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Call No: 71(497.2) TWE
Author: Film Bulgaria
CorpAuthor: Film Distribution State Enterprise, Sofia
Source: BU
Publisher: Film Distribution State Enterprise, Sofia
PubDate: 1969 (approx.)
PhysDes: 1 v. : ill., ports. ; 27cm
Subject: BULGARIA; NATIONAL CULTURE AND THE CINEMA; EDUCATIONAL FILMS; ANIMATED FILMS; DOCUMENTARIES; BULGARIAN FILM LIBRARY
Language: English/Bulgarian

Call No: 161(94)"2003" ART
Edition: 2003
Place: [Canberra?]
Publisher: The Art of the Documntary Conference
PubDate: 2003
PhysDes: unpaginated ; 30cm
Subject: DOCUMENTARIES

Call No: 79ALB APP; FOLIO
Author: Mangels, Alby & Appleton, Marie
Source: AU
Place: Adelaide
Publisher: Savvas Publishing
PubDate: 1986
PhysDes: 255 p. ; 31 cm
Subject: DOCUMENTARIES. AUSTRALIA; WORLD SAFARI (AT, Alby Mangels & John Field, 1977); WORLD SAFARI II (AT, Alby Mangels, 1984)
Summary: This book is the story of Alby Mangel's "World Safari I" and "World Safari II".
ISBN: 0949155102
Donation: donated by the family of Wayne Levy, 2006

Call No: 769(73) MAC
Author: MacDonald, Scott
Source: US
Place: Berkeley
Publisher: University of California Press
PubDate: 2013
PhysDes: viii, 415 pages : ill. ; 24 cm
Subject: ETHNOGRAPHIC FILMS; DOCUMENTARIES. USA; MARSHALL, JOHN; GARDNER, ROBERT; ASCH, TIMOTHY; PINCUS, ED; WEINSTEIN, MIRIAM; GUZZETTI, ALFRED; MCELWEE, ROSS; MOSS, ROBB; DAVENPORT, NINA; ASCHER, STEVEN; JORDAN, JEANNE; NEGROPONTE, MICHEL; GIANVITO, JOHN; OLCH, ALEXANDER; SIEGEL, AMIE; BARBASH, ILISA; CASTAING-TAYLOR, LUCIEN
Summary: "American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism's focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century. "--
ISBN: 9780520275621
Contents: Machine generated contents note: A Tentative Overview of Boston-Area Documentary Filmmaking -- Ethnographic Film and Personal Documentary -- Pragmatism: Learning from Experience -- The Mission of American Ethnographic Film and Personal Documentary: The Cambridge Turn -- Subjects for Further Research -- Acknowledgments -- 1.Lorna and John Marshall -- Beginnings: Lorna Marshall and First Film -- John Marshall: The Hunters -- Idylls of the !Kung -- Pedagogy -- Expulsion from Eden: Bitter Melons and Nlai, the Story of a !Kung Woman -- The Pittsburgh Police Films and Brakhage's Eyes -- Putting Down the Camera and Picking Up the Shovel -- The Road Taken: A Kalahari Family -- A Process in Time -- 2.Robert Gardner -- East Coast/West Coast: Early Experiments -- Gardner and the Marshalls -- Dead Birds -- The Experience of Filmmaking as Thought Process -- Robert Fulton: Reality's Invisible---"Serious Playing Around" -- Screening Room: Midnight Movies -- City Symphony: Forest of Bliss -- Contents note continued: The Return of the Repressed: Ika Hands -- Still Journeying On: Unfinished Examinations of a Life -- Studio7Arts: Sharon Lockhart's Double Tide and Robert Fenz's Correspondence -- 3.Timothy Asch -- Dodoth Morning and the Ethnographic Deadpan -- Asch and the Yanomamo -- The Ax Fight -- 4.Ed Pincus and the Emergence of Personal Documentary -- The Miriam Weinstein Quartet and Richard P. Rogers's Elephants: Fragments of an Argument -- Ed Pincus's Diaries (1971--1976) -- Alfred Guzzetti: Family Portrait Sittings -- Guzzetti: It's a Small World -- Guzzetti: Time Exposure -- 5.Alfred Guzzetti and Personal Cinema -- Air -- Experimental Video: "Language Lessons" -- Scylla and Charybdis -- Still Point -- 6.Ross McElwee -- Finding a Muse: Charleen -- Finding a Voice: Ann Schaetzel's Breaking and Entering and McElwee's Backyard -- Doppleganger: Sherman's March -- Nesting Dolls: Time Indefinite -- On the Road Again: Six O'Clock News -- Contents note continued: Occupational Hazards: Bright Leaves -- Orpheus: In Paraguay and Photographic Memory -- 7.Robb Moss -- Riverdogs: A Possible Eden -- The Tourist: "Freelance Editing" -- Voyage of Life: The Same River Twice -- 8.Panorama: Other Approaches to Personal Documentary -- Steven Ascher and Jeanne Jordan: Families in Transition -- Michel Negroponte: Getting Involved -- Leacock and Lalonde -- The Subject Rebels: Nina Davenport's Films and Ed Pincus and Lucia Small's The Axe in the Attic -- The Political Is the Personal: John Gianvito's Profit Motive and the Whispering Wind and Jeff Daniel Silva's Balkan Rhapsodies -- Alexander Olch's The Windmill Movie: "This Little Seance of Flickering Light" -- Amie Siegel's DDR/DDR -- 9.Lucien Castaing-Taylor and Sensory Ethnography -- Ilisa Barbash, Lucien Castaing-Taylor, and Sweetgrass -- "Sheeple": Castaing-Taylor's Audio-Video Installations -- Contents note continued: The Sensory Ethnography Lab: J. P. Sniadecki, Stephanie Spray, Verena Paravel, and Leviathan

Call No: 201(94) ANA
CorpAuthor: Australian Film Commission; Australia. Parliament. House of Representatives. Standing Committee on Environment, Recreation and the Arts
Place: [North Sydney]
Publisher: The Commission
PubDate: 1991
PhysDes: 75 p. : ill. ; 30 cm
Subject: AUSTRALIA. 1980's; STATISTICS. AUSTRALIA; BOX OFFICE. AUSTRALIA; FILMS SHOWN ON TV. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; SHORT FILMS. AUSTRALIA
Notes: "October 1991"; Cover title; Bibliography: p. 74-75
LON: abn93074307; 9864635

Call No: TITLE CLIPPINGS FILE; ARMSTRONG LIE, THE (US, Alex Gibney, 2013)
Author: Dent, Nick
PhysDes: Clippings File Article
Subject: DOCUMENTARIES; GIBNEY, ALEX; ARMSTRONG LIE, THE (US, Alex Gibney, 2013)
Summary: Review of the documentary THE ARMSTRONG LIE
Rating: 3 out of 5 stars

Call No: 761(410) MAN
Author: Manvell, Roger
Place: London
Publisher: Common Ground Ltd
PubDate: [1947?]
PhysDes: 24 p. : 27 cm
Series: History of the cinema in Europe and America
Subject: DOCUMENTARIES: UNITED KINGDOM

Call No: 027(93) AUS
Place: Albert Park, Victoria
Publisher: Australian Catalogue Publishing
PhysDes: v. ill. ; 30cm
Subject: DISTRIBUTION. AUSTRALIA; DISTRIBUTION. NEW ZEALAND; DOCUMENTARIES
Summary: "The 1993-94 Australian and New Zealand Catalogue of New Films and Videos is a guide to films and videos which Australian and New Zealand distributors have listed as available for loan, hire or sale to the general public" -- Introduction
Notes: Held: 1993 to 1994; 1991 to 1992; 1990 to 1991; 1989 to 1990;
ISSN: 1035-5302
Contents: Forward and introduction -- Category headings -- Distributor's codes and addresses -- Section 1: Feature films -- Section 2: Educational and special interest programmes -- Title index -- Directors' index

Call No: 761(94) FIT
Author: Fitzsimons, Trish; Laughren, Pat; Williamson, Dugald
Source: AT
Place: Port Melbourne, Vic.
Publisher: Cambridge University Press
PubDate: 2011
PhysDes: xvi, 287 pages : illustrations ; 25 cm
Subject: AUSTRALIAN BROADCASTING COMMISSION; AUSTRALIAN BROADCASTING CORPORATION; AUSTRALIAN FILM COMMISSION; AUSTRALIAN FILM FINANCE CORPORATION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILM AUSTRALIA; FUNDING. AUSTRALIA; INDEPENDENT FILMS; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; PRODUCTION. AUSTRALIA; SCREEN AUSTRALIA; SPECIAL BROADCASTING SERVICE
Summary: "Drawing on interviews with leading industry sources and containing discussion of over 200 documentaries, this book brings to life over a century of documentary making and connects it to international debates in criticism, theory, history and practice." - TAKEN FROM BACK COVER
Notes: Includes bibliographical references and index
ISBN: 9780521167994 (pbk.)
Contents: 1. The documentary field -- 2. Braided channels - documentary voice -- 3. Cinematic scenes of life -- 4. New waves of documentary -- 5. Australian television takes on independent documentary -- 6. Documentary and the Film Finance Corporation -- 7. Changing relations: the Australian Film Commission, Film Australia and documentary in the era of the Film Finance Corporation -- 8. Australian broadcasting cultures and documentary practice since the late 1980s -- 9. Documentary and the edge of reality -- 10. Documentary and civics -- 11. Documentary present and future.

Call No: 205.36(94) BRO ABT ACI "1987/8/9"
Author: Brown, Murray
Source: AT
Place: [North Sydney, N.S.W.
Publisher: Australian Broadcasting Tribunal]
PubDate: [1987?]
Series: Discussion Paper (Australian Broadcasting Tribunal. Australian Content Inquiry)
Subject: DOCUMENTARIES. AUSTRALIA
Summary: An overview of documentary programs and films in Australia and how and when they are shown on Australian television. Includes a study of how Austrailan tv networks programme documentary on their stations and how documentaries are created, funded, and produced

Call No: REFERENCE SECTION; 027(94) AFI; held 1994- lacking 1999
CorpAuthor: Australian Film Institute
Source: AT
Place: South Melbourne, Vic.
Publisher: The Institute
PhysDes: v. : ill. ; 30 cm
Subject: AUSTRALIAN FILM INSTITUTE; DISTRIBUTION. AUSTRALIA; SHORT FILMS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA
Notes: Description based on: 1998; Cover title
LON: 13772161

Call No: TITLE CLIPPINGS FILE; DESERT PEOPLE (AT, Ian Dunlop, 1967)
Author: -
PhysDes: Clippings File Article
Subject: DOCUMENTARIES. AUSTRALIA; ABORIGINAL AUSTRALIANS IN FILMS; DUNLOP, IAN; DESERT PEOPLE (AT, Ian Dunlop, 1967)
Summary: In depth report on the success of the documentary 'Desert People' in screenings in major European cities. The article reproduces a glowing review by Italian film critic Carlo Laurenzi
Notes: old clips pile from June 2015

Call No: 67(94) VER
Author: By Verevis, Constantine and Williams, Deane
Place: United Kingdom
Publisher: Intellect
PubDate: 2018
Subject: EXPERIMENTAL FILM AND TELEVISION FUND; BIRTLES, FRANCIS; PICNIC AT HANGING ROCK (AT, Peter Weir, 1975); GILDA (US, Charles Vidor, 1946); FEMINISM AND THE CINEMA. AUSTRALIA; PORNOGRAPHY AND THE CINEMA. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; MAD MAX BEYOND THUNDERDOME (AT, George Miller & George Ogilvie, 1985); CHAUVEL, CHARLES
ISBN: 9781783208371

Call No: REFERENCE SECTION; 023(94) AUS
CorpAuthor: Australian Film Commission
Edition: 2001- 2002
Source: AT
Place: Woolloomooloo, N.S.W.
Publisher: Australian Film Commission
PubDate: 2002
PhysDes: v. ; 25cm
Series: Australian Film Commision Catalogue
Subject: TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94)"2000" AUS
CorpAuthor: Australian Film Commission
PubDate: 2000
Subject: AUSTRALIA; AUSTRALIAN FILM COMMISSION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA
Notes: 2 copies

Call No: REFERENCE SECTION; 023(94)"1993" FIL
CorpAuthor: Australian Film Commission
PubDate: [1993?]
Subject: AUSTRALIA; AUSTRALIAN FILM COMMISSION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA
Notes: Catalogue

Call No: 161(94)"2003" OUT
Edition: 2003
Place: [Byron Bay?]
Publisher: Australian International documentary conference
PubDate: 2003
PhysDes: 118 pages : illustrated ; 26 cm
Subject: DOCUMENTARIES; CONFERENCES, AUSTRALIAN INTERNATIONAL DOCUMENTARY

Call No: 161(94)"2004" JOU
Edition: 2004
Place: [Perth?]
Publisher: Australian International documentary conference
PubDate: 2004
PhysDes: 72 pages : illustrated ; 18 cm
Subject: DOCUMENTARIES; CONFERENCES, AUSTRALIAN INTERNATIONAL DOCUMENTARY

Call No: 161(94)"2006" JOU
Edition: 2006
Place: [Melbourne?]
Publisher: Australian International documentary conference
PubDate: 2006
PhysDes: 104 pages : illustrated ; 25 cm
Subject: DOCUMENTARIES; CONFERENCES, AUSTRALIAN INTERNATIONAL DOCUMENTARY

Call No: 761 WIL
Author: Williams, Deane
Source: UK
Place: Bristol, U.K. ; Chicago, USA
Publisher: Intellect
PubDate: 2008
PhysDes: 165 p., [8] p. of plates : ill. ; 24 cm
Subject: DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; THREE IN ONE (AT, Cecil Holmes, 1956); BACK OF BEYOND, THE (AT, John Heyer, 1953); MIKE AND STEPHANI (AT, Maslyn Williams, 1948-49); OVERLANDERS, THE (UK, Harry Watt, 1946); VALLEY IS OURS, THE (AT, John Heyer, 1948)
Summary: "This book is, at one level, a selective history of Australian documentary film in the immediate post-war years. At another level it is a sketch of an internationalist progressive film culture in the same place and period. It examines some landmark films in Australian Film History and places these important works in an international context. In this work of film history Deane Williams proposes that, while these films have been understood as inferior remakes of "overseas" written, theatrical and filmic texts, these films are evidence of an Australian film culture that was a key participant in an international network of documentary practice and criticism."--BOOK JACKET.
Notes: Includes bibliographical references (p. [157]-165); Includes filmography: p. [153]-156.
ISBN: 9781841502106
Contents: A realist film unit and association in Australia -- Cecil Holmes's folk politics : the intertextuality of Thee in one -- John Heyer's international perspective : The overlanders, The valley is ours, The back of beyond -- The neo-realism of Mike and Stefani -- Settler journeys

Call No: 408.1(94) AUS
Author: Tulloch, John, 1942; Turner, Graeme
Place: Sydney
Publisher: Allen & Unwin
PubDate: 1989
PhysDes: xv, 204 p. ; 22 cm
Series: Australian cultural studies
Subject: TELEVISION. AUSTRALIA; NATIONAL CULTURE AND TV. AUSTRALIA; TELEVISION AND THE CINEMA. AUSTRALIA; GAMES SHOWS. AUSTRALIA; SOAP OPERAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; CHILDREN AND TV. AUSTRALIA; HISTORY OF TV. AUSTRALIA; PERFECT MATCH [TV] (AT, 1984-89?); PRISONER [TV] (AT, 1979-86); COUNTRY PRACTICE, A [TV] (AT, 1981-1993, 1994); LAST PLACE ON EARTH, THE [TV] (AT, 1987); VIETNAM [TV] (AT, John Duigan & Chris Noonan, 1987)
Notes: Includes bibliographies and index
ISBN: 0043800300 (pbk.) : price unknown
LON: 6398616

Call No: 71(94) AUS
Author: Shirley, Graham, 1949
CorpAuthor: Museum of Contemporary Art (Sydney, N.S.W.)
Place: [Sydney]
Publisher: Museum of Contemporary Art
PubDate: 1992
PhysDes: 44 p. : ill. ; 30 cm
Subject: HISTORY OF TV. AUSTRALIA; AUSTRALIAN BROADCASTING CORPORATION; DRAMAS. AUSTRALIA; COMEDY PROGRAMMES. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; CURRENT AFFAIRS PROGRAMMES. AUSTRALIA; GAMES SHOWS. AUSTRALIA; MY BROTHER JACK [TV] (AT, Gil Brealey, 1965); PRESSURE PAK SHOW, THE [TV] (AT, 1957-1959?); COUNTRY STYLE [TV] (AT, 1962-?); IT COULD BE YOU [TV] (AT, 1969-?); JONAH [TV] (AT, David Cahill & Ken Hannam, 1962-63); MATLOCK POLICE [TV] (AT, 1971-1976); ADVENTURE ISLAND [TV] (AT, 1967-1973); MAVIS BRAMSTON SHOW [TV] (AT, 1964-1968); MY NAME'S MCGOOLEY, WHAT'S YOURS? [TV] (AT, 1966-1968); SEVEN DAYS [TV] (AT, 1964-1968); [FOUR] 4 CORNERS [TV] (AT, 1961-); SAY BOW WOW [TV] (AT, Gil Brealey, 1964); CHEQUER-BOARD [TV] (AT, 1969-1975); PENTHOUSE [TV] (AT, 1961-?)
Notes: "... accompanies the exhibition TV Times : 35 years of watching television in Australia' - Pref; At head of title: TV Times; Available from Museum of Contemporary Art, 132 George St, Sydney NSW 2000; Includes bibliographies
ISBN: 1875632077 : price unknown
LON: abn92040814; 8713155

Call No: 71(94) AUS
Author: Beilby, Peter
Source: AT
Place: Melbourne, Vic.
Publisher: Thomas Nelson Australia
PubDate: 1981
PhysDes: 192 p., [15] p. of col. plates : ill. ; 29 cm
Subject: GAMES SHOWS. AUSTRALIA; CURRENT AFFAIRS PROGRAMMES. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; COMEDY PROGRAMMES. AUSTRALIA; DRAMAS. AUSTRALIA; Australian Broadcasting Authority; HISTORY OF TV. AUSTRALIA
ISBN: 0170059987
Donation: donated by the family of Wayne Levy, 2006
Contents: Editor's note --Australian television stations -- The passing parade -- Light entertainment / Jim Murphy -- News and documentaries / Brian Courtis -- Sport / Garrie Hutchinson -- Kids / Andrew McKay -- Drama / Christopher Day -- Movies / Ivan Hutchinson -- The evolution of television -- Australian broadcasting from the beginning -- Commercial break -- The top-rating programmes -- Suggested further reading -- The contributors -- Acknowledgments -- Index.

Call No: REFERENCE SECTION; 023(94) AUS
CorpAuthor: Australian Film Commission
PubDate: October 2002
PhysDes: not paginated ; 25 cm
Subject: AUSTRALIAN FILM COMMISSION; TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA

Call No: REFERENCE SECTION; 023(94) "2006" AUS
CorpAuthor: Australian Film Commission
Edition: March 2006
Place: Sydney
Publisher: Australian Film Commission
PubDate: 2006
PhysDes: 100 p. : illus. ; 21 cm
Subject: AUSTRALIAN FILM COMMISSION; TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA

Call No: REFERENCE SECTION; 023(94) "2007" AUS
CorpAuthor: Australian Film Commission
Edition: March 2007
Place: Sydney
Publisher: Australian Film Commission
PubDate: 2007
PhysDes: 120 p. : illus. ; 21 cm
Subject: AUSTRALIAN FILM COMMISSION; TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA

Call No: REFERENCE SECTION; 023(94) "2005" AUS
CorpAuthor: Australian Film Commission
Edition: September 2005
Place: Sydney
Publisher: Australian Film Commission
PubDate: 2005
PhysDes: 92 p. : illus. ; 21 cm
Subject: AUSTRALIAN FILM COMMISSION; TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA

Call No: REFERENCE SECTION; 023(94) AUS "2006"
CorpAuthor: Australian Film Commission
Edition: September 2006
Place: Sydney
Publisher: Australian Film Commission
PubDate: 2006
PhysDes: 100 p. : illus. ; 21 cm
Subject: AUSTRALIAN FILM COMMISSION; TELEVISION. AUSTRALIA; DRAMAS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA

PhysDes: 34 p. ; 28 cm
Subject: DOCUMENTARIES
Donation: donated by the family of Wayne Levy, 2006

Call No: 71(94) BAC
Copy Management: Copy 1; Copy 2
Author: Murray, Scott, 1951
CorpAuthor: Australian Film Commission; UCLA Film and Television Archive; Australian Bicentennial Authority
Place: North Sydney
Publisher: Australian Film Commission
PubDate: 1988
PhysDes: viii, 112 p. : ill., ports. ; 23 cm
Subject: AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; WOMEN FILMMAKERS. AUSTRALIA; MILLER, GEORGE; HAYES, TERRY; KENNEDY MILLER ENTERTAINMENT; LANDSCAPES IN FILMS. AUSTRALIA; SEMI-DOCUMENTARIES. AUSTRALIA
Notes: Includes index; "UCLA, October 20-November 20, 1988' - Cover; Filmography: p. 108-109; Have a duplicate copy
ISBN: 0731643909
LON: 6280621
Contents: George Miller, p34-43 -- Terry Hayes, p44-51.
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Author: Stocks, Ian
PhysDes: Article
Subject: INDUSTRY, TV. AUSTRALIA; DOCUMENTARIES. AUSTRALIA
Summary: Article on the success of television series A BIG COUNTRY which focuses on native Australia.

Call No: 409 NIC
Author: Nichols, Bill
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1994
PhysDes: xvii, 187 p. ; 25 cm
Subject: ANTHROPOLOGY AND THE CINEMA; AUDIENCES; BODY IN FILMS; DOCUMENTARY FILMS; ETHNOGRAPHIC FILMS; MELODRAMA; NARRATIVE IN FILMS; SEMI-DOCUMENTARIES; SOCIAL HISTORY AND THE CINEMA; KING, RODNEY; STACHKA [STRIKE] (UR, Sergei M. Eisenstein, 1925); REALISM ON TV; REALITY TV; RACIAL ISSUES ON TV; RACIAL ISSUES AND TV; TRUTH IN FILMS; VIOLENCE ON TV; WAR AND THE CINEMA; GULF WAR ON TV; ETHICS AND TV
Summary: "Blurred Boundaries explores decisive moments where the traditional boundaries of fiction/non-fiction and truth/falsehood blur. Nichols argues that the history of social representation in film, television, and video requires an understanding of the fate of both contemporary and older work. Traditionally, film history and cultural studies sought to place films in a historical context. Nichols proposes a new goal: to examine how specific works, old and new, promote or suppress a sense of historical consciousness. Examining work from Eisenstein's Strike to the Rodney King videotape, Nichols interrelates issues of formal structure, viewer response, and historical consciousness. Simultaneously, Blurred Boundaries radically alters the interpretative frameworks offered by neoformalism and psychoanalysis: Comprehension itself becomes a social act of transformative understanding rather than an abstract mental process, while the use of psychoanalytic terms like desire, lack, or paranoia to make social points metaphorically yields to vocabulary designed expressly for historical interpretation - such as project, intentionality, and the social imaginary. An important departure from prevailing trends in many fields, Blurred Boundaries offers new directions for the study of visual culture." -- BOOK BLURB
Notes: Includes bibliographical references (p. 149-182) and index
ISBN: 0253340640 (alk. paper); 0253209005 (paper : alk. paper)
LON: 10767942

Call No: 761(931/94)(097.1) COL
Author: Colligan, Mimi
Source: AT
Place: Carlton South, Vic.
Publisher: Melbourne University Press
PubDate: 2002
PhysDes: xvi, 250 p. : ill. (some col.), ports, plans ; 22 cm x 28 cm
Subject: ART AND THE CINEMA; DOCUMENTARIES; PRE-CINEMA HISTORY; AUSTRALIA; NEW ZEALAND; ENTERTAINMENT. AUSTRALIA
Summary: "Long before cinema was invented, people went to picture shows. In the eighteenth and nineteenth centuries in Britain, Europe and America they were treated to dramatic pictorial spectacles. Audiences might be encircled by vast 360-degree canvases, or seated before continuous images drawn across a proscenium, or gathered in amusement parks to watch painted 3-D structures come 'alive' with the explosion of fireworks overhead. The sense of realism was enhanced by back-lighting, running commentaries and props such as real sand and trees. These spectacular representations of scenery, current events or recent battles abroad were indeed documentaries on canvas-the first travelogues. The phenomenon of complex circular panoramas and dioramas took root in Australia and New Zealand in the 1850s. They drew enthusiastic crowds, brought good work for local artists, and propogated the glories of empire in all the capital cities they toured. Canvas Documentaries captures the artistic, civic and social preoccupations of the times. Generously illustrated with paintings, etchings, engravings, mechanical drawings, architectural plans, photographs and advertising material, this beautiful book is a window on the vibrant popular culture of the Victorian era. " -- BOOK JACKET
Notes: Includes bibiographical references and index; Bibliography: p 236-240
ISBN: 0522850197
Contents: -- acknowledgments -- picture show terminology -- preface -- introduction -- 1. Grand Tours for a Shilling: The English background -- 2. Moving Panoramas: Presenting the world and local exploits -- 3. Panorama Business: Far-off battles and armchair travel -- 4. Across the Stage: Moving panoramas in Australian theatre -- 5. Vesuvius in Melbourne: Outdoor modelled panoramas and fireworks -- 6. Pompeii in Australia: Pain's pyrotechnics and modelled panoramas -- 7. At the Battles: Cycloramas in Australia -- 8. Exhibiting Old Melbourne: The cyclorama of early Melbourne -- 9. Around the Country: The intercolonial cyclorama circuit -- 10. On the Move: The decline of panoramic picture shows -- list of illustrations -- notes -- select bibliography -- index --

Call No: 71(94) (=1-81) DEB
Author: Debenham, Jennifer
Edition: 2020
Place: Oxford
Publisher: Peter Lang
PubDate: 2020
PhysDes: xv, 230 pages : illustrated
Series: Documentary Film Cultures; 2
Subject: ABORIGINAL AUSTRALIANS AND THE CINEMA; DOCUMENTARIES; ANTHROPOLOGY AND THE CINEMA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; DESERT PEOPLE (AT, Ian Dunlop, 1967); NINGLA A-NA (AT, Alessandro Cavadini, 1972); MY SURVIVAL AS AN ABORIGINAL (AT, Essie Coffey, 1979); LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983); LINK-UP DIARY (AT, David MacDougall, 1987); WHISPERING IN OUR HEARTS THE MOWLA BLUFF MASSACRE (AT, Mitch Torres, 2001); WE DON'T NEED A MAP (AT, Warwick Thornton, 2017)
Notes: How did Australia’s Aboriginal and Torres Strait Islander population go from being the objectified subjects of documentary films to the directors and producers in the digital age? What prompted these changes and how and when did this decolonisation of documentary film production occur? Taking a long historical perspective, this book is based on a study of a selection of Australian documentary films produced by and about Aboriginal peoples since the early twentieth century. The films signpost significant shifts in Anglo-Australian attitudes about Aboriginal and Torres Strait Islanders and trace the growth of the Indigenous filmmaking industry in Australia. Used as a form of resistance to the imposition of colonialism, filmmaking gave Aboriginal people greater control over their depiction on documentary film and the medium has become an avenue to contest widely held assumptions about a peaceful colonial settlement. This study considers how developments in camera and film stock technologies along with filmic techniques influenced the depiction of Aboriginal and Torres Strait Islanders. The films are also examined within their historical context, employing them to gauge how social attitudes, access to funding and political pressures influenced their production values. The book aims to expose the course of race relations in Australia through the decolonisation of documentary film by Aboriginal filmmakers, tracing their struggle to achieve social justice and self-representation. -- publisher's web site
ISBN: 9781789974782
Contents: Acknowledgements -- Cultural Warning and Acknowledgement -- Abbreviations -- Introduction -- Aboriginalities -- Media Ecology -- The Longue Durée -- Decolonising the Documentary Film in Australia -- Stages of the Journey -- Part I Exotic Subjects, 1901–1966 -- Chapter 1 The Last of Their Kind: Aboriginal Life in Central Australia (1901) -- Chapter 2 Physical Traits: Life in Central Australia (1931) -- Chapter 3 Benign and Iconic: Aborigines of the Sea Coast (1950) -- Chapter 4 The “Last” of Their Kind, Again: Desert People (1967) -- Part II Voices for Change, 1957–1972 -- Chapter 5 Not Dying Out Quietly: Warburton Aborigines (1957) -- Chapter 6 A Discomforting Assimilation: The Change At Groote (1968) -- Chapter 7 Challenging White Indifference: Ningla-A-Na (Hungry for Our Land) (1972) -- Part III Counting the Cost, 1978–1987 -- Chapter 8 Telling My Story My Way: My Survival As An Aboriginal (1978) -- Chapter 9 On Being Stolen: Lousy Little Sixpence (1983) -- Chapter 10 Picking Up the Broken Pieces: Link-Up Diary (1987) -- Part IV Digital Directors: Decolonising Documentary Film, 2002–2017 -- Chapter 11 Setting the Records Straight: Whispering in Our Hearts: The Mowla Bluff Massacre (2002) -- Chapter 12 The Sounds of Spaces Between: Willaberta Jack (2007) -- Chapter 13 Breaking the Drought at the Sydney Film Festival: We Don’t Need a Map (2017), Occupation Native (2017), In My Own Words (2017)and Connecting to Country (2017) -- Bibliography -- Index

Call No: 761(94) ZUB
Author: Zubrycki, Tom
Edition: February 2018
Place: Strawberry Hills, N.S.W.
Publisher: Currency House
PubDate: 2019
PhysDes: vi,73 pages ; 21 cm
Series: Platform Papers; 58
Subject: DOCUMENTARIES. AUSTRALIA; FUNDING. AUSTRALIA; GOVERNMENT AID. AUSTRALIA; TAXES. AUSTRALIA; FINANCING. AUSTRALIA
ISBN: 9780648426516

Call No: 451-054(=1=81)(71):(93):(94) THO
Author: Thornley, Davinia
Source: UK/US
Place: Houndmills, Basingstoke, Hampshire ; New York
Publisher: Palgrave Macmillan
PubDate: 2014
PhysDes: xi, 134 pages : illustrations ; 23 cm
Series: Palgrave pivot
Subject: INDIGENOUS PEOPLE'S CINEMA. CANADA; INDIGENOUS PEOPLE'S CINEMA. AUSTRALIA; INDIGENOUS PEOPLE'S CINEMA. NEW ZEALAND; DOCUMENTARIES; BEFORE TOMORROW [JOUR AVANT LE LENDEMAIN, LE](CN Marie-Hélène Cousineau and Madeline Ivalu, 2008); LOUSY LITTLE SIXPENCE (AT, Alec Morgan , 1983); TATTOOIST, THE (NZ/SI, Peter Berger, 2007); WHALE RIDER (NZ/GG, Niki Caro, 2002); NO. 2 (NZ, Toa Fraser, 2006); APRON STRINGS (NZ, Sima Urale, 2008)
Summary: This book is a manifesto for a developing area, one that provides a new model for reading films about indigeneity. Davinia Thornley investigates specific production partnerships in Canada, Australia and Aotearoa New Zealand, using the framework of scholarly and popular criticism to draw conclusions from these collaborative case studies
Notes: Formerly CIP -- Includes bibliographical references and index -- Also issued online
Contents: Machine generated contents note: 1.Introduction -- Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field -- 2."An Instrument of Actual Change in the World": Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow -- 3."My Whole Area Has Started to Be about What's Left Over": Alec Morgan, "Stolen Histories," and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence -- 4."A Space Being Right on That Boundary": Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema -- 5.Conclusion -- Modelling Collaborative Criticism: What Does It Mean to Collaborate Cross-Culturally in Cinema?

Call No: 761 WIN
Author: Winston, Brian
CorpAuthor: British Film Institute
Place: London
Publisher: British Film Institute
PubDate: 1995
PhysDes: 301 p. ; 24 cm
Subject: DOCUMENTARIES; ETHICS AND THE CINEMA; REALISM IN FILMS; THEORY; CINEMA VERITE; CINEMA-DIRECT; GRIERSON, JOHN; WISEMAN, FREDERICK; RIEFENSTAHL, LENI
Summary: "Recent technological developments in the field of image manipulation mea that the 'evidence' of the photograph is no longer incontrovertible. The camera, it seems, can lie. Alterations may noe be made to still or moving images which materially change their meaning yet which are undetectable. What does this do to the status of the documentary film? In this informed and lively book Brian Winston rewrites the history of the documentary to take account of technological change. He subjects the great figures of the past - Grierson, Flaherty, Dziga-Verov - to a searcing critique, and examines both the principles and practice of the major movements of documentary, such as cinema verite. He offers his own definition of the essential difference between fiction film and documentary, and identifies the fundamentally ethical basis of any film practice which attempts to capture the 'truth'" -- Taken from the back cover.
Notes: Includes bibliographical references (p. 277-294) and index
ISBN: 0851704638 (cased); 0851704646 (pbk)
LON: 11552015
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Call No: 761 COM
Source: US
Place: Malden, MA
Publisher: John Wiley and Sons
PubDate: 2015
PhysDes: xvi, 674 pages : illustrations, portraits ; 25 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; ENVIRONMENTAL ISSUES IN FILMS; SEA IN FILMS; IMMIGRATION IN FILMS AND TELEVISION; WORKERS IN FILMS; YUGOSLAVIA; SEX IN FILMS; WOMEN MAKE MOVIES [organisation]; DISEASES IN FILMS; SCIENCE AND THE CINEMA; SCIENCE IN FILMS; AIDS ON TV. SOUTH AFRICA; RELIGION AND THE CINEMA; WAR FILMS; BAL, MIEKE; ZILNIK, ZELIMIR; TRAN VAN THUY; FAROCKI, HARUN; CRUDE AWAKENING: THE OIL CRASH A (SZ, Basil Gelpke & Ray McCormack, 2006); CRUDE (US, Joe Berlinger, 2009); H [TWO] 2 OIL (CN, Shannon Walsh, 2009); PLANET, THE (SW/NO/DK, Michael Stenberg / John Soderberg / Linus Torell, 2006); INTO ETERNITY: A FILM FOR THE FUTURE (DK/FI/SW/IT, Michael Madsen, 2010); OTOLITH I [OTOLITH 1] (UK, Anjalika Sagar and Kodwo Eshun, 2003); OTOLITH II [OTOLITH 2] (UK, Anjalika Sagar and Kodwo Eshun, 2007); OTOLITH III [OTOLITH 3] (UK, Anjalika Sagar and Kodwo Eshun, 2009); INCONVENIENT TRUTH, AN (US, Davis Guggenheim, 2006); SOMEPLACE WITH A MOUNTAIN (US/FM, Steve Goodall, 2010); CONTAINED MOBILITY (SZ, Ursula Biemann, 2004); SAHARA CHRONICLE (SZ, Ursula Biemann, 2006-2009); GHOSTS (UK, Nick Broomfield, 2006); LOVE ON DELIVERY [FRA THAILAND TIL THY] (DK, Janus Metz Pedersen, 2007); TICKET TO PARADISE [FRA THY TIL THAILAND] (DK, Janus Metz Pedersen, 2008); WHEN MOTHER COMES HOME FOR CHRISTMAS (II/GR, Nilita Vachani, 1996); H [TWO] 2 WORKER (US, Stephanie Black, 1990); LIFE AND DEBT (US, Stephanie Black, 2001); MAQUILAPOLIS: CITY OF FACTORIES (MX/US, Sergio de la Torre and Vicky Funari, 2006); DECENT FACTORY, A (FR/FI/UK/AT/DK, Thomas Balmes, 2004); WHY CYBRACEROS? (US,Alex Rivera, 1997); WHY BRACEROS? (US, 1959); VALLEY CENTRO, EL (US, James Benning, 1999); LOS (US, James Benning, 2001); DOUBLE TIDE (US/AU, Sharon Lockhart, 2009); GLEANERS AND I, THE [GLANEURS ET LA GLANEUSE, LES] (FR, Agnes Varda, 2000); GLANEURS ET LA GLANEUSE, LES: DEUX ANS APRES (FR, Agnes Varda, 2002); WORKINGMAN'S DEATH (AU/GG, Michael Glawogger, 2005); OLD SCHOOL OF CAPITALISM, THE [STARA SKOLA KAPITALIZMA] (SB, Zelimir Zilnik, 2009); LIVE NUDE GIRLS UNITE! (US, Julia Query & Vicky Funari, 2000); TALES OF THE NIGHT FAIRIES (II, Shohini Ghosh, 2002); SCARLET ROAD (AT, Catherine Scott, 2011); PLACE OF RAGE, A [WARRIOR MARKS] (UK, Pratibha Parmar, 1991); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); AFRICA RISING (US, Paula Heredia, 2009); SENORITA EXTRAVIADA [MISSING YOUNG WOMAN] (MX, Lourdes Portillo, 2001); PARIS IS BURNING (US, Jennie Livingston, 1990); WILDNESS (US, Wu Tsang, 2012); INNER LIFE OF THE CELL (US, XVIVO, 2006); BEAT IT! [TV] (SA, 2001); MY REINCARNATION (SZ/NE/IT/GG/FI/VE/US/TZ/SI/MY/RM/CC/MX/RU/IS/AU, Jennifer Fox, 2011); GEVALD (IS, Netalie Braun, 2009); BLACK BUS (IS, Anat Zuria, 2010); REBELLIOUS SON, THE (IS, Shosi Greenfield, 2009); STORY OF KINDNESS [CHUYEN TU TE] (V, Tran Van Thy, 1987); NICHT LOSCHBARES FEUER [INEXTINGUISHABLE FIRE] (GR, Harun Farocki, 1969); IMAGES OF THE WORLD AND THE INSCRIPTION OF WAR [BILDER DER WELT UND INSCHRIFT DES KRIEGES] (GW, Harun Farocki, 1988); SERIOUS GAMES [series] (GG, Harun Farocki, 2009); I ONLY WISH I COULD WEEP (LE, Wallid Raad, 2002); MIRACULOUS BEGINNINGS (LE, Walid Raad); SPIRITUAL VOICES: FROM THE DIARIES OF WAR [DUKHOVNYE GOLOSA, IZ DNEVNIKOV VOYNY. POVESTVOVANIE V PYATI CHASTYAKH] [TV] (RU, Aleksandr Sokurov, 1995); DAY OF THE SPARROW [DER TAG DES SPATZEN] (GG, Philip Scheffner, 2010); [FORTY-EIGHT] 48 (PO, Susana de Sousa Dias, 2010); ENEMIES OF THE PEOPLE (UK/CB, Thet Sambath and Rob Lemkin, 2009); DUCH: MASTER OF THE FORGES OF HELL (CB, Rithy Panh, 2011); SKINNY ALEJANDRA: LIVES AND DEATHS OF A CHILEAN WOMAN [LA FLACA ALEJANDRA: VIDAS Y MUERTES DE UNA CHILENA] (CL, Carmen Castillo, 1994); OPERATION ATROPOS (CL, Coco Fusco, 2005); ROAD TO GUANTANAMO, THE (UK, Michael Winterbottom and Mat Whitecross, 2006); TAXI TO THE DARK SIDE (US, Alex Gibney, 2007); BRIDGE, THE (UK/US, Eric Steel, 2006)
Summary: This book presents a collection of original essays that explore major issues surrounding the state of current documentary films and their capacity to inspire and effect change. This book presents a comprehensive collection of essays relating to all aspects of contemporary documentary films It includes nearly 30 original essays by top documentary film scholars and makers, with each thematic grouping of essays sub-edited by major figures in the field. This book explores a variety of themes central to contemporary documentary filmmakers and the study of documentary film the planet, migration, work, sex, virus, religion, war, torture, and surveillance. This book considers a wide diversity of documentary films that fall outside typical canons, including international and avant-garde documentaries presented in a variety of media.
ISBN: 9780470671641
Contents: Machine generated contents note: pt. I Planet / Juan Francisco Salazar -- 1.Crude Aesthetics: The Politics of Oil Documentaries / Imre Szeman -- 2.Anticipatory Modes of Futuring Planetary Change in Documentary Film / Juan Francisco Salazar -- 3.Projecting Sea Level Rise: Documentary Film and Other Geolocative Technologies / Janet Walker -- pt. II Migration / Aniko Imre -- Introduction / Aniko Imre -- 4.Videogeographies / Ursula Biemann -- 5.Rates of Exchange: Human Trafficking and the Global Marketplace / Leshu Torchin -- 6.Documenting What? Auto-Theory and Migratory Aesthetics / Mieke Bal -- pt. III Work / Silke Panse -- Introduction / Silke Panse -- 7.The Work of the Documentary Protagonist: The Material Labor of Aesthetics / Silke Panse -- 8.Old School Capitalism in Post-Socialism: The Struggles of Zelimir Zilnik's Workers / Ewa Mazierska -- 9.Capturing the Labors of Sex Work: The Pedagogical Role of Documentary Film / Anna E. Ward -- pt. IV Sex / Laura Hyun Yi Kang -- Contents note continued: Introduction / Laura Hyun Yi Kang -- 10.Documentary Practice and Transnational Feminist Theory: The Visibility of FGC / Patricia White -- 11.Transforming Terror: Documentary Poetics in Lourdes Portillo's Senorita Extraviada (2001) / Rosa-Linda Fregoso -- 12.Reading Realness: Paris Is Burning, Wildness, and Queer and Transgender Documentary Practice / Eve Oishi -- pt. V Virus / Bishnupriya Ghosh -- Introduction / Bishnupriya Ghosh -- 13.Animating Informatics: Scientific Discovery Through Documentary Film / Kirsten Ostherr -- 14.HIV on Documentary Television in Post-Apartheid South Africa / Rebecca Hodes -- 15.Digital AIDS Documentary: Webs, Rooms, Viruses, and Quilts / Alexandra Juhasz -- pt. VI Religion / Alisa Lebow -- Introduction / Alisa Lebow -- 16.Rising in the East, Sett(l)ing in the West: The Emergence of Buddhism as Contemporary Documentary Subject / Angelica Fenner -- Contents note continued: 17.The New Religious Wave in Israeli Documentary Cinema: Negotiating Jewish Fundamentalism During the Second Intifada / Raya Morag -- 18.Tran Van Thuy's Story of Kindness: Spirituality and Political Discourse / Dean Wilson -- pt. VII War / Jeffrey Skoller -- Introduction / Jeffrey Skoller -- 19.Second Thoughts on "The Production of Outrage: The Iraq War and the Radical Documentary Tradition" / Jane M. Gaines -- 20.One, Two, Three Montages ... Harun Farocki's War Documentaries / Nora M. Alter -- 21.The Unwar Film / Alisa Lebow -- pt. VIII Torture / Alisa Lebow -- Introduction / Alisa Lebow -- 22.(In)visible Evidence: The Representability of Torture / Susana de Sousa Dias -- 23.Interviewing the Devil: Interrogating Masters of the Cambodian Genocide / Deirdre Boyle -- 24.The Female Perpetrator: La Flaca Alejandra and Operation Atropos / Macarena Gomez-Barris -- 25.Toward the Dark Side: Seeing Detainee Bodies in Documentary Film / Anjali Nath -- Contents note continued: pt. IX Surveillance / Elizabeth Cowie -- Introduction / Elizabeth Cowie -- 26.Architectures of Control and Points of Resistance: Surveillance Culture and Digital Documentaries / Sharon Lin Tay -- 27.The World Viewed: Documentary Observing and the Culture of Surveillance / Elizabeth Cowie -- 28.Surveillance in the Service of Narrative / Brian Winston -- 29.Face Blind: Documentary Media and Subversion of Surveillance / Patrik Sjoberg.

Call No: 761 CON
Author: Kara, Selmin (ed.); Marcus, Daniel (ed.)
Source: US/UK
Place: London
Publisher: Routledge
PubDate: 2016
PhysDes: xvii, 209 pages : illustrations ; 24 cm
Subject: DOCUMENTARIES; DOCUMENTARY DRAMAS; DOCUMENTARY FILMS; CRITICISM
Summary: "Contemporary Documentary offers a rich survey of the rapidly expanding landscape of documentary film, television, video, and new media. The collection of original essays addresses the emerging forms, popular genres, and innovative approaches of the digital era. The anthology highlights geographically and thematically diverse examples of documentaries that have expanded the scope and impact of non-fiction cinema and captured the attention of global audiences over the past three decades. It also explores the experience of documentary today, with its changing dynamics of production, collaboration, distribution, and exhibition, and its renewed political and cultural relevance. The twelve chapters - featuring engaging case studies and written from a wide range of perspectives including film theory, social theory, ethics, new media, and experience design - invite students to think critically about documentary as a vibrant field, unrestricted in its imagination and quick in its response to new forms of filmmaking. Offering a methodical exploration of the expansive reach of documentary as a creative force in the media and society of the twenty-first century, Contemporary Documentary is an ideal collection for students of film, media, and communication who are studying documentary film." -- BOOK BACK COVER BLURB
Notes: Includes bibliographical references and index
ISBN: 9781138849549
Contents: -- Introduction: Situating Contemporary Documentary / Selmin Kara and Daniel Marcus -- Forms, Genres, Innovations-- Lying to Be Real: The Aesthetics of Ambiguity in Docufictions / Ohad Landesman --The Mockumentary / Craig Hight -- Animated Documentary / Annabelle Honess Roe -- Producing the Crowdsourced Documentary: The Implications of Storytelling and Technology / Heather McIntosh -- Designed Experience in Interactive Documentaries / Siobhan O'Flynn -- Indigenous Documentary Media / Pamela Wilson -- Documentary in new contexts -- True Life: The Voice of Television Documentary / Laurie Ouellette -- Interrogating the Media: Errol Morris in the Information Age / Kris Fallon -- Documentary and the Survival of the Film Auteur: Agne`s Varda, Werner Herzog, and Spike Lee / Helen Hughes -- The Ethics of Appropriation: "Misusing" the Found Document in Suitcase of Love and Shame and A Film Unfinished / Jaimie Baron -- Documentary, Multi-Platform Production, and Cosmopolitan Dialogues / Ib Bondebjerg -- Documentary and Video Activism / Daniel Marcus --

Call No: 761 SPE
Author: Spence, Louise; Navarro, Vinicius
Source: US/UK
Place: New Brunswick, NJ
Publisher: Rutgers University Press
PubDate: c2011
PhysDes: x, 281 p. : ill. ; 26 cm
Subject: AESTHETICS; AUTHORSHIP; BIOGRAPHICAL FILMS; CINEMATOGRAPHY; COMMENTARY; CONSTRUCTIVISM; CONTINUITY; CINEMA-DIRECT; DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHNOGRAPHIC FILMS; HISTORY AND THE CINEMA; INTERVIEWING; INTERVIEWS IN FILMS; LIGHTING; LOCATION SHOOTING; MEMORY IN FILMS; MUSIC IN FILMS; NARRATIVE IN FILMS; NON-FICTION FILMS; PALESTINE; PHOTOGRAPHY AND THE CINEMA; REALISM IN FILMS; SOUND; SOUND EQUIPMENT; THEORY; TRUTH IN FILMS; VOICE OVER; WORLD WAR II AND THE CINEMA; AFRIQUE, JE TE PLUMERAI (CM/FR/G, Jean-Marie Téno, 1992); GOKUSHITEKI EROSU: RENKA 1974 (JA, Kazuo Hara, 1974); FAR FROM POLAND (US, Jill Godmilow, 1984); HALVING THE BONES (US, Ruth Ozeki Lounsbury, 1995); HANDSWORTH SONGS (UK, John Akomfrah, 1986); HEARTS AND MINDS (US, Peter Davis, 1974); JOYCE AT 34 (US, Joyce Chopra, 1972); LESSONS OF DARKNESS (GG, Werner Herzog, 1992); LEKTIONEN IN FINSTERNIS (GG, Werner Herzog, 1992); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NEKAM ACHAT MISHTEY EYNAY (FR/IS, Avi Mograbi, 2005); NIGHT MAIL (UK, Harry Watt & Basil Wright, 1936); PRELUDE TO WAR (US, Frank Capra & Anatole Litvak, 1942); SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); TIES THAT BIND, THE (US, Su Friedrich, 1984); TITICUT FOLLIES (US, Frederick Wiseman, 1967); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: "Although nonfiction film may have captured imaginations, many viewers enter and leave theaters with a naive concept of "reality"- for them, documentaries are sources of information. But is truth or reality readily available, easily acquired, or undisputed? Or do documentaries convey illusions of reality? What aesthetic means are used to build these illusions? Crafting truth illuminates the way these films tell their stories; how they use the camera, editing, sound, and performance; what rhetorical devices they employ; and what the theoretical, practical, and ethical implications of those choices are. Complex documentary concepts are presented through easily accessible language, images, and a discussion of a wide range of films and videos to encourage new ways of thinking about and seeing nonfiction cinema. " -- BOOK BLURB
ISBN: 9780813549033
Contents: -- acknowledgments -- Introduction -- Authenticity -- Evidence -- Authority -- Responsibility -- Argument -- Dramatic stories, poetic and essay documentaries -- Editing -- Camerawork -- The profilmic -- Sounds / coauthored with Carl Lewis --index --
ID2: 90

Call No: 224(94) LEV
Author: Lever, Susan
Edition: 2020
Place: North Melbourne, Victoria
Publisher: Australian Scholarly Publishing
PubDate: 2020
PhysDes: viii,282 pages ; 24cm
Subject: ABORIGINAL AUSTRALIANS AND TV; ADAPTATIONS; AUSTRALIAN BROADCASTING CORPORATION; AUSTRALIAN FILM COMMISSION; BELLBIRD [TV] (AT, 1967-1977); BRITISH BROADCASTING CORPORATION; COX, DEB; CRAWFORD PRODUCTIONS; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY DRAMAS; GREEN, CLIFFORD; HOMICIDE [TV] (AT, 1964-1975); HOPGOOD, ALAN; KELLY, MARGARET; MELODRAMA. AUSTRALIA; MORPHETT, TONY; MY NAME'S MCGOOLEY, WHAT'S YOURS? [TV] (AT, 1966-1968); NINE NETWORK; POWER WITHOUT GLORY [TV] (AT, 1976); SEVEN NETWORK; SPECIAL BROADCASTING SERVICE; YELDHAM, PETER
Summary: Television drama has been the dominant form of popular storytelling for more than sixty years, shaping the imaginations of millions of people. This book surveys the careers of the central creators of those stories for Australian television—the writers who learnt how to work in a new medium, adapting to its constraints and exploring its creative possibilities. Informed by interviews with many writers, it describes the establishment of Australian television drama production, observing the way writers grasped the creative and business opportunities that television presented. It examines the development of Australian versions of the major television genres—the sitcom, the police drama, the historical series, docudrama, and social drama— presenting a ‘canon’ of significant Australian television drama productions that deserve to be remembered. It offers an account of the emergence of work by Indigenous writers for television and it argues for the consideration of television drama alongside histories of Australian film and stage drama. -- publisher's web site
ISBN: 9781925984880

Call No: 81PEN BEA
Author: Beattie, Keith
Source: US
Place: Urbana
Publisher: University of Illinois Press
PubDate: c2011
PhysDes: 176 p. : ill. ; 21 cm
Series: Contemporary film directors
Subject: CINEMA-DIRECT; DOCUMENTARIES; PENNEBAKER, D. A.; DAYBREAK EXPRESS; PRIMARY (US, Richard Leacock, Terry Macartney-Filgate, Albert Maysles and D.A. Pennebaker, 1961); DONT LOOK BACK (US, D.A. Pennebaker, 1967); MONTEREY POP (US, D. A. Pennebaker, 1968)
Summary: "This volume is the first book-length study of the extensive career and prolific works of D.A. Pennebaker, one of the pioneers of direct cinema, a documentary form that empahasizes observation and a straightforward portrayal of events. With a career spanning decades, Pennebaker's many projects have included avant-garde experiments (Daybreak Express), ground-breaking television documentaries (Primary), celebrity films (Dont Look Back), concert films (Monterey Pop), and innovative fusions of documentary and fiction (Maidstone). Exploring the concept of 'performing the real,' Keith Beattie's insightful analysis interprets Pennebaker's films as performances in which the act of filming is in itself a performative transgression of the norms of purely observational documentary. He examines the ways in which Pennebaker's presentation of unscripted everyday performances is informed by connections between documentary filmmaking and other experimental movements such as the New American Cinema. Through his collaborations with such various artists as Richard Leacock, Shirley Clarke, Norman Mailer, and Jean-Luc Godard, Pennebaker has continually reworked and redefined the forms of documentary filmmaking. This book also includes a recent interview with the director and a full filmography" -- BOOK BLURB
Notes: Includes bibliographical references (p.163-169) and index
ISBN: 9780252078293
Contents: -- acknowledgements -- performing the real -- concert film -- collaborative filmmaking -- portraiture -- rehearsal -- interview with D.A. Pennebaker -- filmography -- bibliography -- index --

Call No: 81PEN BEA
Author: Beattie, Keith (ed.); Griffiths, Trent (ed.)
Source: US
Place: Jackson [Mississippi]
Publisher: University of Mississippi
PubDate: c2014
PhysDes: xxxii, 217pages ; 24 cm
Series: Conversations with filmmakers
Subject: CINEMA VERITE; DOCUMENTARIES; DOCUMENTARY FILMS; PENNEBAKER, D. A.; HEGEDUS, CHRIS; DONT LOOK BACK (US, D.A. Pennebaker, 1967); MONTEREY POP (US, D. A. Pennebaker, 1968)
Summary: "This wide-ranging and insightful collection of interviews with D.A.Pennebaker (b.1925) spans the prolific career of this pioneer of observational cinema. From the 1950s to the present day, Pennebaker has made documentary films that have revealed the world of politics, celebrity culture, and the music industry. " -- BOOK BLURB
Notes: Includes index; Includes bibliographical references, filmography and index
ISBN: 9781628462029
Donation: Donated by Senses of Cinema
Contents: -- the filmmaking of D.A. Pennebaker -- chronology -- filmography -- D.A. Pennebaker / G. Roy Levin (1970) -- Don't look back and Monterey pop: Donn Alan Pennebaker / Alan Rosenthal (1971) -- Donn looks back: cinema verite with Dylan, Bowie / Merrill Shindler (1976) -- Speaking of Samuel / Martyn Auty (1982) -- D. A. Pennebaker on the filming of Don't look back / Barbara Hogenson (1984) -- 1966 and all that: D. A. Pennebaker, filmmaker / Shelly Livson (1984) -- Looking back: D. A. Pennebaker interviewed by John Bauldie / John Bauldie (1986) -- Behind the public face of power: Martha Ansara interviews Chris Hegedus and D. A. Pennebaker / Martha Ansara (1994) -- The burning question: D. A. Pennebaker and Chris Hegedus / Kevin Macdonald and Mark Cousins (1996) -- Documentary film pioneer D. A. Pennebaker looks back and forward / Marc Savlov (1998)-- I film while leaping from my chair: D. A. Pennebaker on Bob Dylan, John Lennon, cinema verite, and Mary Poppins / David Dalton (1999) -- D. A. Pennebaker and Chris Hegedus: engineering nonfiction cinema / Liz Stubbs (2002) -- D.A. Pennebaker: at eighty, looking back and ahead / David D'arcy ( 2005) -- D.A. Pennebaker looks back / Carol Caffin (2007) -- Interview with D. A. Pennebaker and Chris Hegedus / John Berra (2008) -- Ninety years of cinematic confections: an interview with Chris Hegedus and D. A. Pennebaker / Dan Lybarger (2010) -- D.A. Pennebaker: interview / Sam Adams (2011) -- D. A. Pennebaker / Harvey Kubernik (2012) -- additional resources -- index --

Author: Jones, Dave
PhysDes: Article
Subject: DOCUMENTARIES. AUSTRALIA; FILMMAKING. AUSTRALIA; INDONESIA; RUBBO, MICHAEL
Summary: Article where Jones discusses his personal relationship with Mike Rubbo and his opinion of Rubbo's work.
Notes: Interview with Mike Rubbo p. 10

Author: Minter, David
PhysDes: Article
Subject: REALISM IN FILMS; SEMI-DOCUMENTARIES. AUSTRALIA; ROUCH, JEAN; PRODUCTION. AUSTRALIA; DIRECTORS. AUSTRALIA
Summary: Australian filmmaker David Minter comments on the theory and practice of creating naturalism and realism in film, by referring to the works of Jean Rouch as well as the experience of making his own film "Hey Al Baby".

Call No: 632.22(94) MIL
Author: Miles, Adrian
Edition: 2018
Place: Cham, Switzerland
Publisher: Palgrave Macmillan
PhysDes: x, 114 pages : illustrated ; 21 cm
Subject: DOCUMENTARIES. AUSTRALIA; INTERACTIVE CINEMA; DIGITAL MEDIA AND THE CINEMA
Summary: This collection of essays by Australian based practitioner-theorists brings together new research on interactive documentary making. The chapters explore how documentary theory and practice is influenced by digitisation, mobile phones, and new internet platforms. The contributors highlight the questions raised for documentary makers and scholars as new production methods, narrative forms, and participation practices emerge. The book presents an introduction to documentary techniques shaped by new digital technologies, and will appeal to documentary scholars, students, and film-makers alike. -- publisher's web site
ISBN: 9783319686424

Author: Zubrycki, Tom; Browning, Sally
PhysDes: Production notes; Illustration(s)
Subject: DOCUMENTARIES; BROWNING, SALLY; ZUBRYCKI, TOM; DIPLOMAT, THE (AT, Tom Zubrycki, 2000)
Summary: The director and producer of "The diplomat", detail their experiences making the documentary.

Call No: 79AIM BRO
Author: Broinowski, Anna
Source: AT
Place: [Melbourne, Victoria]
Publisher: Viking
PubDate: 2015
PhysDes: 324 pages, 8 unnumbered pages of plates : colour illustrations, colour portraits ; 24 cm
Subject: NORTH KOREA; COMMUNISM AND THE CINEMA; PROPAGANDA FILMS; DOCUMENTARIES. AUSTRALIA; BROINOWSKI, ANNA; KIM, CHONG IL; AIM HIGH IN CREATION (AT/KN/KO/JA, Anna Broinowski, 2013)
Summary: Looking for respite from her crumbling marriage and determined to stop a coal seam gas mine near her Sydney home, filmmaker Anna Broinowski finds wisdom and inspiration in the strangest of places: North Korea. Guided by the late Dear Leader Kim Jong Il's manifesto The Cinema and Directing, Broinowski, in a world first, travels to Pyongyang to collaborate with North Korea's top directors, composers and movie stars to make a powerful anti-fracking propaganda film. The Director is the Commander centres around the bizarre twenty-one day shoot Broinowski did in North Korea to make her documentary, Aim High in Creation! She meets and befriends artists and apparatchiki, defectors and loyalists, and gains a new insight into the world's most secretive regime. Her adventures are set against a parallel exploration of propaganda in general: both in its ham-fisted North Korean form and its sophisticated but no less pervasive incarnation in the corporate West. Funny, multi-layered and utterly compelling, The Director is the Commander is a gripping account of an extraordinary journey inside a nation we can usually only see from the outside looking in.
Notes: "Come on a unique journey inside North Korea's propaganda machine" -- Cover.
ISBN: 9780670077830

Call No: 161(94)"2006" DOC
Edition: 2006
Place: [Melbourne?]
Publisher: Australian International documentary conference
PubDate: 2006
PhysDes: unpaginated : illustrated ; 30 cm
Subject: CONFERENCES, AUSTRALIAN INTERNATIONAL DOCUMENTARY; DOCUMENTARIES; I, PSYCHOPATH [TV] (AT, Ian Walker, 2009); WALTZ WITH BASHIR (IS/G/FR, Ari Forman, 2008); FORBIDDEN LIE$ [FORBIDDEN LIES] (AT, Anna Broinowski, 2007); WORDS FROM THE CITY (AT, Natasha Gadd & Rhys Graham, 2007); JERUSALEM IS PROUD TO PRESENT (IS, Nitzan Gilady, 2007); GOOD MAN, A (AT, Safina Uberoi, 2009)

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARIES

Call No: REFERENCE SECTION; 023(94) fil
CorpAuthor: Australian Film Commission
Source: AT
Place: Sydney, N.S.W.
Publisher: Australian Film Commission
PubDate: November 1991
PhysDes: 56p. : 30cm.
Series: Films from Australia
Subject: DOCUMENTARIES. AUSTRALIA
Notes: Documentary checklist compiled for the Second Australian Documentary Conference November 1991.

Call No: REFERENCE SECTION; 023(94) DOC "1999"
CorpAuthor: Australian Film Commission
PubDate: March 1999
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) DOC "1998"
CorpAuthor: Australian Film Commission
PubDate: October 1998
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

CorpAuthor: Australian Film Commission
PubDate: October 1999
Subject: FILMOGRAPHIES. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) DOC "1999"
CorpAuthor: Australian Film Commission
PubDate: October 1999
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) DOC
CorpAuthor: Australian Film Commission
PubDate: April 1997
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) "1998" AUS
CorpAuthor: Australian Film Commission
PubDate: April 1998
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) :1997" AUS
CorpAuthor: Australian Film Commission
PubDate: October 1997
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: SUBJECT CLIPPINGS FILE; DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARIES. AUSTRALIA
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Call No: DIGITAL CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARIES. NATURE

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARIES. USA

Author: Cunningham, Stuart
PhysDes: Article; Bibliography; Illustration(s)
Subject: DOCUMENTARIES
Summary: The paper crosses the fields of theory, policy and production, and market place realities, to articulate an affirmative and integrated framework for thinking about and promoting documentaries.

Call No: 761 SMA
Author: Smaill, Belinda
Source: UK
Place: Basingstoke, England
Publisher: Palgrave Macmillan
PubDate: 2010
PhysDes: vii, 221 p. : ill. ; 23 cm
Subject: ASIAN COUNTRIES; CHILDREN AND THE CINEMA; CHILDREN IN FILMS; CULTURE AND THE CINEMA; DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; EMOTION IN FILMS; FEMINISM AND THE CINEMA; IDENTITY IN FILMS; IDEOLOGY AND THE CINEMA; IMMIGRATION IN FILMS AND TELEVISION; PSYCHOLOGY AND THE CINEMA; REALITY TV; SEX IN FILMS; SOCIAL PROBLEMS IN FILMS; THEORY; VIEWERS; WOMEN FILMMAKERS; LOVELACE, LINDA; BORN INTO BROTHELS: CALCUTTA'S RED LIGHT KIDS (II/US, Zana Briski, Ross Kauffman, 2004); CORPORATION, THE (CN, Jennifer Abbott & Mark Achbar, 2003); DAY I WILL NEVER FORGET, THE (UK, Kim Longinotto, 2002); DIVORCE IRANIAN STYLE (UK, Kim Longinotto & Ziba Mir-Hosseini, 1998); ENRON: THE SMARTEST GUYS IN THE ROOM (US, Alex Gibney, 2005); FINISHED PEOPLE, THE (AT, Khoa Do, 2003); FIX: THE STORY OF AN ADDICTED CITY (CN, Nettie Wild, 2002); INSIDE DEEP THROAT (US, Fenton Bailey & Randy Barbato, 2005); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); SEX: THE ANNABEL CHONG STORY (CN, Gough Lewis, 1999)
Summary: "The Documentary: Politics, Emotion, Culture proposes that emotions such as pleasure, hope, pain, empathy or nostalgia play a powerful role in the circulation and reception of documentaries. Emotion shapes how political issues and individuals are represented and perceived in documentary and it is crucial to how we engage with the vicissitudes of the public sphere. In the past documentary has been popularly perceived in ways that align it with education, science, history and the rational realm. This frame has never been adequate for understanding the broad array of styles and themes that can be seen in the documentary genre. Focusing on the question of subjectivity, Smail analyses various different kinds of individuals that can be found in documentaries, such as the female porn star, the politically disenfranchised, children, and the documentary auteur. She envisages an interdisciplinary approach to documentary drawing on scholarship from not only film studies, but also gender studies, queer theory, cultural theories of affect, critical race studies, political theory and pyschoanalysis. " -- BOOK BLURB
Notes: Includes bibliographical references (p. 200-209) and index
ISBN: 9780230237513 (hbk.)
Contents: -- list of illustrations -- acknowledgments -- part one: documentary and pleasure -- 1: introduction: representation and documentary emotion -- 2: pleasure and disgust: desire and the female porn star -- part two: pain and the other -- 3: Injury, identity and recognition: Rize and Fix: the story of an addicted city -- 4: women, pain and the documentaries of Kim Longinotto -- part three: the labour of authorship: caring and mourning -- 5: loss and care: Asian Australian documentary -- 6: civic love and contemporary dissent documentary -- part four: past, present and future: hope and nostalgia -- 7: children, futurity and hope: Born into Brothels -- 8:nostalgia, historical time and reality television: the idol series -- epilogue -- notes -- bibliography -- index --

Call No: 761 WAR
Author: Ward, Paul
Source: US
Place: London ; New York
Publisher: Wallflower
PubDate: c2005
PhysDes: 115 p. : ill. ; 20 cm
Series: :Short cuts : introductions to film studies
Subject: DOCUMENTARIES; DOCUMENTARY DRAMAS; DOCUMENTARY FILMS; INTERVIEWS IN FILMS; TRUTH IN FILMS; VOICE OVER; BROOMFIELD, NICK; GRIERSON, JOHN; TOUCHING THE VOID (UK, Kevin MacDonald, 2003); CAPTURING THE FRIEDMANS (US, Andrew Jalecki, 2003)
Summary: "In discussing films such as Touching the Void (2003), Capturing the Friedmans (2003) and the work of Nick Broomfield, this timely introduction to the growing field of documentary explores the definition and understanding of the form, as well as the relationship between documentary and drama, specifically the notion of reconstruction and re-enactment. Paul Ward also examines animated documentaries, the meeting point of comedy and documentary modes, the ability of documentary to accurately represent historical events, and feature-length contemporary works that have achieved widespread cinematic release."--BOOK JACKET.
Notes: Includes index; Includes bibliography: 108-112
ISBN: 9781904764595
Contents: -- acknowledgments -- introduction -- 1. Defining documentary -- 2. Fiction and nonfiction : the great divide? -- 3. The changing face of the historical documentary -- 4. Documentary and comedy -- 5. Animation and documentary representation -- Conclusion : the future of documentary -- notes -- bibliography -- index --

Call No: 761 DOC
Author: Balsom, Erika; Peleg, Hila
Source: Estate of Adrian Miles
Place: Cambridge [US]
Publisher: The MIT Press
PubDate: [2016]
PhysDes: 322 pages : illustrations ; 23 cm.
Subject: DOCUMENTARIES; ANTHROPOLOGY AND THE CINEMA; FAROCKI, HARUN
Summary: Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of "fly on the wall" immediacy or quasi-scientific aspirations to objectivity, critics now underst.
Notes: This book emerges from the Berlin Documentary Forum, a program for the production and presentation of contemporary and historical documentary practices in an interdisciplinary context. Includes bibliographical references and index
ISBN: 9780262529068

Call No: REFERENCE SECTION; NEW HOLDINGS SHELF; 023(94) DOC
CorpAuthor: Screen Australia
Edition: 2010
Source: AT
Place: Sydney, N.S.W.
Publisher: Screen Australia
PhysDes: 32 p. ; ill. : 30 cm
Subject: SCREEN AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; DOCUMENTARIES. AUSTRALIA
Summary: This catalogue showcases recent programs produced under the National Documentary Program, National Interest Program and Making History Initiative together with independently-produced programs and a selection of material from the rich library archive. --BLURB
Notes: Title from cover; Further information available from the Screen Australia website: http://www.screenaustralia.gov.au/sales; Includes subject index and index to new releases and captioned titles

Call No: 761 DOC
Author: Corner, John (ed.)
Source: UK
Place: London
Publisher: Edward Arnold
PubDate: 1986
PhysDes: 178 p. : 22 cm
Series: Stratford-upon-Avon Studies; Second series
Subject: MEDIA; DOCUMENTARIES; DOCUMENTARY FILMS; CINEMA VERITE; DIARY FOR TIMOTHY, A (UK, Humphrey Jennings, 1946); LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942); ROSES IN DECEMBER (US, Ana Carrigan and Bernard Stone, 1982); WORDS FOR BATTLE (UK, Humphrey Jennings, 1941)
Summary: "The studies in this book investigate documentary forms and methods as they have developed in film, radio and television, placing emphasis on the use of documentary approaches within the context of a national media system. They link together political and social factors with matters of 'documentary language', addressing the particular questions of representational realism and of public communication which documentaries so sharply raise but which are relevant to a far wider range of mass media activities. The specially commissioned essays in this volume offer a stimulating exploration of a lively and powerful mode; several indeed open up entirely new areas of media analysis. All are likely to offer the reader fresh insights." -- BOOK BLURB
Notes: Mass media. Documentaries (BNB/PRECIS); Includes bibliographical references and index; Includes index
ISBN: 071316493X
Donation: donated by the family of Wayne Levy, 2006
Contents: -- select bibliography -- preface -- 1: 'the stuff of radio': developments in radio features and documentaries before the war : Paddy Scannell -- 2: authorship in documentary : sociology as an art form in mass observation : David Chaney and Michael Pickering -- 3: the documentary aesthetics of Humphrey Jennings : Bjorn Sorenssen -- 4: the origin of British television documentary: the BBC 1946-55 : Elaine Bell -- 5: the agnostic narratives of television science : Roger Silverstone -- 6: questions of magnitude : Bill Nichols -- 7: seeing is believing: the ideology of naturalism : Richard Collins -- 8: documentary meanings and the discourse of interpretation : John Corner and Kay Richardson -- 9: notes on the ascent of a ficticious mountain : Dai Vaughan -- notes on contributors -- index --

Call No: REFERENCE SECTION; 027(94) JCM
CorpAuthor: Jennifer Cornish Media
Source: AT
Place: Sydney
Publisher: Jennifer Cornish Media
PubDate: September 1997
PhysDes: 44p. ills.
Subject: SPECIAL BROADCASTING SERVICE; DOCUMENTARIES. AUSTRALIA; DISTRIBUTION. AUSTRALIA

Call No: 761 DOC
Author: Winston, Brian
CorpAuthor: British Film Institute
Source: UK
Place: London
Publisher: Palgrave Macmillan
PubDate: 2013
PhysDes: 416 pages ; 25 cm
Subject: AFRICA; ART CINEMA; ANTHROPOLOGY AND THE CINEMA; BRAZIL; CINEMA-DIRECT; CINEMA VERITE; DOCUMENTARIES; DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; ETHICS AND THE CINEMA; ETHNOGRAPHIC FILMS; HISTORY ON TV; HOMOSEXUALITY AND THE CINEMA; ISRAEL; INTERNET AND THE CINEMA; LATIN AMERICAN COUNTRIES; PALESTINE; POLITICAL FILMS; RACIAL ISSUES AND THE CINEMA; REVOLUTIONARY THEMES IN FILMS; MOVEMENTS IN FILM HISTORY; REALITY TV; GRIERSON, JOHN; MOORE, MICHAEL; VERTOV, DZIGA; AFRICA RISING (US, Paula Heredia, 2009); AILEEN: LIFE AND DEATH OF A SERIAL KILLER (UK, Nick Bloomfield & Joan Churchill, 2003); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929); NANOOK OF THE NORTH (US, Robert Flaherty, 1922)
Summary: Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film. In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies. -- BOOK BLURB
ISBN: 9781844573417
Contents: Acknowledgments -- Notes on Contributors -- Foreword: Why Documentaries Matter -- Introduction: The Filmed Documentary --; PART I: DOCUMENTARY VALUES -- The Question of Evidence, the Power of Rhetoric and Documentary Film: Bill Nichols -- 'I'll Believe It When I Trust the Source': Documentary Images and Visual Evidence: Carl Plantinga -- 'The Performance Documentary': The Performing Film-Maker, the Acting Subject: Stella Bruzzi -- On Truth, Objectivity and Partisanship: The Case of Michael Moore: Douglas Kellner -- CGI and the End of Photography as Evidence: Taylor Downing -- Drawn From Life: The Animated Documentary: Andy Glynne -- Dramadoc? Docudrama? The Limits and Protocols of a Televisual Form: Derek Paget -- Ambiguous Audiences: Annette Hill -- Life As Narrativised: Brian Winston -- The Dance of Documentary Ethics: Pratap Rughani -- Deaths, Transfigurations and the Future: John Corner --; PART II: DOCUMENTARY PARADIGMS -- Problems in Historiography: The Documentary Tradition Before Nanook of the North: Charles Musser -- John Grierson and the Documentary Film Movement: Ian Aitken -- Challenges For Change: Canada's National Film Board: Thomas Waugh and Ezra Winton -- Grierson's Legacies: Australia and New Zealand: Deane Williams -- New Deal Documentary and the North Atlantic Welfare State: Zoe Druick and Jonathan Kahana -- The Triumph of Observationalism: Direct Cinema in the USA: Dave Saunders -- Russian and Soviet Documentary: From Vertov to Sokurov: Ian Christie -- The Radical Tradition in Documentary Film-making, 1920s–50s: Bert Hogenkamp -- Le Groupe des trente: The Poetic Tradition: Elena Von Kassel Siambani -- Cinéma Vérité: Vertov Revisited: Genevieve Van Cauwenberge -- Beyond Sobriety: Documentary Diversions: Craig Hight --; PART III: DOCUMENTARY HORIZONS -- Eastwards: Abe Mark Nornes -- Africa N.: Frank Ukadike -- Images From the South: Contemporary Documentary in Argentina and Brazil: Ana Amado and Maria Dora Mourao -- 'Roadblock' Films, 'Children's Resistance' Films and 'Blood Relations' Films: Israeli and Palestinian Documentary Post-Intifada: Il Raya Morag -- Sacred, Mundane and Absurd Revelations of the Everyday – Poetic Vérité in the Eastern European Tradition; Susanna Helke --; PART IV: DOCUMENTARY VOICES -- First-Person Political: Alisa Lebow -- Feminist Documentaries: Finding, Seeing and Using Them: Julia Lesage -- Pioneers of Black Documentary Film: Pearl Bowser -- LGTBs' Documentary Identity: Christopher Pullen -- Docusoaps: The Ordinary Voice as Popular Entertainment: Richard Kilborn -- Reality TV: A Sign of the Times?: Anita Biressi and Heather Nunn --; PART V: DOCUMENTARY DISCIPLINES -- Anthropology: The Evolution of Ethnographic Film: Paul Henley -- Science, Society and Documentary: Tim Boon -- History Documentaries for Television: Ann Gray -- Music, Documentary, Music Documentary: Michael Chanan -- Art, Documentary as Art; Michael Renov --; PART VI: DOCUMENTARY FUTURES -- Documentary as Open Space: Helen de Michiel and Patricia R. Zimmermann -- 'This Great Mapping of Ourselves': New Documentary Forms Online: John Dovey and Mandy Rose -- New Platforms for 'Docmedia': 'Varient of a Manifesto': Peter Wintonick --; Afterword: The Unchanging Question: Brian Winston -- Index

Call No: 761(73) BLU
Author: Bluem, A. William
Source: US
Place: New York
Publisher: Hastings House
PubDate: [1965]
PhysDes: 311 p. illus., ports. 24 cm
Subject: BIOGRAPHICAL FILMS; DOCUMENTARIES. USA; JOURNALISM IN THE CINEMA; PHOTOGRAPHY AND THE CINEMA; RADIO AND THE CINEMA; TELEVISION JOURNALISM; TELEVISION; TELEVISION. USA; TRUTH IN FILMS; WAR AND TV
Summary: "The documentary movement in American television is explored critically in this knowledgeable, and often controversial, book. Analyzed here are forms and functions of the television documentary; its heritage in other media (print, still photography, motion pictures, radio, living theatre); its major achievements; the people who have shaped it; the problems and the possibilities of its use in a free society." -- BOOK BLURB
Notes: Bibliography: p. 297-301
ISBN: 0803815271
LON: 646183 8085578
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Call No: SUBJECT CLIPPINGS FILE; DOCUMENTARIES. AUSTRALIA
Author: Lawson, Sylvia
PhysDes: Clippings File Article
Subject: DOCUMENTARIES. AUSTRALIA; ROCKING THE FOUNDATIONS (AT, Pat Fiske, 1985); MESSAGE FROM MUNGO (AT, Andrew Pike / Ann McGrath, 2014)

Call No: 761 TAR
Author: Tarrant, Patrick Anthony
Source: AT
Place: Queensland
PubDate: 2008
PhysDes: 157 p. : ill. ; 30 cm
Subject: DOCUMENTARIES; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS; DOCUMENTARY FILMS. AUSTRALIA; THEORY; FILM STUDY AND RESEARCH; FILM STUDY AND RESEARCH. AUSTRALIA; CRITICISM; REALITY TV; REALITY TV. AUSTRALIA; HUBBUB (AT, Patrick Tarrant, 2007); ONE MORE LIKE THAT (AT, Patrick Tarrant, 2007)
Summary: " Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the filmmaking process itself. This Ph.D explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of 'the participant' in contemporary documentary practice." -- ABSTRACT
Notes: Presented to the Creative Industries Faculty, Queensland University of Technology; Thesis (Ph.D.)--Queensland University of Technology, Brisbane, 2008; Includes bibliographical references (p. 151-157); Note the published version contains 1 videodisc (4 3/4 in.), but this is not included with our copy
Contents: -- keywords -- abstract -- table of contents -- list of figures -- supplementary material -- copyright -- statement of original authorship -- acknowledgments -- chapter 1: introduction -- chapter 2: participatory cultures & documentary practices -- chapter 3: camera movies (awesome, I fuckin' shot them!) -- chapter 4: finding, filming and documenting (the articulate archive) -- chapter 5: conclusion (the thesis film) -- appendix 1: interview questions used for hubbub -- appendix 2: instructions for the dvd -- works cited -- filmography --

Call No: 630:761 WAH
Author: Wahlberg, Malin
Source: US
Place: Minneopolis
Publisher: University of Minnesota Press
PubDate: c2008
PhysDes: xvii, 170 p. : ill. ; 26 cm
Series: Visible evidence ; v. 21
Subject: PHILOSOPHY AND THE CINEMA; DOCUMENTARIES; WARHOL, ANDY; DELEUZE, GILLES; BAZIN, ANDRE; MITRY, JEAN
Summary: The book attempts to look at the idea of time for both the maker of documentaries, and the viewer of such works; it attempts to bring together the philosophy of time and the ideas of documentary making [Taken from the back of the book]
Notes: Bibliography: p.151-164; Includes index
ISBN: 9780816649686

Call No: 761 JAC
Author: Jacobs, Lewis, comp
Edition: 2nd ed
Place: New York
Publisher: W. W. Norton
PubDate: c1979
PhysDes: 594 p. : ill. ; 24 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS. USSR; HISTORY OF CINEMA; NEWSREELS; FLAHERTY, ROBERT; GRIERSON, JOHN; VERTOV, DZIGA; RIEFENSTAHL, LENI; LEACOCK, RICHARD; WISEMAN, FREDERICK; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); GRASS (US, Ernest B. Schoedsack, 1926); CHANG (US, Ernest B. Schoedsack & Merian C. Cooper, 1927); MOANA (US, Robert Flaherty, 1926); RAIN (US, Louis Milestone, 1932); STARK LOVE (US, Karl Brown, 1927); TURKSIB (US, Victor A. Turin, 1929); DRIFTERS (SW, John Grierson, 1929); A PROPOS DE NICE (FR, Jean Vigo, 1930); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); SONG OF CEYLON, THE (UK, Basil Wright, 1934); THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934); TRI PESNI O LENINE (UR, Dziga Vertov, 1934); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); MAISONS DE LA MISERE, LES (BE, Henri Storck, 1937); OLYMPIA (G, Leni Riefenstahl, 1938); TRIUMPH OF THE WILL (G, Leni Riefenstahl, 1935); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); SPANISH EARTH, THE (US, Joris Ivens, 1937); FIGHT FOR LIFE, THE (US, Pare Lorentz, 1940); RIVER, THE (US, Pare Lorentz, 1938); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); LAND, THE (US, Robert Flaherty, 1942); NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942); NEGRO SOLDIER, THE (US, Frank Capra, 1944); DIARY FOR TIMOTHY, A (UK, Humphrey Jennings, 1946); FARREBIQUE [FARREBIQUE OU LES QUATRE SAISONS] (FR, Georges Rouquier, 1946); SAVAGE EYE, THE (US, Ben Maddow, Sidney Meyers, Joseph Strick, 1959); JOLI MAI, LE (FR, Chris Marker & Pierre Lhomme, 1963); TITICUT FOLLIES (US, Frederick Wiseman, 1967); MARRIED COUPLE, A (CN, Allan King, 1969); WOODSTOCK (US, Michael Wadleigh, 1970); SORROW AND THE PITY, THE [CHAGRIN ET LA PITIE, LE] (FR/GW/SZ, Marcel Ophuls, 1969); SORROW AND THE PITY, THE [CHAGRIN ET LA PITIE, LE] (FR/GW/SZ, Marcel Ophuls, 1969); HEARTS AND MINDS (US, Peter Davis, 1974); HARLAN COUNTY, U.S.A. (US, Barbara Kopple, 1976)
Summary: "Originally published in 1971, The Documentary Tradition is the essential survey of development and achievements of one of the most distinctive and influential genres of film. Edited by the distinguished filmmaker and historian Lewis Jacobs, the book has become an indispensable reference for both students and practitioners of documentary. This new edition brings The Documentary Tradition up to date and includes the writings of almost 100 filmmakers and critics. To the five parts which trace the development of the genre from the 1920s Jacobs has added a new section of seven essays on the documentaries of the 1970s. The section is introduced by his own survey of the filmmaking of the period, "From Political Activism to Women's Consciousness," and accompanied by a selected list of documentaries of the 1970s together with photographs from a number of these films. The bibliography of works on documentary films and filmmakers has been expanded." -- BOOK BLURB
Notes: Includes index; Bibliography: p. 577-579
ISBN: 0393950425
LON: 1437994
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Call No: 761 COL
Author: Coles, Robert
Edition: 1997
Place: New York; London
Publisher: Oxford University Press
PubDate: 1997
PhysDes: 278 pages ; 21 cm
Subject: DOCUMENTARIES
ISBN: 9780195124958
Donation: Sue Hardisty

Call No: 81WIL WIL
Author: Orbanz, Eva
Place: MFunchen [Germany]
Publisher: Goethe-Institut
PubDate: 1980]
PhysDes: 31p. : ill., ports. ; 26 cm
Subject: WILDENHAHN, KLAUS; DOCUMENTARIES
Notes: "The following text is an excerpt from a documentation from March 1980 by Eva Orbanz, Deutsche Kinemathek, Berlin."; Includes bibliographical references
LON: abn80029303; 1826548

Call No: 79DON BEA
Author: Beattie, Keith
Source: UK
Place: London
Publisher: A BFI Book published by Palgrave
PubDate: 2016
PhysDes: 87 pages : illustrations ; 19 cm
Series: BFI film classics
Subject: MUSICIANS IN FILMS; DOCUMENTARIES; CINEMA-DIRECT; DYLAN, BOB; PENNEBAKER, D. A.; DONT LOOK BACK (US, D.A. Pennebaker, 1967)
Summary: "The award-winning film Dont Look Back (1967) captures Bob Dylan on tour and on the cusp of change in 1965. Dylan was rapidly shedding his image as a folk musician and being reborn as a rock persona – and D. A. Pennebaker was there to record this fascinating transformation. This insightful book charts the ways in which Pennebaker revised aspects of observational 'direct cinema', a style of film-making that he helped to pioneer, in order to represent in innovative ways Dylan's onstage performances and backstage actions. Keith Beattie's perceptive and nuanced analysis explains the relationship between 'pose' and the performative presentation of 'persona', which forms the basis of the film's portrayal, and explores Pennebaker's relationship with Dylan in the film-making process. In doing so, the book highlights many remarkable moments from Dont Look Back and demonstrates how this landmark film eschewed the informationalism of the documentary form, revealing a captivating portrait of its beguiling subject" -- BOOK BACK COVER
Notes: Formerly CIP; Includes bibliographical references
ISBN: 9781844577613
Contents: -- acknowledgments -- prologue: on a prologue -- 1 Portraiture, Performance and Collusion -- 2 Screen Test -- 3 Hanging Out -- 4 `You Don't Need a Weatherman' -- 5 Casting a Spell -- afterimages -- notes -- credits --

Call No: REFERENCE SECTION; 023(492) DUT
Source: NE
Place: [Netherlands]
Publisher: [s.n.]
PubDate: 1999
PhysDes: 52 p. ills.
Subject: NETHERLANDS; FILMOGRAPHIES; DOCUMENTARIES

Call No: 761(51) DV-
Source: US
Place: Honolulu
Publisher: University of Hawai'i Press
PubDate: 2015
PhysDes: ix, 397 pages : illustrations ; 23 cm
Series: Critical interventions
Subject: DOCUMENTARIES. CHINA; TIBET
Summary: This volume shows how Chinese independent, amateur, and activist filmmakers energize the tension between old and new media, performance and representation, fiction and non- fiction, art and politics, China and the world. Essays by scholars in cinema and media studies, anthropology, history, Asian and Tibetan studies bring innovative interdisciplinary methodologies to critically expand upon existing scholarship on contemporary Chinese independent documentary. Their inquiries then extend to narrative feature, activist video, animation, and other digital hybrids
Notes: Includes bibliographical references, filmography (pages 347-370 ) and index
ISBN: 9780824846817
Donation: Senses of Cinema
Contents: Marking the body : the axiographics of the visible hidden camera / Abe Mark Nornes -- The cruelty of the social : xianchang, intersubjectivity, and interobjectivity / J.P. Sniadecki -- Filming power and the powerless : Zhao Liang's Crime and punishment (2007) and Petition (2009) / Li Jie -- The spectacular crowd : representing the masses in DV documentary / Shuang Shen -- DV-made Tibet : domestic videos, elite films and the work of Padma Tsedan / Robert Barnett -- Chinese independent cinema in the age of "digital distribution" / Dan Gao -- Chinese digital shadows : hybrid forms, bodily archives and transnational visions / Berenice Reynaud -- The recalcitrance of reality : performances, subjects, and filmmakers in 24 city and tape / Qi Wang -- Crossing cameras in China : Christian aesthetics and realized fictions in a DV world / Angela Zito -- DV and the animateur cinema / Paola Voci -- To whom do our bodies belong? : being queer in Chinese DV documentary / Luke Robinson -- Toward a digital political mimesis : aesthetic of affect and activist video / Zhang Zhen

Author: Burton, Geoff
PhysDes: Article
Subject: DOCUMENTARIES. AUSTRALIA; SHARP, MARTIN; EDOLS, MICHAEL; TINY TIM; STREET OF DREAMS, THE (AT, Martin Sharp, 1988[prod.1976-])
Summary: Cinematographer, Michael Edols discusses working with eccentric artist, Martin Sharp during their work on the 1988 documentary film, Street of Dreams, about musician,Tiny Tim
Notes: Interview

Call No: 408.1(94) PEA
Author: Peach, Bill
Source: AT
Place: Sydney
Publisher: ABC Enterprises for the Australian Broadcasting Corporation
PubDate: 1984
PhysDes: 160 p. : ill. (some col.), maps, ports. ; 29 cm
Subject: HISTORY PROGRAMMES. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; EXPLORERS, THE [TV] (AT, 1984)
Notes: Includes index. "From the ABC television series". Bibliography: p. 155-156.
ISBN: 0642975914
Donation: donated by the family of Wayne Levy, 2006

PhysDes: Article
Subject: INDUSTRY, FILM. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; HISTORY OF CINEMA. 1920's
Summary: Article on the discovery of 'In New Guinea Wilas', a two-hour Australian documentary shot bu William J. Jackson in 1926.

Call No: 732.4 ROS
Author: Roscoe, Jane; Hight, Craig
Place: Manchester ; New York
Publisher: Manchester University Press ; New York : Distributed exclusively in the U.S.A. by Palgrave, 2001
PubDate: 2001
PhysDes: ix, 222 p. : ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY DRAMAS; DOCUMENTARY FILMS; FALLS, THE (UK, Peter Greenaway, 1980); ZELIG (US, Woody Allen, 1983); RUTLES, THE (US, Eric Idle, 1978); BOB ROBERTS (US, Tim Robbins, 1992); THIS IS SPINAL TAP (US, Rob Reiner, 1984); C'EST ARRIVE PRES DE CHEZ VOUS (BE, Remy Belvaux/Andre Bonzel/Benoit Poelvoorde, 1992)
Summary: "This book offers the first major study of mock-documentary. The authors examine the relatively new form along with the association between factual codes and conventions, and the discourses which underpin the genre. The analysis includes detailed explorations of Woody Allen's Zelig, Peter Greenaway's The Falls, the Beatles' spoof The Rutles as well as Bob Roberts, This is Spinal Tap, and Man Bites Dog."
Notes: Includes bibliographical references (p. [206]-216) and index. Filmography: p. [190]-205
ISBN: 0719056411
Contents: 1. Factual discourse and the cultural placing of documentary -- 2. Recent transformations of the documentary genre -- 3. A cousin for the drama-documentary: Situating the mock-documentary -- 4. Building a mock-documentary schema -- 5. A suggested genealogy -- 6. Degree one: parody -- 7. Degree two: critique and hoax -- 8. Degree three: deconstruction Conclusion

Call No: 761-02 FRE
Author: French, Lisa
Edition: 2021
Place: Cham, Switzerland
Publisher: Palgrave Macmillan
PhysDes: 276 pages : illustrated ; 22 cm
Subject: WOMEN FILMMAKERS; DOCUMENTARIES; FEMINISM AND THE CINEMA; HONKASALO, PIRJO; LONGINOTTO, KIM; JAIN, NISHTHA; MANDY, MARIE; KATES, NANCY; ARMSTRONG, GILLIAN
Summary: The Female Gaze in Documentary Film – an International Perspective makes a timely contribution to the significant rise in interest in recent times in the status, presence, achievements and issues for women in contemporary screen industries. It examines the works, contributions and participation of female documentary directors globally. The central preoccupation of the book is to consider what might constitute a ‘female gaze’, an inquiry that has had a long history in filmmaking, film theory and women’s art. It fills a gap in the literature which to date has not substantially examined the work of female documentary directors. Moreover, research on sex, gender and the gaze has been relatively infrequently the subject of scholarship on documentary film, particularly in comparison to narrative film or television drama. A distinctive feature of the book is that it is based on interviews with significant female documentarians from Europe, Asia and North America. -- publisher's web site
ISBN: 9783030680930
Contents: Front Matter – Introduction. PART ONE -- Women’s Documentary Practice, Theory and Histories -- Women and Documentary -- The ‘Female Gaze’ -- Aesthetics and the Influence of Gender -- Feminisms, Feminist Theory and Documentary Practice. PART TWO -- Case Studies: Female Documentary Directors in Focus -- Documentary as Artform: Pirjo Honkasalo’s Cinematic Poetics -- Transnational Feminism in the Cinema of Kim Longinotto -- Nishtha Jain: An Auto-ethnographic and a Postcolonial Feminist Gaze -- Marie Mandy: Female Subjectivity and Aesthetics -- A View from the Margins: The Films of Nancy D Kates -- Gillian Armstrong: The Line Between Fact and Fiction. Conclusion: Rendering Female Reality.

Call No: 761:626[396] FEM
Author: Waldman, Diane (editor); Walker, Janet (editor)
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: 1999
PhysDes: ix, 365 p : ill. ; 26 cm
Series: Visible Evidence, volume 5
Subject: DOCUMENTARIES; DOCUMENTARIES. ARMENIA; DOCUMENTARIES. GERMANY; DOCUMENTARIES. TURKEY; FEMINISM AND THE CINEMA; DONT LOOK BACK (US, D.A. Pennebaker, 1967); ARMENIAN JOURNEY, AN (US, Theodore Bogosian, 1988); ROGER AND ME (US, Michael Moore, 1989); AMERICAN DREAM (US, Barbara Kopple, 1990)
Summary: Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominenet scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class and nation. This book includes an extensive filmography and videography with useful distribution information and a bibliography of work in this neglected area of scholarship. [Taken from back cover.]
ISBN: 0816630062
Contents: Introduction -- Part I: Historicizing documentary -- 1. Sentimental contracts: dreams and documents of American labor / Paula Rabinowitz -- 2. Flaherty's midwives / Patricia R. Zimmerman -- 3. New subjectivities: documentary and self-representation in the post-verite age / Michael Renov -- 4. Bad girls come and go, but a lying girl can never be fenced in / Alexandra Juhasz -- Part II: Filmmaker/subject: self/other -- 5. (Pass through) the mirror moment and 'Don't look back': music and gender in rockumentary / Susan Knobloch -- 6. Identities unmasked / empowerment unleashed: the documentary style of Michelle Parkerson / Gloria J. Gibson -- 7. Cross-cultural filmmaking, Japanese style / Ann Kaneko -- Part III: Going back (with a camera): gender, nation and documentary returns -- 8. Return, transference and the constructedness of experience in German/Turkish documentary film / Silvia Kratzer Juilfs -- 9. Melancholic memories and manic politics: feminism, documentary, and the Armenian diaspora / Anahid Kassabian and David Kazanjian -- 10. Fetishes and fossils: notes on documentary and materiality / Laura U. Marks -- 11. On silence and other disruptions / Deborah Lefkowitz -- Part IV: Innovative (auto)biographies -- 12. Fleeing from documentary: autobiographical film/video and the 'ethics of responsibility' / Michelle Citron -- 13. From rupture to rapture through experimental bio-pics: Leslie Thornton's 'There was an unseen cloud moving' / Chris Holmlund -- 14. Women's fragmented consciousness in feminist experimental autobiographical video / Julia Lesage

Call No: 81HER AME
Author: Ames, Eric
Source: US
Place: Minneapolis
Publisher: University of Minnesota Press
PubDate: c2012
PhysDes: x,334 pages : illustrations ; 23 cm
Series: Visible evidence ; 27
Subject: CRITICISM; DOCUMENTARIES; DOCUMENTARY FILMS; HERZOG, WERNER; GRIZZLY MAN (CN/US, Werner Herzog, 2005)
Summary: Over the course of his career Werner Herzog has directed almost sixty films, roughly half of which are documentaries. And yet, in a statement delivered during a public appearance in 1999, the filmmaker delcared: "There are deeper strata of truth in cinema, and there is such a thing as poetic, ecstatic truth. It is mysterious and elusive, and can be reached only through fabrication and imagination and stylization." Ferocious Reality is the first book to ask how this conviction , so hostile to the traditional tenets of documentary, can inform the work of one of the world's most provocative documentarians. In close, contextualized analysis of more than twenty-five films spanning Herzog's career, Ames makes a case for exploring documentary films in terms of performance and explains what it means to do so. His book expands the field of cinema studies even as it offers an invaluable new perspective on a little studied but integral part of Werner Herzog's extraordinary oeuvre." -- BOOK BLURB
Notes: Formerly CIP; Includes bibliographical references and index
ISBN: 9780816677641
Contents: -- acknowledgments -- the Minnesota declaration -- Introduction: Werner Herzog, documentary outsider : Werner Herzog eats his shoe -- Sensational bodies. Game in the sand ; Handicapped future ; Land of silence and darkness ; Wodaabe -- Moving landscapes. The dark glow of the mountains ; Fata Morgana ; La Soufriere ; Lessons of darkness ; Wheel of time -- Ecstatic journeys. Huie's sermon ; Bells from the deep ; Pilgrimage -- Baroque visions. The great ectasy of Woodcarver Steiner ; Death for five voices ; God and the burdened -- Cultural politics. Fitzcarraldo ; Ballad of the little soldier ; Ten thousand years older ; The white diamond -- Reenactments. Little Dieter needs to fly ; Wings of hope ; Rescue dawn -- Autobiographical acts. I am my films ; Portrait Werner Herzog ; My best fiend ; Grizzly man -- Conclusion: Herzog's ve´rite´ -- Encounters at the end of the world ; Cave of forgotten dreams --

Author: Giles, Silvana
PhysDes: Article; Illustration(s)
Subject: AUSTRALIAN FILM FINANCE CORPORATION; DOCUMENTARIES. AUSTRALIA; GOVERNMENT AID. AUSTRALIA
Summary: Overview of 13 documentaries, one feature and two children's TV dramas funded by the Film Finance Corporation in late 1998, including "The Business", "The Battleships", "The Syren's song", "Rhinestone cowboy", "Flashbacks", "Business behind bars", "Growing old disgracefully", "Least said, soonest mended", "Facing the demons", "Fire and ice", "The Fortune teller", "Hildegarde", "Search for Treasure Island 2" and "Round the twist 4".

Call No: 62 MAC
Author: MacCann, Richard Dyer
Edition: 1st ed
Place: N.Y.
Publisher: Dutton
PubDate: 1966
PhysDes: 384 p. : movie stills ; 18 cm
Subject: THEORY; AESTHETICS; DOCUMENTARIES; CINEMASCOPE; NEOREALISM; PUDOVKIN, VSEVELOD; CLAIR, RENE; HITCHCOCK, ALFRED; KNOX, ALEXANDER; NICHOLS, DUDLEY; BERGMAN, INGMAR; BALAZS, BELA; SENNETT, MACK; VORKAPICH, SLAVKO; RICHTER, HANS; Grierson, John; ZAVATTINI, CESARE; KRACAUER, SIEGFRIED; ROEMER, MICHAEL; BACHMANN, GIDEON; DREW, ROBERT; LEACOCK, RICHARD; PENNEBAKER, D. A.; DREYER, CARL TH.; VANDERBEEK, STAN; MEKAS, JONAS; KAEL, PAULINE; TRUFFAUT, FRANCOIS; Fellini, Federico
ISBN: 0525471812
LON: 21441213

Call No: 62 ARM
Author: Armes, Roy
Place: Harmondsworth, Middlesex
Publisher: Penguin
PubDate: 1974
PhysDes: 254 p. ; 18 cm
Subject: MODERNISM AND THE CINEMA; REALISM IN FILMS; DOCUMENTARIES; DOCUMENTARY FILMS; CINEMA VERITE; NEOREALISM; EXPRESSIONISM; SURREALISM AND THE CINEMA; UNDERGROUND FILMS; ANIMATION; HISTORY OF CINEMA. SILENT PERIOD; STUDIO SYSTEM; NARRATIVE IN FILMS; STARS; AUTHORSHIP; WALT DISNEY PRODUCTIONS; WESTERNS; LUMIERE, AUGUSTE & LOUIS; MELIES, GEORGES; FLAHERTY, ROBERT; VERTOV, DZIGA; VON STROHEIM, ERICH; RENOIR, JEAN; ROSSELLINI, ROBERTO; EDISON, THOMAS ALVA; GRIFFITH, DAVID WARK; HITCHCOCK, ALFRED; BUNUEL, LUIS; RESNAIS, ALAIN; GODARD, JEAN-LUC; ANGER, KENNETH; LOACH, KENNETH; CHAPLIN, CHARLES
Summary: Explores the history of cinema by looking at three broad areas - Film Realism, Film Illusion, and Film Modernism, and describes within these areas the most important film-makers, directors and companies within the film industry.
Notes: contains index; contains bibliography with descriptions and recommendations for the books sourced.
ISBN: 0140217010
URL status: URL: 'http://-' Checked: 31/08/2021 1:12:28 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 62 FIL
Author: MacKenzie, Scott (ed.)
Source: US
Place: Berkeley London
Publisher: University of California Press
PubDate: 2014
PhysDes: xxi, 651 p. ; 26 cm
Subject: AVANT-GARDE FILMS; CONSTRUCTIVISM; SURREALISM AND THE CINEMA; STRUCTURALISM; NOUVELLE VAGUE; IMPERIALISM AND THE CINEMA; GENDER AND THE CINEMA; FEMINISM AND THE CINEMA; PORNOGRAPHY AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARIES; PHILOSOPHY AND THE CINEMA; WORLD CINEMA; LATIN AMERICAN COUNTRIES; AESTHETICS; ARCHIVES & INSTITUTES, FILM
Summary: Film Manifestoes and Global Cinema Cultures is the first book to collect manifestoes from the global history of cinema, providing the first historical and theoretical account of the role played by film manifestos in filmmaking and film culture. Focussing equally on political and aesthetic manifestoes, Scott MacKenzie uncovers a neglected, yet nevertheless central history of the cinema, exploring a series of documents that postulate ways in which to re-imagine the cinema and, in the process, re-imagine the world. This volume collects the major European “waves” and figures (Eisenstein, Truffaut, Bergman, Free Cinema, Oberhausen, Dogme ‘95); Latin American Third Cinemas (Birri, Sanjinés, Espinosa, Solanas); radical art and the avant-garde (Buñuel, Brakhage, Deren, Mekas, Ono, Sanborn); and world cinemas (Iimura, Makhmalbaf, Sembene, Sen). It also contains previously untranslated manifestos co-written by figures including Bollaín, Debord, Hermosillo, Isou, Kieslowski, Painlevé, Straub, and many others. Thematic sections address documentary cinema, aesthetics, feminist and queer film cultures, pornography, film archives, Hollywood, and film and digital media. Also included are texts traditionally left out of the film manifestos canon, such as the Motion Picture Production Code and Pius XI's Vigilanti Cura, which nevertheless played a central role in film culture. -- extract taken from the back of the book
Notes: Includes index -- Includes bibliographical references and index.
ISSN: 9780520276741
Contents: Introduction. “An Invention without a Future” -- 1. The Avant-Garde(s) -- The Futurist Cinema (Italy, 1916) F.T. Marinetti, Bruno Corra, et al. -- Lenin Decree (USSR, 1919) Vladimir Ilyich Lenin -- The ABCs of Cinema (France, 1917–1921) Blaise Cendrars -- WE: Variant of a Manifesto (USSR, 1922) Dziga Vertov -- The Method of Making Workers’ Films (USSR, 1925) Sergei Eisenstein -- Constructivism in the Cinema (USSR, 1928) Alexei Gan -- Preface: Un chien Andalou (France, 1928) Luis Buñuel -- Manifesto of the Surrealists Concerning L’Age d’or (France, 193) The Surrealist Group -- Manifesto on “Que Viva Mexico” (USA, 1933) The Editors of Experimental Film -- Spirit of Truth (France, 1933) Le Corbusier -- An Open Letter to the Film Industry and to All Who Are Interested in the Evolution of the Good Film (Hungary, 1934) László Moholy-Nagy -- Light*Form*Movement*Sound (USA, 1935) Mary Ellen Bute -- Prolegomena for All Future Cinema (France, 1952) Guy Debord -- No More Flat Feet! (France, 1952) Lettriste International -- The Lettristes Disavow the Insulters of Chaplin (France, 1952) Jean-Isidore Isou, Maurice Lemaître, and Gabriel Pomerand -- The Only Dynamic Art (USA, 1953) Jim Davis -- A Statement of Principles (USA, 1961) Maya Deren -- The First Statement of the New American Cinema Group (USA, 1961) New American Cinema Group -- Foundation for the Invention and Creation of Absurd Movies (USA, 1962) Ron Rice -- From Metaphors on Vision (USA, 1963) Stan Brakhage -- Kuchar 8mm Film Manifesto (USA, 1964) George Kuchar -- Film Andepandan [Independents] Manifesto (Japan, 1964) Takahiko Iimura, Koichiro Ishizaki, et al. -- Discontinuous Films (Canada, 1967) Keewatin Dewdney -- Hand-Made Films Manifesto (Australia, 1968) Ubu Films, Thoms -- Cinema Manifesto (Australia, 1971) Arthur Cantrill and Corinne Cantrill -- For a Metahistory of Film: Commonplace Notes and Hypotheses (USA, 1971) Hollis Frampton -- Elements of the Void (Greece, 1972) Gregory Markopoulos -- Small Gauge Manifesto (USA, 1980) JoAnn Elam and Chuck Kleinhans -- Cinema of Transgression Manifesto (USA, 1985) Nick Zedd -- Modern, All Too Modern (USA, 1988) Keith Sanborn -- Open Letter to the Experimental Film Congress: Let’s Set the Record Straight (Canada, 1989) Peggy Ahwesh, Caroline Avery, et al. -- Anti-1 Years of Cinema Manifesto (USA, 1996) Jonas Mekas -- The Decalogue (Czech Republic, 1999) Jan Švankmajer -- Your Film Farm Manifesto on Process Cinema (Canada, 212) Philip Hoffman -- 2. National and Transnational Cinemas -- From “The Glass Eye” (Italy, 1933) Leo Longanesi -- The Archers’ Manifesto (UK, 1942) Michael Powell and Emeric Pressburger -- What Is Wrong with Indian Films? (India, 1948) Satyajit Ray -- Buñuel the Poet (Mexico, 1951) Octavio Paz -- French Cinema Is Over (France, 1952) Serge Berna, Guy Debord, et al. -- Some Ideas on the Cinema (Italy, 1953) Cesare Zavattini -- A Certain Tendency in French Cinema (France, 1954) François Truffaut -- Salamanca Manifesto & Conclusions of the Congress of Salamanca (Spain, 1955) Juan Antonio Bardem -- Free Cinema Manifestos (UK, 1956–1959) Committee for Free Cinema -- The Oberhausen Manifesto (West Germany, 1962) Alexander Kluge, Edgar Reitz, et al. -- Untitled [Oberhausen 1965] (West Germany, 1965) Jean-Marie Straub, Rodolf Thome, Dirk Alvermann, et al. -- The Mannheim Declaration (West Germany, 1967) Joseph von Sternberg, Alexander Kluge, et al. -- Sitges Manifesto (Spain, 1967) Manuel Revuelta, Antonio Artero, Joachin Jordà, and Julián Marcos -- How to Make a Canadian Film (Canada, 1967) Guy Glover -- How to Not Make a Canadian Film (Canada, 1967) Claude Jutra -- From “The Estates General of the French Cinema, May 1968” (France, 1968) Thierry Derocles, Michel Demoule, Claude Chabrol, and Marin Karmitz -- Manifesto of the New Cinema Movement (India, 1968) Arun Kaul and Mrinal Sen -- What Is to Be Done? (France, 1970) Jean-Luc Godard -- The Winnipeg Manifesto (Canada, 1974) Denys Arcand, Colin Low, Don Shebib, et al. -- Hamburg Declaration of German Filmmakers (West Germany, 1979) Rainer Werner Fassbinder, Werner Herzog, Wim Wenders, et al. -- Manifesto I (Denmark, 1984) Lars von Trier -- Manifesto II (Denmark, 1987) Lars von Trier -- Manifesto III: I Confess! (Denmark, 199) Lars von Trier -- The Cinema We Need (Canada, 1985) R. Bruce Elder -- Pathways to the Establishment of a Nigerian Film Industry (Nigeria, 1985) Ola Balogun -- Manifesto of 1988 (German Democratic Republic, 1988) Young DEFA Filmmakers -- In Praise of a Poor Cinema (Scotland, 1993) Colin McArthur -- Dogme ’95 Manifesto and Vow of Chastity (Denmark, 1995) Lars von Trier and Thomas Vinterberg -- I Sinema Manifesto (Indonesia, 1999) Dimas Djayadinigrat, Enison Sinaro, et al. -- 3. Third Cinemas, Colonialism, Decolonization, and Postcolonialism -- Manifesto of the New Cinema Group (Mexico, 1961) El grupo nuevo cine -- Cinema and Underdevelopment (Argentina, 1962) Fernando Birri -- The Aesthetics of Hunger (Brazil, 1965) Glauber Rocha -- For an Imperfect Cinema (Cuba, 1969) -- Julio García Espinosa Towards a Third Cinema: Notes and Experiences for the Development of a Cinema of Liberation in the Third World (Argentina, 1969) Fernando Solanas and Octavio Getino -- Film Makers and the Popular Government Political Manifesto (Chile, 1970) Comité de cine de la unidad popular -- Consciousness of a Need (Uruguay, 1970) Mario Handler -- Militant Cinema: An Internal Category of Third Cinema (Argentina, 1971) Octavio Getino and Fernando Solanas -- For Colombia 1971: Militancy and Cinema (Colombia, 1971) Carlos Alvarez -- The Cinema: Another Face of Colonised Québec (Canada, 1971) Association professionnelle des cinéastes du Québec -- 8 Millimeters versus 8 Millions (Mexico, 1972) Jaime Humberto Hermosillo, Arturo Ripstein, Paul Leduc, et al. -- Manifesto of the Palestinian Cinema Group (Palestine, 1973) Palestinian Cinema Group -- Resolutions of the Third World Filmmakers Meeting (Algeria, 1973) Fernando Birri, Ousmane Sembene, Jorge Silva, et al. -- The Luz e Ação Manifesto (Brazil, 1973) Carlos Diegues, Glauber Rocha, et al. -- Problems of Form and Content in Revolutionary Cinema (Bolivia, 1976) Jorge Sanjinés -- Manifesto of the National Front of Cinematographers (Mexico, 1975) Paul Leduc, Jorge Fons, et al. -- The Algiers Charter on African Cinema (Algeria, 1975) FEPACI (Fédération panafricaine des cinéastes) -- Declaration of Principles and Goals of the Nicaraguan Institute of Cinema (Nicaragua, 1979) Nicaraguan Institute of Cinema -- What Is the Cinema for Us? (Mauritania, 1979) Med Hondo -- Niamey Manifesto of African Filmmakers (Niger, 1982) FEPACI (Fédération panafricaine des cinéastes) -- Black Independent Filmmaking: A Statement by the Black Audio Film Collective (UK, 1983) John Akomfrah -- From Birth Certificate of the International School of Cinema and Television in San Antonio de Los Baños, Cuba, Nicknamed the School of Three Worlds (Cuba, 1986) Fernando Birri -- FeCAViP Manifesto (France, 1990) Federation of Caribbean Audiovisual Professionals -- Final Communique of the First Frontline Film Festival and Workshop (Zimbabwe, 1990) SADCC (South African Development Coordination Conference) -- Pocha Manifesto #1 (USA, 1994) Sandra Peña-Sarmiento -- Poor Cinema Manifesto (Cuba, 24) Humberto Solás -- Jollywood Manifesto (Haiti, 28) Ciné Institute -- The Toronto Declaration: No Celebration of Occupation (Canada, 29) John Greyson, Naomi Klein, et al. -- 4. Gender, Feminist, Queer, Sexuality, and Porn Manifestos -- Woman’s Place in Photoplay Production (USA, 1914) Alice Guy-Blaché -- Hands Off Love (France, 1927) Maxime Alexandre, Louis Aragon, et al. -- The Perfect Filmic Appositeness of Maria Montez (USA, 1962) Jack Smith -- On Film No. 4 (In Taking the Bottoms of 365 Saints of Our Time) (UK, 1967) Yoko Ono -- Statement (USA, 1969) Kenneth Anger -- Wet Dream Film Festival Manifesto (The Netherlands, 1970) S.E.L.F. (Sexual Egalitarianism and Libertarian Fraternity) -- Women’s Cinema as Counter-Cinema (UK, 1973) Claire Johnston -- Manifesto for a Non-sexist Cinema (Canada, 1974) FECIP (Fédération européenne du cinéma progressiste) -- Womanifesto (USA, 1975) Feminists in the Media -- Visual Pleasure and Narrative Cinema (UK, 1975) Laura Mulvey -- An Egret in the Porno Swamp: Notes of Sex in the Cinema (Sweden, 1977) Vilgot Sjöman -- For the Self-Expression of the Arab Woman (France, 1978) Heiny Srour, Salma Baccar, and Magda Wassef -- Manifesto of the Women Filmmakers (West Germany, 1979) Verband der Filmarbeiterinnen -- Wimmin’s Fire Brigade Communiqué (Canada, 1982) Wimmin’s Fire Brigade -- Thoughts on Women’s Cinema: Eating Words, Voicing Struggles (USA, 1986) Yvonne Rainer -- The Post Porn Modernist Manifesto (USA, 1989) Annie Sprinkle, Veronica Vera, et al. -- Statement of African Women Professionals of Cinema, Television and Video (Burkina Faso, 1991) FEPACI (Fédération panafricaine des cinéastes) -- Puzzy Power Manifesto: Thoughts on Women and Pornography (Denmark, 1998) Vibeke Windeløv, Lene Børglum, et al. -- Cinema with Tits (Spain, 1998) Icíar Bollaín -- My Porn Manifesto (France, 22) Ovidie -- No More Mr. Nice Gay: A Manifesto (USA, 29) Todd Verow -- Barefoot Filmmaking Manifesto (UK, 29) Sally Potter -- Dirty Diaries Manifesto (Sweden, 29) Mia Engberg -- 5. Militating Hollywood -- Code to Govern the Making of Talking, Synchronized and Silent Motion Pictures (Motion Picture Production Code) (USA, 193) Motion Picture Producers and Distributors of America -- Red Films: Soviets Spreading Doctrine in U.S. Theatres (USA, 1935) William Randolph Hearst -- Statement of Principles (USA, 1944) Motion Picture Alliance for the Preservation of American Ideals -- Screen Guide for Americans (USA, 1947) Ayn Rand -- White Elephant Art vs. Termite Art (USA, 1962) Manny Farber -- Super Fly: A Summary of Objections by the Kuumba Workshop (USA, 1972) Kuumba Workshop -- The World Is Changing: Some Thoughts on Our Business (USA, 1991) Jeffrey Katzenberg -- Full Frontal Manifesto (USA, 21) Steven Soderbergh -- 6. The Creative Treatment of Actuality-- Towards a Social Cinema (France, 1930) Jean Vigo -- From “First Principles of Documentary” (UK, 1932) John Grierson -- Manifesto on the Documentary Film (UK, 1933) Oswell Blakeston -- Declaration of the Group of Thirty (France, 1953) Jean Painlevé, Jacques-Yves Cousteau, Alain Resnais, et al. -- Initial Statement of the Newsreel (USA, 1967) New York Newsreel -- Nowsreel, or the Potentialities of a Political Cinema (USA, 1970) Robert Kramer, New York Newsreel -- Documentary Filmmakers Make Their Case (Poland, 1971) Bohdan Kosinski, Krzysztof Kieslowski, and Tomasz Zygadlo -- The Asian Filmmakers at Yamagata YIDFF Manifesto (Japan, 1989) Kidlat Tahimik, Stephen Teo, et al. -- Minnesota Declaration: Truth and Fact in Documentary Cinema (Germany, 1999) Werner Herzog -- Defocus Manifesto (Denmark, 2) Lars von Trier -- Kill the Documentary as We Know It (USA, 22) Jill Godmilow -- Ethnographic Cinema (EC): A Manifesto{ths}/{ths}A Provocation (USA, 23) Jay Ruby -- Reality Cinema Manifesto (Russia, 25) Vitaly Manskiy -- Documentary Manifesto (USA, 28) Albert Maysles -- China Independent Film Festival Manifesto: Shamans * Animals (People’s Republic of China, 211) By several documentary filmmakers who participated and also who did not participate in the festival -- 7. States, Dictatorships, the Comintern, and Theocracies -- Capture the Film! Hints on the Use of, Out of the Use of, Proletarian Film Propaganda (USA, 1925) Willi Münzenberg -- The Legion of Decency Pledge (USA, 1938) Archbishop John McNicholas -- Creative Film (Germany, 1935) Joseph Goebbels -- Vigilanti Cura: On Motion Pictures (Vatican City, 1936) Pope Pius XI -- Four Cardinal Points of A Revolução de Maio (Portugal, 1937) António Lopes Ribeiro -- From On the Art of Cinema (North Korea, 1973) Kim Jong-il -- 8. Archives, Museums, Festivals, and Cinematheques -- A New Source of History: The Creation of a Depository for Historical Cinematography (Poland/France, 1898) Boleslaw Matuszewski -- The Film Prayer (USA, c. 192) A. P. Hollis -- The Film Society (UK, 1925) Iris Barry -- Filmliga Manifesto (The Netherlands, 1927) Joris Ivens, Henrik Scholte, Men’no Ter Bbaak, et al. -- Statement of Purposes (USA, 1948) Amos Vogel, Cinema 16 -- The Importance of Film Archives (UK, 1948) Ernest Lindgren -- A Plea for a Canadian Film Archive (Canada, 1949) Hye Bossin -- Open Letter to Film-Makers of the World (USA, 1966) Jonas Mekas -- A Declaration from the Committee for the Defense of La Cinémathèque française (France, 1968) Committee for the Defense of La Cinémathèque française -- Filmmakers versus the Museum of Modern Art (USA, 1969) Hollis Frampton, Ken Jacobs, and Michael Snow -- Anthology Film Archives Manifesto (USA, 1970) P. Adams Sitney -- Toward an Ethnographic Film Archive (USA, 1971) Alan Lomax -- Brooklyn Babylon Cinema Manifesto (USA, 1998) Scott Miller Berry and Stephen Kent Jusick -- Don’t Throw Film Away: The FIAF 7th Anniversary Manifesto (France, 28) Hisashi Okajima and La fédération internationale des archives du film Manifesto Working Group -- The Lindgren Manifesto: The Film Curator of the Future (Italy, 21) Paolo Cherchi Usai -- Film Festival Form: A Manifesto (UK, 212) Mark Cousins -- 9. Sounds and Silence -- A Statement on Sound (USSR, 1928) Sergei Eisenstein, Vsevolod Pudovkin, and Grigori Alexandrov -- A Rejection of the Talkies (USA, 1931) Charlie Chaplin -- A Dialogue on Sound: A Manifesto (UK, 1934) Basil Wright and B. Vivian Braun -- Amalfi Manifesto (Italy, 1967) Michelangelo Antonioni, Bernardo Bertolucci, Pier Paolo Pasolini, et al. -- 10. The Digital Revolution -- Culture: Intercom and Expanded Cinema: A Proposal and Manifesto (USA, 1966) Stan VanDerBeek -- The Digital Revolution and the Future Cinema (Iran, 2) Samira Makhmalbaf -- The Pluginmanifesto (UK, 21) Ana Kronschnabl -- Digital Dekalogo: A Manifesto for a Filmless Philippines (The Philippines, 23) Khavn de la Cruz -- 11. Aesthetics and the Futures of the Cinema -- The Birth of the Sixth Art (France, 1911) Ricciotto Canudo -- Memo from Walt Disney to Don Graham (USA, 1935) Walt Disney -- The Birth of a New Avant Garde: La caméra-stylo (France, 1948) Alexandre Astruc -- From Preface to Film (UK, 1954) Raymond Williams -- The Snakeskin (Sweden, 1965) Ingmar Bergman -- Manifesto (Italy, 1965) Roberto Rossellini, Bernardo Bertolucci, Tinto Brass, et al. -- Manifesto on the Release of La Chinoise (France, 1967) Jean-Luc Godard -- Direct Action Cinema Manifesto (USA, 1985) Rob Nilsson -- Remodernist Film Manifesto (USA, 28) Jesse Richards -- The Age of Amateur Cinema Will Return (People’s Republic of China, 21) Jia Zhangke --

Call No: REFERENCE SECTION; 023(94)"year" FIL held 1988-1993
CorpAuthor: Australian Film Commission
Subject: AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES

Call No: REFERENCE SECTION; 023(94)"1995" FIL
CorpAuthor: Australian Film Commission
PubDate: April 1995
Subject: AUSTRALIAN FILM COMMISSION; DOCUMENTARY FILMS. AUSTRALIA; DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA
Notes: Catalogue

Call No: REFERENCE SECTION; 023(94)"1994" FIL
CorpAuthor: Australian Film Commission
PubDate: October 1994
Subject: AUSTRALIAN FILM COMMISSION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA
Notes: Catalogue

Call No: REFERENCE SECTION; 023(94)"1995" AUS
CorpAuthor: Australian Film Commission
PubDate: October 1995
Subject: AUSTRALIAN FILM COMMISSION; DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES

Call No: REFERENCE SECTION; 023(94)"1996" AUS
CorpAuthor: Australian Film Commission
PubDate: April 1996
Subject: DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; AUSTRALIAN FILM COMMISSION; FILMOGRAPHIES. AUSTRALIA

Call No: REFERENCE SECTION; 023(94) "1993" FIL
CorpAuthor: Australian Film Commission
PubDate: April 1993
Subject: DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94)"1992" FIL
CorpAuthor: Australian Film Commission
PubDate: October 1992
Subject: DOCUMENTARIES. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: REFERENCE SECTION; 023(94) AUS
CorpAuthor: Australian Film Commission
PubDate: October 1996
Subject: DOCUMENTARIES. AUSTRALIA; FILMOGRAPHIES. AUSTRALIA; AUSTRALIAN FILM COMMISSION

Call No: 71(480) COW
Author: Cowie, Peter
CorpAuthor: Suomen Elokuva-arkisto
Edition: [Expanded and updated ed.]
Place: Helsinki
Publisher: VAPK-Pub.
PubDate: 1990
PhysDes: 223 p. : ill. ; 25 cm
Subject: FINLAND; WORLD WAR II AND THE CINEMA; WORLD WAR II IN FILMS; DOCUMENTARIES; ANIMATED FILMS; CHILDREN, FILMS FOR; TAPIOVAARA, NYRKI; MOLLBERG, RAUNI; JARVA, RISTO; DONNER, JORN; KAURISMAKI, AKI; KAURISMAKI, MIKA
Notes: At head of title: Finnish Film Archive; Includes index
ISBN: 9518613700003
LON: 8118426 8118426

Call No: SUBJECT CLIPPINGS FILE; ENVIRONMENTAL ISSUES ON TV
Author: Blundell, Graeme
PhysDes: Clippings File Article
Subject: DOCUMENTARIES: UNITED KINGDOM; ENVIRONMENTAL ISSUES ON TV; PLANET OIL [TV](UK, 2015)
Summary: Review of the documentary tv series PLANET OIL