- 6 The imperial war musueum film and video archive: Kay Gladstone -- 7 90 Miles: The politics and aesthetics of personal documentary: Amy Villarejo -- 8 The Florida moving image archive: Steven Davidson -- 9 Something strong within: a visual essay: Karen L. Ishizuka and Robert A Nakamura -- 10 something strong within us as historical memory: Robert Rosen -- 11 the moving image archive of Japanese American National Museum: Karen L. Ishizuka -- 12 The home movie and the film registry: The story of topaz: karen L. Ishizuka and Patricia R Zimmerman -- 13 The Nederlands archive/Museum institute: Nico de Klerk -- 14 Home away from home: private films from the old Dutch East Indies: Nico de Klerk -- 15 The Library of Congress: Brian Taves -- 16 -- Detoriating memories: blurring fact and fiction in home movies in India: Ayisha Abraham -- 17 The movie queen: Northeast historic film: Karan Sheldon and Dwight Swanson -- 18 The WPA film library: Carolyn Faber -- 19 Mule racing in the Mississippi Delta: Karen Glynn -- 20 The Academy film archive: Lynne Kirste -- 21 "As if by magic" : Authority, aesthetics, and visions of the workplace in home movies, circa 1931-1949: Heather Norris Nicholson -- 22 The New Zealand FIlm archive/Nga Kaitiaki o Ngta: Taonga Whitiahua -- 23 Working people, topical Films, and home movies: the case of the North-West Film Archives: Maryann Gomes -- 24 the oregon state historical society's moving images archives: Michele Kribs -- 25 Reflections on the family home movie as document: a semi-pragmatic approach: Roger Odin -- 26 The Stephen Lighthill Collection at the UCLA Film and television archive - Ross Lipman -- 27 Morphing history in histories: from amateur film to the archive of the future: Patricia R. Zimmerman

Call No: 771 MUS
Author: Rogers, Holly; Barham, Jeremy
Edition: 2017
Place: New York
Publisher: Oxford Univesity Press
PhysDes: xvi, 320 pages : illustrations ; 24 cm
Subject: EXPERIMENTAL FILMS; COLOUR BOX, A (UK, Len Lye, 1935); AVANT-GARDE FILMS; LYE, LEN; MCLAREN, NORMAN; BRAKHAGE, STAN; AKERMAN, CHANTAL; SMITH, JOHN; COMPILATION FILMS; CHIEN ANDALOU, UN (FR, Luis Bunuel, 1928)
Summary: This book explores music/sound-image relationships in non-mainstream screen repertoire from the earliest examples of experimental audiovisuality to the most recent forms of expanded and digital technology. It challenges presumptions of visual primacy in experimental cinema and rethinks screen music discourse in light of the aesthetics of non-commercial imperatives. Several themes run through the book, connecting with and significantly enlarging upon current critical discourse surrounding realism and audibility in the fiction film, the role of music in mainstream cinema, and the audiovisual strategies of experimental film. The contributors investigate repertoires and artists from Europe and the USA through the critical lenses of synchronicity and animated sound, interrelations of experimentation in image and sound, audiovisual synchresis and dissonance, experimental soundscape traditions, found-footage film, re-mediation of pre-existent music and sound, popular and queer sound cultures, and a diversity of radical technological, aesthetic, tropes in film media traversing the work of early pioneers such as Walther Ruttmann and Len Lye, through the mid-century innovations of Norman McLaren, Stan Brakhage, Lis Rhodes, Kenneth Anger, Andy Warhol, and studio collectives in Poland, to latter-day experimentalists John Smith and Bill Morrison, as well as the contemporary practices of Vjing. -- publisher's web site
ISBN: 9780190469900
Contents: Preface - Jeremy Barham -- Introduction - Holly Rogers -- Chapter 1: Absolute Sounding Images: Abstract Film and Radio Drama of the 1920s as Complementary Forms of a Media Specific Art - Dieter Daniels -- Chapter 2: A Primitivism of the Senses: The Role of Music in Len Lye's Experimental Animation, -- Malcolm Cook -- Chapter 3: An Educational Avant-Garde: Sound and Music in Julien Bryan's OIAA Films on Latin America, 1942-1949 - James Tobias -- Chapter 4: bup bup bup: Aural Innovation in the Films of Norman McLaren - Terence Dobson -- Chapter 5: Sights and Sounds of the Moving Mind: The Visionary Soundtracks of Stan Brakhage - Eric Smigel -- Chapter 6: Discontinuities and Resynchronisations: The Use of Sound in Polish Experimental Cinema from the 1930s to the 1980s - Daniel Muzyczuk -- Chapter 7: Grid Intensities: Hearing Structures in Chantal Akerman's Films of the 1970s - Paul Hegarty -- Chapter 8: Meaning and Musicality: Sound-Image Relations in the Films of John Smith - Andy Birtwistle -- Chapter 9: Audiovisual Dissonance in Found-Footage Film - Holly Rogers -- Chapter 10: Rebalancing the Picture/Sound Relationship: The Audiovisual Compositions of Lis Rhodes - Aimee Mollaghan -- Chapter 11: Sounding Decay in the Digital Age: Audio-Visions of Decasia (2002) and Lyrical Nitrate (1991) - Nessa Johnston -- Chapter 12: The Sound of Queer Experimental Film - Juan A. Suárez -- Chapter 13: Avant-Gardists and the Lure of Pop Music - Carol Vernallis -- Chapter 14: The Music of Gustav Mahler in Experimental Film Contexts: Questions of Visual Music and Intermedial Theory - Jeremy Barham -- index