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Call No: FESTIVAL CATALOGUE SHELVES
Place: London, UK
Publisher: [s.n.]
PubDate: 2006
PhysDes: 31 p. : ill. ; 30 cm
Subject: FESTIVALS. LONDON [VARIOUS]; QUEER CINEMA; SHORT FILMS; DOCUMENTARY FILMS; EUROPEAN CINEMA; FOREIGN FILMS USE: IMPORT OF FILMS; WORLD CINEMA; WESTERNS; HOMOSEXUALITY IN FILMS
Notes: The 20th London Lesbian and Gay Film Festival includes a selection of feature length films, short films and documentaries. The festival also hosts various film retrospectives including a "Queer look at the Western" genre and "Gay TV". The catalogue also contains numerous colour stills, film synopses and an index.
ID2: 104

Call No: 761 WIN
Author: Winston, Brian; Vanstone, Gail; Chi, Wang
Source: UK
Place: London
Publisher: Bloomsbury Academic
PubDate: 2017
PhysDes: xii ; 271 pages : illustrations ; 23 cm
Subject: DOCUMENTARY FILMS; FILMMAKING; AESTHETICS; EDITING; PRODUCTION; CAMERAS
Summary: “Fiercely argued, urgently rendered, and rigorously researched, The Act of Documenting whacks through the ethical, political, moral, evidentiary, and argumentative acts undergirding documentary production and reception. This gutsy, vital book cuts to the core of documentary: it interrogates the place of documentary in the world and how it engages people and ideas in ways that truly matter. Moving adroitly between the histories of analog documentary and the promising landscapes of digital forms, this substantial, sage book irrefutably shows that ethics, politics, and philosophical inquiry override formats, interfaces, and technologies. Polemical yet lyrical, forceful yet inviting, this book leaves the reader exhilarated with new ways of thinking about and through documentary. The opening chapter précis could be assembled as an intellectual toolkit for all us in the act of documentary-theorists, historians, practitioners, programmers, or offered as a manifesto cracking open the most salient issues demanding our attention and action.” -- Patricia R. Zimmermann, Professor of Screen Studies, Ithaca College, USA
Notes: Includes bibliographical references and index
ISBN: 9781501309175

Author: Smaill, Belinda
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; ASIANS IN FILMS. AUSTRALIA; ETHNIC GROUPS AND THE CINEMA; PSYCHOLOGICAL EFFECTS OF FILMS; FINISHED PEOPLE, THE (AT, Khoa Do, 2003); LETTERS TO ALI (AT, Clara Law, 2004); SADNESS: A MONOLOGUE BY WILLIAM YANG (AT, Tony Ayres, 1999); CHINESE TAKEAWAY (AT, Mitzi Goldman, 2002)
Summary: Documentary is a genre not widely understood through its capacity to engage the emotions. This article works to acknowledge the affective labour performed by documentary and, more specifically, the way emotions give meaning to documentary subjects. The analysis explores the production of Asian Australian subjects as documentary authors in four prominent films produced over the previous decade: Chinese Takeaway (Mitzi Goldman, 2002), Sadness: A Monologue by William Yang (Tony Ayres, 1999), The Finished People (Khoa Do, 2003) and Letters to Ali (Clara Law. 2004). These texts allow for a fruitful examination of the way the emotions that shape the expression of these author-subjects, such as mourning and care, might impact on the documentary representation of cultural otherness. Asian Australian subjectivity coalesces in and around these texts in a manner that is founded on the activity of mourning. Included here are not only the bereavements of loved ones, but also the losses that are bound to the movements of modernity, such as the lost fullness which is the promise of diaspora, the failure or absence of universal citizenship and the lack of safety in life lived in advanced capitalism. This article explores not only the absences suggested in these films, but also how these absences present a site of ethical encounter for the viewer that both resists reducing and assimilating the Asian Australian author to a devalued ethnic other while also addressing a community of viewers through a relation of reciprocity based in caring attachments to the social realm. -- Abstract
Notes: Part of Special Issue: Transnational Asian Australian Cinema. Part 1

Call No: 224 DAN; SEE STAFF
Copy Management: Copy 1 = lost July 1998; Copy 2
Author: Dancyger, Ken; Rush, Jeff
Edition: 2nd ed
Place: Boston
Publisher: Focal Press
PubDate: 1995
PhysDes: xii, 300 p. : ill. ; 24 cm
Subject: NARRATIVE IN FILMS; SCRIPTWRITING; GENRES; CHARACTERIZATION IN FILMS; DOCUMENTARY FILMS
Notes: Includes bibliographical references and index; Subtitle on cover: Writing beyond the rules
ISBN: 0240802187 (pbk. : acid-free paper)
LON: 11513370

Author: Daly, Nicola
PhysDes: Article
Subject: DOCUMENTARY FILMS; BARRY, REBECCA; I AM A GIRL (US, Rebecca Barry, 2013)
Summary: Renowned documentary director, Rebecca Barry discusses filming the documentary, 'I am a girl', exploring the stories of seven girls, in seven different countries, including India, Australia, Cambodia and Papua New Guinea

Call No: FESTIVAL CATALOGUE SHELVES; held 1963, 1979-1984
CorpAuthor: American Film Festival; Educational Film Library Association
Source: US
Place: New York, N.Y.
Publisher: Educational Film Library Association
PubDate: 1963-1984
PhysDes: 7 v. : ill. ; 28 cm
Subject: FESTIVALS. USA [VARIOUS]; FESTIVALS. NEW YORK [VARIOUS]; DOCUMENTARY FILMS; ANIMATION; EDUCATIONAL FILM LIBRARY ASSOCIATION; SHORT FILMS
Notes: The American Film Festival includes a showcase of films ranging from documentary to children's, experimental to educational. The catalogue also contains numerous black and white stills, film synopses and title index.
LON: 930252
ID2: 103

Call No: 79ARC HUG
Author: Hughes, John
Source: AT
Publisher: John Hughes; Early Works; Australian Teachers of Media Inc (ATOM)
PubDate: c2013
PhysDes: xiii, 146 pages : illustrations (chiefly colour) ; 27 cm
Subject: INDEPENDENT FILMMAKERS; INDEPENDENT FILMMAKERS. AUSTRALIA; FESTIVALS; FESTIVALS. AUSTRALIA; DOCUMENTARY FILMS; COLD WAR FILMS. AUSTRALIA; COLD WAR AND THE CINEMA. AUSTRALIA; REALIST FILM UNIT AND ASSOCIATION, THE; ARCHIVE PROJECT THE (AT, John Hughes, 2005)
Summary: "This 'book of the film' has been a long time in preparation.The Archive Project is an illustrated screenplay of the film of the same name that premiered at the Australian International Documentary Conference in 2006. The film quickly accumulated a number of awards and nominations including a Film Critics Circle of Australia Award for best feature documentary, a NSW Premiers History Prize, and nominations at the 2006 AFI Awards, the Australian Writers Guild Awards and the Australian Directors Guild Awards. The film won Best Tertiary Resource at the 2006 ATOM (Australian Teachers of Media) Awards. The book enhances the experience available through the film with greater editorial detail and rich pictorial documentation. Extra interviews included supplement a pictorial history of film culture and politics during Australia's cultural Cold War. An appendix lists all known screenings of the Melbourne Realist Film Association and breakout texts provide background information and succinct biographies of key players" -- BOOK BLURB
Notes: Includes index
ISBN: 9781742953281
Donation: Donated by John Hughes
Contents: -- acknowledgments -- preface -- introduction: Deane Williams -- the archive project screenplay -- chapter 1 days of hope -- chapter 2 workers' art -- chapter 3 the early films: "realism" -- chapter 4 these are our children -- chapter 5 screenings -- chapter 6 "adversely known" -- chapter 7 prices and the people -- chapter 8 a politics of fear -- chapter 9 phone taps and number plates -- chapter 10 vote 'no!' -- chapter 11 they chose peace -- chapter 12 after '56 -- interviews -- Phillip Adams -- Dick Mason -- Don Munro -- Dot Thompson -- Margaret Walker -- Realist film association screenings 1945-59 --

Call No: 761 COR
Author: Corner, John, 1943
Place: Manchester New York, NY,
Publisher: Manchester University Press Distributed exclusively in the USA and Canada by St. Martin's Press
PubDate: 1996
PhysDes: 212 p. : ill. ; 24 cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; CINEMA VERITE; LIVING ON THE EDGE (UK, Michael Grigsby, 1987); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); ROGER AND ME (US, Michael Moore, 1989); HANDSWORTH SONGS (UK, John Akomfrah, 1986); COAL FACE (UK, Alberto Cavalcanti, 1935); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); LOOK IN ON LONDON (UK, 1956); CATHY COME HOME (UK, Ken Loach, 1966); WHEN THE DOG BITES (UK, Penny Woolcock, 1988)
Summary: "Documentary is a controversial and important area of media production. The art of record offers a fascinating insight into the functions of documentary in film and television. Documentary's attempts to depict reality, and to comment on it, have provoked disagreement from the 1920s to the present day. Recent debates about knowledge and representation, and about the changing character of publiv culture, have increased its interests and relevance. John Corner presents a clear overview of the theoretical issues and critical debates around documentary, and discusses the development of the main styles and approaches, including dramadocs and fly-on-the-wall. He also looks at the dual identity of work in documentary - as both artefact and as reference.The book provides a valuable detailed analysis of powerful documentary films and programmes such as the classic 1930s films Coalface and Housing Problems (on aspects of contemporary work and environment), Cathy Come Home (whose presentation of homelessness had an enormous impact) and The Life and Times of Rosie the Riveter (about the treatment of women in US factories during World War Two)." -- BOOK BLURB
Notes: Includes bibliographical references (p. [197]-201) and index
ISBN: 0719046866 (hardcover : alk. paper); 0719046874 (pbk. : alk. paper)
LON: 12095813

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: 71(94) AUS
Author: Moran, Albert, 1942; O'Regan, Tom, 1956
Place: Sydney
Publisher: Currency Press
PubDate: 1985
PhysDes: 391 p. ; 21 cm
Series: Australian screen
Subject: FEMINISM AND THE CINEMA. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; AVANT-GARDE FILMS. AUSTRALIA; SUPER-8 MM FILMS. AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; BERESFORD, BRUCE; WEIR, PETER; CHAUVEL, CHARLES; Grierson, John; HALL, KEN G.; SENTIMENTAL BLOKE, THE (AT, Raymond Longford, 1919); GALLIPOLI (AT, Peter Weir, 1981); SCHOOL IN THE MAILBOX (AT, Stanley Haews, 1946?); FROM THE TROPICS TO THE SNOW (AT, ?, 1964); BIG COUNTRY, A (AT, 1979); LAST TASMANIAN, THE (AT, Tom Haydon, 1978); MAN FROM SNOWY RIVER, THE (AT, George T. Miller, 1982); SERIOUS UNDERTAKINGS (AT, Helen Grace, 1983); INDONESIA CALLING (AT, Joris Ivens, 1948)
Notes: Includes index; Bibliography: p. 376-379
ISBN: 086819123X (pbk.) : $24.95 Aust
LON: anb86819123; 4105507

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: 408.1(94) MCM
Author: McMahon, Barrie; Quin, Robyn
Place: Marrickville, N.S.W.
Publisher: Science Press
PubDate: 1990
PhysDes: 154 p. : ill. ; 25 cm
Subject: DOCUMENTARY FILMS. AUSTRALIA; AUSTRALIA; WOMEN IN FILMS. AUSTRALIA; STARS. AUSTRALIA; NATIONAL IDENTITY IN FILMS. AUSTRALIA; COMEDIES. AUSTRALIA
Notes: Includes index; For senior secondary school students; Bibliography: p. 147-148
ISBN: 085583174X (pbk.)
LON: 7030358

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: 79BAC LAW
Author: Lawson, Sylvia
CorpAuthor: Australian Screen Classics
Source: AT
Place: Strawberry Hills, NSW; Canberra
Publisher: Currency Press; National Film and Sound Archive
PubDate: 2013
PhysDes: viii, 76 pages : illustrations ; 19 cm
Series: Australian screen classics, 1447-557X
Subject: DOCUMENTARY FILMS. AUSTRALIA; HEYER, JOHN; BACK OF BEYOND, THE (AT, John Heyer, 1953)
Summary: The Back of Beyond is a 1954 documentary celebrating the life and times of Australia's best known Royal Mail driver Tom Kruse in outback central Australia. It tells the story of how he battled isolation, heat, sand and flood to deliver mail, stores and supplies to the families along the 517 kilometre Birdsville Track. In her book, Lawson gives an in-depth and thoughtful critique of the film, giving its historical context within documentary tradition.
Notes: Includes bibliographical references and filmography; Co-published with National Film and Sound Archive
ISBN: 9780868199757
ISSN: 1447-557X
Contents: -- Part one: Before Television,After Grierson -- Part two: 'A Carrier Called Kruse' -- Part three: On to the Track -- Part four: The Education of a Director -- Part five: Tracking Documentary -- Part six: East of Maralinga -- Part seven: The Lectern and the Water-Cart -- Part eight: A Film in Rear Vision -- Part nine: 'Poetry and Earthiness' -- Part 10: History Lessons, Scenic Flights

Call No: 761(04) BEY
Author: Warren, Charles, 1948
Place: Hanover, NH
Publisher: University Press of New England
PubDate: 1996
PhysDes: xxviii, 366 p. : ports. ; 24 cm
Subject: DOCUMENTARY FILMS; CINEMA VERITE; DIRECTORS; DOCUMENTARY DRAMAS; NEWSREELS; MEMORY IN FILMS; ETHNOGRAPHIC FILMS; BIOGRAPHICAL FILMS; GENOCIDE IN FILMS; WORLD WAR II FILMS; NUIT ET BROUILLARD (FR, Alain Resnais, 1955); OPHULS, MARCEL; RESNAIS, ALAIN; SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); TRI PESNI O LENINE (UR, Dziga Vertov, 1934); WR MISTERIJE ORGANIZMA (YU/GW, Dusan Makaveyev, 1971); BOOMERANG (US, Elia Kazan, 1947); VERTOV, DZIGA; MARKER, CHRIS; FILM PORTAIT (US, Jerome Hill, 1972); GARDNER, ROBERT; MCELWEE, ROSS; ZERKALO (UR, Andrei Tarkovsky, 1975)
Summary: "In essays by eleven of America's foremost writers, critics and filmmakers, Beyond Document explores the full spectrum on nonfiction film and its creative possibilities. In addition to Charles Warren's broad introductory history of the genre, the book takes a close look at ethnographic films, cinema verite, memoir and autobiography, docudramas, essay films, and newsreels, from classics like Night and Fog and Nanook of the North to more recent important work like Film about a Woman Who..., Harlan County, U.S.A., Sans Soleil, and Forest of Bliss. Representations of reality are increasingly contested, in courtrooms and Congress, as well as in art. Asking what the art of film can achieve, Helene Keyssar considers the history of nonfiction films by women; Jay Cantor discusses film investigations of the Holocaust; Patricia Hampl looks at how autobiographical films render experience into narrative; Robert Gardner questions the filmmaker's "impulse to preserve"; and poet Susan Howe explores structures of mourning in several filmmakers. All of the books essays provide deeply felt understandings of documentary film, and of how we live with, and within, images." -- BOOK BLURB
Notes: Includes bibliographical references (p. 345-350) and index
ISBN: 0819552879 (cl : alk. paper); 0819562904 (pbk. : alk. paper)
LON: 11642141
Contents: Words of welcome / Stanley Cavell -- Introduction, with a brief history of nonfiction film / Charles Warren -- Death and the image / Jay Cantor -- Memory's movies / Patricia Hampl -- Eternal Verites / William Rothman -- The toil of thought: on several nonfiction films by women / Helene Keyssar -- The camera people / Eliot Weinberger -- The impulse to preserve / Robert Gardner -- You are there / Maureen Howard -- Earth and beyond: Dusan Makaveyev's WR: Mysteries of the Organism / Charles Warren -- In search of the centaur: the essay film / Phillip Lopate -- Vertov's cinematic transposition of reality / Vlada Petric -- Sorting facts; or, nineteen ways of looking at marker / Susan Howe

Call No: FRONT DESK
CorpAuthor: Australian Film Television & Radio School. Jerzy Toeplitz Library.
Subject: DOCUMENTARY FILMS. AUSTRALIA

Call No: FRONT DESK
CorpAuthor: Australian Film Television & Radio School. Jerzy Toeplitz Library.
Subject: DOCUMENTARY FILMS; PRODUCTION

Call No: FRONT DESK
CorpAuthor: Australian Film Television & Radio School. Jerzy Toeplitz Library.
Subject: DOCUMENTARY FILMS; SCRIPTWRITING

Call No: 81DIC DIC
Author: Dickson, W. K. L.
Edition: Facsim. reprint ed.
Source: US
Place: Madison
Publisher: Fairleigh Dickinson University Press
PubDate: 1995
PhysDes: xix, 300 p. : ill. ; 21 cm
Subject: SOUTH AFRICA IN FILMS; DOCUMENTARY FILMS. AFRICAN COUNTRIES
Summary: First published in 1901 and now a rare collector's item, this is cameraman Dickson's diary kept during the Biograph Company's filming on the battlefields of the Boer War. The book is being republished in a facsimile edition, with a specially commissioned introduction from film historian Richard Brown. It tells of one man's absolute determination to bring back - against great odds - a filmed record of war, at a time when the medium itself was in its infancy. Dickson's huge machine, designed by himself, weighed nearly half a ton and had to be transported everywhere in South Africa by horse-drawn cart, requiring the combined efforts of several strong men each time it had to be set up. The book is exceptional among the handful of written accounts produced in the first years of the cinema. It is a human document, written not in a mood of quiet reflection after the event, but as a vital diary recording dangerous and difficult conditions at the Front. [summary taken from Australian Library Collections]
ISBN: 083863654

Call No: 71(6) UKA
Author: Ukadike, Nwachukwu Frank
Place: Berkeley
Publisher: University of California Press
PubDate: 1994
PhysDes: x, 371 p. : ill.; 24 cm
Subject: IMPERIALISM AND THE CINEMA. AFRICAN COUNTRIES; AFRICAN COUNTRIES; DOCUMENTARY FILMS. AFRICAN COUNTRIES; BLACK FILMMAKERS. AFRICAN COUNTRIES; BLACKS AND THE CINEMA. AFRICAN COUNTRIES; SEMBENE, OUSMANE; CISSE, SOULEYMANE; ANSAH, KWAW PAINTSIL; ESCARE, DESIRE; BALOGUN, OLA; FANON, FRANTZ; HONDO, MED; VISAGES DE FEMMES (IV, Desire Ecare, 1985); FINZAN (ML, Cheik Omar Sissoko, 1990); WEND KUUNI (UV, Gaston Kabore, 1982); EMITAI (SG, Ousmane Sembene, 1972); CEDDO (SG, Ousmane Sembene, 1977); YEELEN (ML, Souleymane Cisse, 1987); BAL POUSSIERE (IV, Henri Duparc, 1988)
Notes: Includes bibliographical references (p. 343-355) and index
ISBN: 0520077474 (cloth : alk. paper); 0520077482 (paper)
LON: 9270979

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 "SHOWS"; REALITY TV; RACIAL PROBLEMS ON TV; RACIAL PROBLEMS 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 SWA
Author: Swann, Paul
Source: UK
Place: Cambridge [England] ; New York
Publisher: Cambridge University Press
PubDate: 1989
PhysDes: x, 216 p. : ill. ; 24 cm.
Series: Cambridge studies in film
Subject: DOCUMENTARY FILMS. UK; GPO FILM UNIT; GRIERSON, JOHN; LAW AND THE CINEMA; DISTRIBUTION; DISTRIBUTION. UK; ELTON, ARTHUR; EMPIRE MARKETING BOARD; INDEPENDENT FILMS; INDEPENDENT FILMS. UK; PROPAGANDA FILMS; POLITICAL FILMS
Summary: "The most important and influential development in British cinema was the documentary film movement led by John Grierson in the 1930s and 1940s. Paul Swann's study is a political and social history of this movement, which was characterized by actuality-based films made outside the commercial industry. Based upon new examinations of official government records, this book provides a fascinating picture of how Grierson manipulated the civil services bureaucracy both for his own ends and, in his view, for the good of his country." -- BOOK BLURB
Notes: Includes index.
ISBN: 0521334799

Call No: REFERENCE SECTION; 023 (41) GIF
Author: Denis Gifford
Edition: Gifford, Denis
Source: UK
Place: London
Publisher: Fitzroy Dearborn
PubDate: 2000
PhysDes: xviii, 625p. 31cm
Subject: BRITAIN; DOCUMENTARY FILMS. UK; FILMOGRAPHIES; FILM STUDY AND RESEARCH
Summary: This is the first attempt to compile a catalogue of every British non-fiction film produced primarily for cinema showings since the invention of cinematography. It forms a companion to [the author’s] British Film Catalogue of fiction (entertainment) films, first published in 1973 (covering the years 1895-1970), updated in a new edition in 1986 (covering the years up to 1985), and now revised, updated to the end of 1994, and published in a third edition by Fitzroy Dearborn alongside this volume. Between them, the two volumes catalogue virtually the entire history of over one hundred years of British films, separated into two main lines of cinema, fact and fiction. [Taken from preface.]
Notes: Includes index
ISBN: 1579582001
Language: English

Call No: FESTIVAL CATALOGUE SHELVES; HELD 2004
Place: AG
PubDate: 2004
Subject: FESTIVALS. BUENOS AIRES INDEPENDENT CINEMA; ARGENTINA; DE ANTONIO, EMILE; BENNING, JAMES; EMIGHOLZ, HEINZ; FORD, JOHN; DE GREGORIO, EDUARDO; MEKAS, JONAS; ROCHA, GLAUBER; RUIZ, RAUL; SOKUROV, ALEKSANDR; INDEPENDENT FILMS; DOCUMENTARY FILMS

Call No: 71(71) CLA
Author: Clandfield, David
Place: Toronto
Publisher: Oxford University Press
PubDate: 1987
PhysDes: viii, 136 p. ; 20 cm
Series: Perspectives on Canadian culture
Subject: CANADA; NATIONAL FILM BOARD OF CANADA; DOCUMENTARY FILMS. CANADA; ANIMATION. CANADA; Grierson, John
Notes: Includes index; Bibliography: p. 129-131
ISBN: 0195405811 : $9.95
LON: 5534042

Call No: FESTIVAL CATALOGUE SHELVES; held 1980-1982, 1984, 1996
Place: Cape Town, South Africa
PubDate: 1980-1996
PhysDes: 5 v. : ill. ; 21-30 cm
Subject: FESTIVALS. CAPE TOWN; SOUTH AFRICA; WORLD CINEMA; DOCUMENTARY FILMS
Notes: The Cape Town International Film Festival includes a selection of feature length films and documentaries. The festival also hosts a variety of special programs related to film genres, as well as retrospectives on classic film directors. The catalogues also include numerous black and white stills and film synopses.
ID2: 106

Call No: 023(94) "1986" FIL
Author: Film Victoria
Source: AT
Place: Melbourne
Publisher: Film Victoria
PubDate: September 1986
PhysDes: 1 volume (various pagings) ; 30 cm
Subject: DOCUMENTARY FILMS. AUSTRALIA; EDUCATION, FILM. AUSTRALIA; FILM VICTORIA; FILMOGRAPHIES. AUSTRALIA; SHORT FILMS. AUSTRALIA
Summary: A listing of new and existing short dramas and documentaries that Film Victoria has produced or has invested in
Notes: Also titled: Film Victoria : documentary division catalogue

Author: Marks, Dick
PhysDes: Article
Subject: LIGHTING; DOCUMENTARY FILMS. AUSTRALIA; NATURE IN FILMS; SHEMESH, JOE
Summary: Cinematographer, Joe Shemesh discusses his experience filming spiders inside caves for the documentary, Sixteen Legs, about the Tasmanian Cave Spider

Author: Curtis, Peter
PhysDes: Article
Subject: DOCUMENTARY FILMS. ANTARCTICA; CURTIS, PETER
Summary: Peter Curtis, a Tasmanian based cameraman discusses filming in the Antarctic on assignment documenting the centenary of Douglas Mawson's Expedition

PhysDes: Article
Subject: INDUSTRY, FILM. CHINA; DOCUMENTARY FILMS. AUSTRALIA
Summary: Article on China's film industry, their approach to cinema, and what they hope to achieve in the future.

Author: Rosser, Edward
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; EXPERIMENTAL FILM AND TELEVISION FUND; FESTIVALS. SYDNEY; COX, PAUL; EYE TO EYE (AT, Peter Beilby, 1971?); JUMPING JEWELLER OF LAVENDER BAY, THE (AT, Gerald Ryan, 1971); SKIN DEEP (AT, Paul Cox, 1968)
Summary: Reviews a number of experimental films produced with assistance from the Experimental Film and Television Fund, including My University, winner of the Benson and Hedges award at the Sydney Film Festival

Call No: 802.25(8=6) CIN
Author: Burton, Julianne
Edition: 1st ed
Place: Austin
Publisher: University of Texas Press
PubDate: 1986
PhysDes: xvi, 302 p. : ports. ; 24 cm
Subject: LATIN AMERICAN COUNTRIES; DOCUMENTARY FILMS. LATIN AMERICAN COUNTRIES; BOLIVIA; CHILE; NICARAGUA; MEXICO; CUBA; BIRRI, FERNANDO; SANJINES, JORGE; GUZMAN, PATRICIO; ROCHA, GLAUBER; ALEA, TOMAS GUTIERREZ; SANTOS, NELSON PEREIRA DOS; SOLAS, HUMBERTO; DIEGUES, CARLOS; RUIZ, RAUL; GUMUCIO DAGRON, ALFONZO; HANDLER, MARIO; SILVA, JORGE; RODRIGUEZ, MARTA; VAZQUEZ, EMILIO RODRIGUEZ; IBARRA, CARLOS VICENTE; SOLBERG-LADD, HELENA; EGUINO, ANTONIO; VILLAGRA, NELSON; FERNANDEZ VIOLANTE, MARCELA; ACHUGAR, WALTER; COLINA, ENRIQUE; GARCIA ESPINOSA, JULIO
Notes: Includes indexes; Bibliography: p. [285]-286
ISBN: 0292724535; 0292724543 (pbk.)
LON: 4568383

Call No: 401"313" CIN
Author: Elsaesser, Thomas; Hoffmann, Kay
Source: NE
Place: Amsterdam
Publisher: Amsterdam University Press
PubDate: 1998
PhysDes: 312 p. : illus. bibliog. index
Series: Film culture in transition
Subject: LUMIERE, LOUIS; DOCUMENTARY FILMS; VIRTUAL REALITY; DIGITAL TECHNOLOGY; TELEVISION AND THE CINEMA; MULTIMEDIA
ISBN: 9053563121

Author: Bright, Greg
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; CINEMA PAPERS; BEILBY, PETER; MURRAY, SCOTT; GLENN, GORDON; LE TET, ROBERT; AUSTRALIAN MOVIES TO THE WORLD (AT, Gordon Glenn & Scott Murray, 1983)
Summary: Discusses the documentary film, “Australian Movies To The World”, which is focused on the subject of Australian film. Particular attention is paid to the link between the film and the magazine “Cinema Papers”

Author: MacLennan, Gary
PhysDes: Book review; Bibliography; Illustration(s)
Subject: DOCUMENTARY FILMS
Summary: Review of Brian Winston's "Claiming the real: the politics of documentarty".

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); H2OIL (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-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); A DECENT FACTORY (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 (FR, Agnes Varda, 2000); GLANEURS ET LA GLANEUSE, DEUX ANS APRES, LES (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); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); CHRONICLE OF A SUMMER (FR, Jean Rouch & Edgar Morin, 1961); 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, Basil Wright & Harry Watt, 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: 62 KYD
Author: Kydd, Elspeth
Source: UK/US
Place: Houndmills. Basingstoke, Hampshire ; New York
Publisher: Palgrave Macmillan
PubDate: 2011
PhysDes: xix, 316 p. : ill. ; 26 cm
Subject: NARRATIVE IN FILMS; DOCUMENTARY FILMS; EXPERIMENTAL FILMS; CINEMATOGRAPHY; SOUND; EDITING; MUSIC IN FILMS; FILM; COSTUMES; COSTUME DESIGNING; CRITICISM
Summary: "The successful study of film combines criticism, theory and practice. This book covers all three areas and guides the student towards an engaged form of creative expression and an active role as reviewer and critic. Beautifully presented, this ground-breaking text offers all students an integrated understanding of film criticism and production"--Provided by publisher - LIBRARIES AUSTRALIA
Notes: Includes index; Includes bibliographical references and index
ISBN: 9780230229754
Contents: -- illustrations -- acknowledgments -- PART I: CRITICAL PRACTICE -- The Critical Practice of Film -- Motion pictures -- PART II: FILM FORM -- Narrative Film -- Documentary Film -- Experimental film -- PART III: TECHNIQUES OF FILM -- Cinematography -- Mise-en-Scene -- Sound -- Editing -- Film music -- PART IV: ANALYSIS AND CRITICAL PRACTICE -- Analysis and interpretation of film -- Critical practice in action -- bibliography -- glossary -- index --

Call No: F023(52)D"year" UNI held 1969-72
CorpAuthor: UniJapan Film
Subject: JAPAN; CHILDREN, FILMS FOR; FILMOGRAPHIES; DOCUMENTARY FILMS. JAPAN

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: Grant, Jaems
PhysDes: Article
Subject: URANIUM - TWISTING THE DRAGON'S TAIL [TV](AT, Wain Fimeri, 2015); GRANT, JAEMS; DOCUMENTARY FILMS. AUSTRALIA
Summary: Cinematographer, Jaems Grant details his experiences filming in radioactive zones for documentary series, Uranium-Twisting the Dragons Tail

Call No: PERSONALITY CLIPPINGS FILE; MAYSLES, ALBERT & DAVID
Author: Byrnes, Paul
PhysDes: Clippings File Article
Subject: DOCUMENTARY FILMS; MAYSLES, ALBERT & DAVID; MAYSLES, ALBERT; GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); IRIS (US, Albert Maysles, 2014)
Summary: An article about the truth in documentary films, citing the Mayles brothers and the film Gimme Shelter.

Call No: 761(729.1) FAN
Author: Susan Fanshel
Place: New York
Publisher: Young Filmakers Foundation
PubDate: 1982
PhysDes: 48 p. : ill ; 27 cm.
Subject: DOCUMENTARY FILMS

Call No: F023(430.1)K"1966/7" DEV
CorpAuthor: Verband
Source: GG
Place: [s.l]
Publisher: Verband Deutscher Dokumentar- und Kurzfilmproduzenten
PubDate: 1967
PhysDes: 129 p. ; 22 cm
Subject: DOCUMENTARY FILMS. GERMANY
Language: German,English, French, Spanish

Call No: F023(430.1) K"year" DEV
CorpAuthor: Verband Deutscher Filmproduzenten
Source: GG
Place: Frankfurt-am-Main
Publisher: Verband Deutscher Filmproduzenten
PubDate: 1960-65
PhysDes: 21 cm
Subject: DOCUMENTARY FILMS. GERMANY
Notes: held 1960-65
Language: German, English, French, Spanish

Call No: 761 RAB
Author: Rabiger, Michael
Place: Boston
Publisher: Focal Press
PubDate: c1987
PhysDes: xii, 316 p. : ill. ; 26 cm
Subject: DIRECTION; PRODUCTION; EDITING; AESTHETICS; DOCUMENTARY FILMS; COMMENTARY; INTERVIEWS IN FILMS; RABIGER, MICHAEL
Summary: "Directing the Documentary discusses the necessary technical basics you need to know before shooting, and describes with astonishing clarity the concepts and human processes behing the making of the film. From preproduction considerations, such as research or choosing a subject, to production and postproduction factors like shooting an interview or assembling the sound track, Directing the Documentary keeps the final goal always in sightL the creation of an effective documentary film. Structured witha focus on specific stages of the process, this book allows flexible use through a series of project designed to teach necessary skills through action. Valuable summaries provide checkliests of immeasurable help for those involved in actual production work. The coverage is complete in the discussions of the documentary's history and development, of the issues of aesthetics and authorship, and of education and careers in documentary films." -- Taken from back cover.
Notes: Includes index; Bibliography: p. [306]-309
ISBN: 0240517946 (pbk.)
LON: 4791160

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

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

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

Call No: 761 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 --

Author: Wade, Ewart
PhysDes: Article
Subject: WRECK OF THE BATAVIA, THE (AT, Bruce Beresford, 1973); BERESFORD, BRUCE; DOCUMENTARY FILMS. AUSTRALIA
Summary: Short article on Australian documentary, THE WRECK OF BATAVIA.

Call No: 761(41) LOW
Author: Low, Rachael
Source: UK
Place: London, UK
Publisher: George Allen & Unwin
PubDate: 1979
PhysDes: 244 p. : ill. ; 22 cm
Series: The History of British Film 1929-1939
Subject: BRITISH FILM INSTITUTE; DOCUMENTARY FILMS. UK; EDUCATION, USE OF FILMS IN; EDUCATION, FILM. UK; INDUSTRY, FILM. UK; INSTRUCTIONAL FILMS; PROPAGANDA FILMS; POLITICAL FILMS; TRUTH IN FILMS; ANSTEY, EDGAR; CAVALCANTI, ALBERTO; ELTON, ARTHUR; GRIERSON, JOHN; ROTHA, PAUL; WRIGHT, BASIL
Summary: "With the advent of sound a host of film makers began, during the 1930s, to explore the wider possibilities of film as a means of communication. Without doubt the most spectacular development during this decade of social and political unrest was the dramatic growth of the mainstream British documentary movement closely associated with names such as John Grierson and Paul Rotha, which is often described as Britain's most important contribution to world cinema. In these pages for the first time a full and detailed account is given of people involved in the documentary movement and a coherant attempt is made to date and describe their whole output. Rachael Low demonstrates how different documentary styles evolved, developed and changed - and eventually split into two distinct schools of film making. An equally important innovation in the 1930s was the first use of film for educational purposes. Rachael Low records in detail the many experiments and debates held to determine the best use of films in schools and the often disappointing attempts to produce satisfactory educational films."--BOOK JACKET
Notes: includes bibliographical references; incldues film listing includes index
ISBN: 0047910364
Contents: -- Acknowledgements -- List of Illustrations -- 1. Introduction -- 2. The Educational Film -- 3. The Documentary Movement -- (i) Early Stages -- (ii) The Middle Years -- (iii) Maturity -- (iv) The End of the Decade -- 4. Reality and the Documentary Film -- Appendix: The British Film Institute -- Notes -- Bibliography -- Film List -- Index --

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: FESTIVAL CATALOGUE SHELVES; Held 1993 (Vol. 1 & 2)
Place: Tokyo
Publisher: Yamagata International Documentary Film Festival
PubDate: 1993
Subject: DOCUMENTARY FILMS; FESTIVALS. TOKYO
Notes: Some subsequent copies of Documentary box available online from the festival website: http://www.yidff.jp/docbox/docbox-e.html; Documentary Box is a journal devoted to covering recent trends in making and thinking about documentaries. Four issues are published every two years in both hard copy and internet versions in conjunction with the biennial YIDFF.
Language: English

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

Call No: 761 LEV
Author: Levin, G. Roy
Place: Garden City, N.Y.
Publisher: Doubleday
PubDate: 1971
PhysDes: 420p. : ill. ; 21 cm
Subject: DOCUMENTARY FILMS; WRIGHT, BASIL; ANDERSON, LINDSAY; CAWSTON, RICHARD; GARNETT, TONY; LOACH, KENNETH; FRANJU, GEORGES; ROUCH, JEAN; STORCK, HENRI; VAN DYKE, WILLARD; LEACOCK, RICHARD; PENNEBAKER, D. A.; MAYSLES, ALBERT & DAVID; BARRON, ARTHUR; WISEMAN, FREDERICK; PINCUS, ED; SHAMBERG, MICHAEL
Summary: "Perhaps no other art form brings art and reality in any closer juxtaposition than the documentary film. Through the lenses of the documentary filmmaker, we have seen firsthand the excitement of rock concerts, the realities of our political leaders, and the lifestyles of exotic cultures. Few people would argue with the almost limitless potential of the medium, but have we seriously considered how "objective" these films really are - or can be? Should the filmmaker be more concerned with social change or objective reality? In this volume, G. Roy Levin discusses these questions, along with a whole range of aesthetic and political considerations, with the most prominent documentary filmmakers of the world. The directors include the Maysles brothers; Frederick Wiseman, responsible for Titicut Follies; Richard Leacock/D.A. Pennebaker, the team that produced Monterey Pop; and fourteen others, from England, France, Belgium and the U.S. The book includes a brief history of documentary film, as well as exhaustive filmographies on each director." -- BOOK BLURB
Notes: Includes index; Bibliography: p.[405]-406
ISBN: 0385045905
LON: 14286490
URL status: URL: 'http://-' Checked: 31/08/2021 12:59:20 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

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; BLACK 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; RACE 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); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); 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 ROT
Author: Rothman, William
Place: Cambridge, Eng. New York
Publisher: Cambridge University Press
PubDate: 1997
PhysDes: xv, 218 p. : ill. ; 24 cm
Series: Cambridge studies in film
Subject: DOCUMENTARY FILMS; CINEMA VERITE; NON-FICTION FILMS; BUNUEL, LUIS; LEACOCK, RICHARD; RESNAIS, ALAIN; ROUCH, JEAN; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); HURDES, LAS (SP, Luis Bunuel, 1933); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); NIGHT AND FOG (FR, Alain Resnais, 1995); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); HAPPY MOTHER'S DAY, A (US, Joyce Chopra/Richard Leacock, 1963); DONT LOOK BACK (US, D.A. Pennebaker, 1967); LAND WITHOUT BREAD (SP, Luis Bunuel, 1933)
Summary: "Documentary Film Classics" offers close readings of a number of major documentaries, including Nanook of the North, Land without Bread, Night and Fog, Chronicle of a Summer, A Happy Mother's Day, and Don't Look Back. William Rothman analyzes the philosophical and historical issues and themes implicit in these works. Designed to guide film students through the 'texts' of films that span the history of the documentary film movement, his readings also focus on the achievements of these works as films per se. This book is both an original contribution to the field of film studies and also suitable for use as a text for college level courses on documentary film and broader film history courses." -- BOOK COVER
Notes: Includes bibliographical references (p. 211-213) and index
ISBN: 0521456819 (pbk); 0521450675 (hbk)
Order Received: 1997
LON: 96014029; 12242459
URL status: URL: 'http://-' Checked: 31/08/2021 12:36:54 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 761(94) DOC
Copy Management: Copy 1; Copy 2
Author: Beilby, Peter; Lansell, Ross
CorpAuthor: Film Victoria
Place: North Melbourne
Publisher: Cinema Papers in association with Film Victoria
PubDate: c1982
PhysDes: 205 p. : ill., ports. ; 27 cm
Subject: DOCUMENTARY FILMS. AUSTRALIA; ARCHIVES & INSTITUTES, FILM. AUSTRALIA; GOVERNMENT ORGANIZATIONS. AUSTRALIA; FILMMAKING, AUSTRALIA; HISTORY OF CINEMA; HISTORY OF CINEMA. 1920's; HISTORY OF CINEMA. 1930's; HISTORY OF CINEMA. 1950's; HISTORY OF CINEMA. 1960's; HISTORY OF CINEMA. 1970's; HISTORY OF CINEMA. 1980's; HISTORY OF CINEMA. AUSTRALIA; HISTORY OF CINEMA. NEW ZEALAND; INDUSTRY, FILM. AUSTRALIA; PRESERVATION OF FILMS. AUSTRALIA; PRODUCTION; PRODUCTION COMPANIES & STUDIOS. AUSTRALIA; BAKER, SUZANNE; EDWARDS, JOHN; MCMAHON, TERENCE; BRADBURY, DAVID; NOONAN, CHRIS; HURLEY, FRANK; GRIERSON, JOHN
Summary: Collection of essays on Australian documentary, covering the history of documentary in Australia and world-wide up until the early 1980s, documentary production, interviews with key documentary makers, information on documentary preservation and repositories, and hypotheses on the future of documentary-making in Australia.
Notes: Includes index
ISBN: 0959564721 : $12.95 Aust
LON: 2380995
Contents: 1. What is a documentary? / John Langer; 2. A brief history of the documentary -- 1890s Australia / Chris Long -- 1900s world-wide and Australia / Ray Edmonston, Jenny Trustum -- 1910s Australia / Chris Long -- World War 1 / Phil Taylor -- 1920s world-wide and Australia / Andrew Pike -- 1930s world-wide / Jonathan Dawson -- 1930s Australia / Chris Long -- Early 1940s World War 2 / Phil Taylor -- Late 1940s world-wide / Brian McFarlane -- Late 1940s Australia / Tom Politis -- 1950s world-wide / Keith Connolly -- 1950s Australia / Anthony Buckley -- 1960s world-wide / John Pruzanski -- 1960s Australia / Ross Lansell -- 1970s world-wide and Australia / Gillian Coote -- Some issues and concerns of the 1970s / Barbara Alysen, David McDougall, Noel Purdon and Albie Thoms -- The 1980s and beyond / Ian Stocks --; 3. Documentary production today -- Government / Bruce Moir -- Specialist film units / Robert Rothols -- Television / Brian Davies -- Commerce and industry / Eve Ash and Ian McFayden -- Independent / Curtis Levy; 4. Case-histories -- Government: Suzzane Baker, John Edwards, Oliver Howes and Stephen Ramsey / Ian Stocks -- Specialist film units: Ross Campbell / Robert Rothol -- Television: Jeremy Cornford and Peter Luck / Jeremy Cornford and Nick Herd -- Commerce and industry: Terence McMahon / Eve Ash -- Independent: David Bradbury and Chris Noonan / Barbara Alysen --; 5. The marketplace / Kim Dalton --; 6. Some documentary themes -- Documentary traditions before Grierson: the case of Frank Hurley / Andrew Pike -- The Grierson tradition / Jonathan Dawson -- Propaganda then and now / John Hughes -- The television age / Tom Haydon --; 7. Preserving the past / Barbara Alysen --; 8. The documentary of the future / Fred Harden

Author: Newcombe, Adam
PhysDes: Article; Illustration(s)
Subject: DOCUMENTARY FILMS
Summary: Explores the privatisation of public space and the effects this may be having on the making and structure of documentaries.

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARY FILMS

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARY FILMS. AUSTRALIA

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARY FILMS. CUBA

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARY FILMS. US

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: DOCUMENTARY FILMS. USA

Call No: F761(489) NEE
Source: DK
Place: Copenhagen
Publisher: Statens Filmcentral
PubDate: 1948
PhysDes: 89 p. ; 23 cm
Subject: DOCUMENTARY FILMS; DENMARK
Notes: rare book

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: 761 BEA
Author: Beattie, Keith
Source: UK
Place: Houndmills, Basingstoke, Hampshire
Publisher: Palgrave Macmillan
PubDate: 2004
PhysDes: 276 p ; 21cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY DRAMAS; AUSTRALIAN ABORIGINES IN FILM; IMPERIALISM AND THE CINEMA; CINEMA VERITE; CINEMA-DIRECT; JOURNALISTS, FILM; POPULAR CULTURE AND TV; REALITY TV; TABLOID JOURNALISM; POPULAR CULTURE AND THE CINEMA; AUSTRALIAN BROADCASTING CORPORATION; BRITISH BROADCASTING CORPORATION; COLUMBIA BROADCASTING SYSTEM; NATIONAL FILM BOARD OF CANADA; NATIONAL INDIGENOUS DOCUMENTARY FUND; NBC TELEVISION NETWORK; PUBLIC BROADCASTING SERVICE; NETWORK TEN; VIDEODISCS; GRANADA; IMAX; INDEPENDENT TELEVISION COMMISSION; INTERACTIVE TV; MUSIC TELEVISION; TELEVISION JOURNALISTS; BUERK, MICHEAL; CAVADINI, ALESSANDRO; DE ANTONIO, EMILE; DREW, ROBERT; DYLAN, BOB; FLAHERTY, ROBERT; GRIERSON, JOHN; LEACOCK, RICHARD; LORENTZ, PARE; MAYSLES, ALBERT; MAYSLES, DAVID; MCELWEE, ROSS; MOORE, MICHAEL; MORIN, EDGAR; O'ROURKE, DENNIS; PENNEBAKER, D. A.; PILGER, JOHN; ROUCH, JEAN; RUTTMAN, WALTER; TAJIRI, REA; VERTOV, DZIGA; ATOMIC CAFE, THE (US, Kevin Rafferty & Jane Loader & Pierce Rafferty, 1982); CHEQUER-BOARD [TV] (AT, 1969-1975); FOUR CORNERS [TV] (AT, 1961-); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BIG BROTHER [TV] (AT, 2001); BIGGIE AND TUPAC (US, Nick Broomfield, 2001); BILL, THE [TV] (UK, 1984-); BIRTH OF A NATION, THE (US, David Wark Griffith, 1915); BOWLING FOR COLUMBINE (US/CA, Michael Moore, 2002); BUENA VISTA SOCIAL CLUB (GG/US, Wim Wenders, 1999); CAMBODIA: YEAR ZERO (AT, John Pilger, 1989); CANE TOADS : AN UNNATURAL HISTORY (AT, Mark Lewis, 1987); CANNIBAL TOURS (AT, Dennis O' Rourke, 1987); CATHY COME HOME (UK, Ken Loach, 1966); CHRONIQUE D' UN ETE (FR, Jean Rouch & Edgar Morin, 1961); COPS AND ROBBERSONS (US, Michael Ritchie, 1994); CROCODILE DUNDEE (AT, Peter Faiman, 1986); CUNNAMULLA (AT, Dennis O'Rourke, 2000); DEATH OF A PRINCESS [TV] (UK/US/NZ/AT/NE, Antony Thomas, 1980); DISMISSAL, THE [TV] (AT, George T. Miller & others, 1983); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); GOOD WOMAN OF BANGKOK, THE (AT, Dennis O'Rourke, 1991); LIFE AND TIMES OF ROSIE THE RIVETER, THE (US, Connie Field, 1980); MABO: LIFE OF AN ISLAND MAN (AT, Trevor Graham, 1997); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MONTEREY POP (US, D. A. Pennebaker, 1968); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); POLICE STATE (AT, Chris Noonan, 1989); SYLVANIA WATERS [TV] (AT, Brian Hill & Kate Woods, 1993); WALKING WITH DINOSAURS[TV] (UK, 1999); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: Documentary Screens is a comprehensive and critical examination of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so called popular factual entertainment and the future of documentary film, television and new media. [Taken from back cover].
ISBN: 033374117X
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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, 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 (FR, Georges Rouquier, 1945); SAVAGE EYE, THE (US, Ben Maddow, Sidney Meyers, Joseph Strick, 1959); JOLI MAI, LE (FR, Chris Marker & Pierre Lhomme, 1963); CHRONIQUE D' UN ETE (FR, Jean Rouch/Edgar Morin, 1961); TITICUT FOLLIES (US, Frederick Wiseman, 1967); MARRIED COUPLE, A (CN, Allan King, 1969); WOODSTOCK (US, Michael Wadleigh, 1970); SORROW AND THE PITY, THE (SZ/GW, Marcel Ophuls, 1971); CHAGRIN ET LA PITIE, LE (SZ/GW, Marcel Ophuls, 1971); 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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Place: Melbourne, Vic.
Publisher: La Trobe University
PubDate: 1980
PhysDes: 84 p. ; 32 cm
Subject: DOCUMENTARY FILMS
Notes: ring-bound folder
Donation: donated by the family of Wayne Levy, 2006

Call No: 761 DOC
Author: Grant, Barry Keith; Sloniowski, Jeanette
Place: Detroit MI
Publisher: Wayne State University Press
PubDate: 1998
PhysDes: 488 p. ; 23 cm
Subject: DOCUMENTARY FILMS; FLAHERTY, ROBERT; VERTOV, DZIGA; EISENSTEIN, SERGEI M.; BUNUEL, LUIS; WRIGHT, BASIL; RIEFENSTAHL, LENI; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); HURDES, LAS (SP, Luis Bunuel, 1933); SONG OF CEYLON, THE (UK, Basil Wright, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); PLOW THAT BROKE THE PLAINS, THE (US, Pare Lorentz, 1936); CITY, THE (US, Ralph Steiner, 1939); SPANISH EARTH, THE (US, Joris Ivens, 1937); LISTEN TO BRITAIN (UK, Humphrey Jennings/Stewart McAllister, 1942); BLOOD OF THE BEASTS (FR, Georges Franju,1949); SANG DES BETES, LE (FR, Georges Franju,1949); MAITRES FOUS, LES (FR, Jean Rouch, 1955); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); DONT LOOK BACK (US, D.A. Pennebaker, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1968); ACT OF SEEING WITH ONE'S OWN EYES, THE (US, Stan Brakhage, 1971); AMERICAN FAMILY, AN [TV](US, 1973); DAISY, THE STORY OF A FACELIFT (CN, Michael Rubbo, 1982); THIS IS SPINAL TAP (US, Rob Reiner, 1984); SHERMAN'S MARCH (US, Ross McElwee, 1986 [prod. 1981]); I DO NOT KNOW WHAT IT IS I AM LIKE (US, Bill Viola, 1986); JOURNEY, THE (CN, Peter Watkins, 1987); THIN BLUE LINE, THE (US, Errol Morris, 1988); ROGER AND ME (US, Michael Moore, 1989); TONGUES UNTIED (US, Marlon Riggs, 1989); PARIS IS BURNING (US, Jennie Livingston, 1990); FINDING CHRISTA (US, Camille Billops/James Hatch, 1991)
Summary: Documenting the Documentary features essays by twenty-seven film scholars from a wide range of critical and theoretical perspectives. Each essay focuses on one or two important documentaries, engaging in questions surrounding ethics, ideology, politics, power, race, gender, and representation -- but always in terms of how they arise out of or are involved in the reading of specific documentaries as particular textual constructions. By closely reading documentaries as rich visual works, this anthology fills a void in the critical writing on documentaries, which tends to privilege production over aesthetic pleasure. As we perceive and comprehend the world through visual media increasingly, understanding the textual strategies by which individual documentaries are organized has become critically important. Together, the essays cover the significant developments in the history of the documentary, from the first commercially released feature, Nanook of the North (1922), to modern independent productions, such as An American Family (1973), Tongues Untied (1989), and Finding Christa (1991), and including important national and stylistic movements and various production contexts from the mainstream to the avant-garde. Seth Feldman places Dziga Vertov's Man with a Movie Camera (1929) within the context of constructivism and futurism; Vivian Sobchack discusses the strategies of Bunuel's Las Hurdas (Land without Bread, 1931) in relation to surrealism; and Joanne Hershfield explores Que viva Mexico! (1932) as the presentation of an exotic culture by a European director. Documenting the Documentary offers clear, serious, and insightful analyses of documentary films, and is a welcome balancebetween theory and criticism, abstract conceptualization and concrete analysis. --FROM PUBLISHER'S SITE
Notes: includes bibliiographic references and index
ISBN: 0814326390
Contents: Filmmaker as hunter / William Rothman -- Peace between man and machine / Seth Feldman -- Paradise regained / Joanne Hershfield -- Synthetic vision / Vivian Sobchack -- Art of national projection / William Guynn -- Mass psychology of fascist cinema / Frank P. Tomasulo -- American documentary finds its voice / Charlie Keil -- Men cannot act before the camera in the presence of death / Thomas Waugh -- Poetics of propaganda / Jim Leach -- It was an atrocious film / Jeannette Sloniowski -- Dialogic imagination of Jean Rouch / Diane Scheinman -- Documenting the ineffable / Sandy Flitterman-Lewis -- Don't you ever just watch? / Jeanne Hall -- Ethnography in the first person / Barry Keith Grant -- Two avant-gardes / Robert Stam -- Seeing with experimental eyes / Bart Testa -- Bastard union of several forms / Jeffrey K. Ruoff -- Documentary of displaced persona / Joan Nicks -- Gender, power, and a cucumber / Carl Plantinga -- Documentary film and the discourse of hysterical/historical narrative / Lucy Fischer -- Subjectivity lost and found / Catherine Russell -- Filmmaker as global circumnavigator / Scott MacDonald -- Mirrors without memories / Linda Williams -- Documentaphobia and mixed modes / Matthew Bernstein -- Silence and its opposite / Sheila Petty -- Containing fire / Caryl Flinn -- Contested territory / Julia Lesage

Call No: 761 HIC
Author: Hicks, Jeremy
Source: UK
Place: London
Publisher: I.B. Tauris
PubDate: 2007
PhysDes: xi, 194 p. : ill. ; 23 cm
Series: KINO: the Russian cinema series
Subject: DOCUMENTARY FILMS; VERTOV, DZIGA; MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929); CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934) SEE TRI PESNI OF LENINE; TRI PESNI O LENINE (UR, Dziga Vertov, 1934)
Summary: "Pioneer of political documentary and inventor of cinema verite, Dziga Vertov has exerted a decisive influence on directors from Eisenstein to Goddard. Yet his reputation long rested upon a lone masterpiece, Man with a Movie Camera. Recently, however, Vertov has begun to be recognised as the creator of a body of innovative and distinct films. This, the first book in English to cover the whole of Vertov's career, reveals him to be an auteur, allowing readers to combine the familiar and less familiar aspects of his filmmaking and thinking in a cohesive narrative. Jeremy Hicks demonstrates how Vertov draws on Soviet journalistic models for his transformation of newsreel into the new form of documentary film. Through analyses of Cine-Pravda No 21 (Leninst Cine-Pravda), Cine-Eye, Forward Soviet!, A Sixth Part of the World, The Eleventh Year, Man with a Movie Camera, Enthusiasm, Three Songs of Lenin and Lullaby, he shows how Vertov's greatest works combine authentic documentary footage ingeniously for tremendous rhetorical effect. The director's current reputation is in sharp counterpoint to the way his films were received in Russia: in the 1920s the sheer novelty of the documentary genre meant his work was little understood and much criticised, and in the 1930s Vertov was marginalised. Documentary as we know it today is unthinkable without the rediscovery of Vertov in the 1960s. In an age more suspicious of documentary's implicit claims to objectivity, Vertov's reflexive and overtly partisan films are of even greater relevance, but need to be better known and understood. This is the purpose of Dziga Vertov: Defining Documentary Film." -- BOOK BLURB
Contents: -- Acknowledments -- list of illustrations -- preface -- Introduction : Dziga Vertov--defining documentary film -- The birth of documentary from the spirit of journalism : Cine-Pravda, Cine-Eye -- Vertov and documentary theory : 'the goal was truth, the means Cine-Eye' -- 'A card catalogue in the gutter' : Forward, Soviet!, A sixth part of the world -- New paths : The eleventh year, Man with a movie camera -- Sound and the defence of documentary : Enthusiasm -- Documentary or hagiography? : Three songs of Lenin -- Years of sound and silence : Lullaby -- Forward Dziga! Foreign and posthumous reception -- notes -- select bibliography -- filmography -- index --

Call No: 632.22 ESS
Author: Papazian, Elizabeth A; Eades, Caroline
Edition: 2016
Place: New York; Chichester, UK
Publisher: Wallflower Press
PubDate: 2016
PhysDes: xi,315 p. : illustrated ; 23 cm
Subject: DOCUMENTARY FILMS; EXPERIMENTAL FILMS; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); TREE OF LIFE, THE (US, Terrence Malick, 2011); VERTOV, DZIGA; MARKER, CHRIS; Pasolini, Pier Paolo; AKERMAN, CHANTAL; GODARD, JEAN-LUC; MORETTI, NANNI; DENIS, CLAIRE; MALICK, TERRENCE
Summary: With its increasing presence in a continuously evolving media environment, the essay film as a visual form raises new questions about the construction of the subject, its relationship to the world, and the aesthetic possibilities of cinema. In this volume, authors specializing in various national cinemas (Cuban, French, German, Israeli, Italian, Lebanese, Polish, Russian, American) and critical approaches (historical, aesthetic, postcolonial, feminist, philosophical) explore the essay film and its consequences for the theory of cinema while building on and challenging existing theories. Taking as a guiding principle the essay form's dialogic, fluid nature, the volume examines the potential of the essayistic to question, investigate, and reflect on all forms of cinema—fiction film, popular cinema, and documentary, video installation, and digital essay. A wide range of filmmakers are covered, from Dziga Vertov (Man with a Movie Camera, 1928), Chris Marker (Description of a Struggle, 1960), Nicolás Guillén Landrián (Coffea Arábiga, 1968), Pier Paolo Pasolini (Notes for an African Oresteia, 1969), Chantal Akerman (News from Home, 1976) and Jean-Luc Godard (Notre musique, 2004) to Nanni Moretti (Palombella Rossa, 1989), Mohammed Soueid (Civil War, 2002), Claire Denis (L'Intrus, 2004) and Terrence Malick (The Tree of Life, 2011), among others. The volume argues that the essayistic in film—as process, as experience, as experiment—opens the road to key issues faced by the individual in relation to the collective, but can also lead to its own subversion, as a form of dialectical thought that gravitates towards crisis. -- publisher's web site
ISBN: 9780231176958
Contents: Acknowledgments -- Notes on Contributors -- Introduction: Dialogue, Politics, Utopia, by Elizabeth A. Papazian and Caroline Eades -- Part I: The Essay Film as Dialogue -- 1. Essayism and Contemporary Film Narrative, by Timothy Corrigan -- 2. Essaying the Forms of Popular Cinema: Godard, Farocki and the Principle of Shot/Countershot, by Rick Warner -- 3. The Practice of Strangeness: L'Intrus, from Jean-Luc Nancy (2000) to Claire Denis (2004), by Martine Beugnet -- 4. Cinéma-vérité and Kino-pravda: Rouch, Vertov, and the Essay Form, by Caroline Eades and Elizabeth A. Papazian -- Part II: The Essay Film as Politics -- 5. Notes for a Revolution: Pasolini's Postcolonial Essay Films, by Luca Caminati -- 6. Chris Marker's Description of a Struggle and the Limits of the Essay Film, by Eric Zakim -- 7. A Woman with a Movie Camera: Chantal Akerman's Essay Films, by Anne Eakin Moss -- 8. 'What Does It Mean Today to Be a Communist?': Nanni Moretti's Palombella rossa and La cosa as Essay Films, by Mauro Resmini -- Part III: The Essay Film as Utopia -- 9. Mohamed Soueid's Cinema of Immanence, by Laura U. Marks -- 10. Inside/Outside: Nicolasito Guillén Landrián's Subversive Strategy in Coffea Arábiga, by Ernesto Livon-Grosman -- 11. American Essays in How to Build a Home: Thoreau, Mekas, Proenneke, by Oliver Gaycken -- 12. 'to speak, to hold, to live by the image': Notes in the Margins of the New Videographic Tendency, by Luka Arsenjuk -- Afterword: The Idea of Essay Film, by Laura Rascaroli -- Index

Call No: 632.22 COR
Author: Corrigan, Timothy
Edition: 2011
Place: Oxford ; New York
Publisher: Oxford University Press
PubDate: 2011
PhysDes: 238 pages : illustrated ; 24 cm
Subject: DOCUMENTARY FILMS; MCELWEE, ROSS; VARDA, AGNES; KIAROSTAMI, ABBAS; FOLMAN, ARI; MARKER, CHRIS
Summary: Even though essay films have been a key practice since the 1950s, there is scant analysis about this form in English. Part of this is likely due to the inherent difficulty of definition. The films, which foreground subjectivity and adopt an explicit, personal approach to their subject matter, can look and feel very different from one another. Their coherence as a group, however, comes into focus when contextualized as part of the larger tradition from which they draw. By looking to the literary and philosophical lineage of the essay form, Corrigan brings new clarity to a practice that, arguably, is one of the most common and successful in contemporary film culture. The Essay Film situates its investigation in the literary tradition of essayists such as Montaigne, Barthes, and Huxley before moving to an expansive discussion of filmmakers such as Derek Jarman, Allan Clark, Werner Herzog, Harun Farocki, Chantal Akerman, Chris Marker, Errol Morris, Nanni Moretti, Agnès Varda, Ross McElwee, Abbas Kiarostami, Raoul Ruiz, Lynne Sachs, and Trinh T. Minh-ha. -- publisher's web site
ISBN: 9780199781706
Contents: Introduction: Of Film and the Essayistic -- Part I: Toward the Essay Film -- Chapter One:One Thoughts Occasioned by . . .Montaigne to Marker -- Chapter Two:Of the History of the Essay Film: from Vertov, to Varda -- Part II: Essayistic Thinking -- Chapter Three:About Portraying Expression: The Essay Film as Inter-view -- Chapter Four:To Be Elsewhere: Cinematic Excursions on Essayistic Travel -- Chapter Five:On Essayistic Diaries: Or, the Velocities of Non-Peace -- Chapter Six:Of the Currency of Events: The Essay Film as Editorial -- Chapter Seven:About Refractive Cinema: When Films Interrogate Films -- Works Cited -- Index

Call No: 632.22 ESS
Author: Alter, Nora M.; Corrigan, Timothy
Place: New York; Chichester, U.K.
Publisher: Columbia University Press
PubDate: 2017
PhysDes: ix,372 : illus. ; 23 cm
Series: Film and culture series
Subject: DOCUMENTARY FILMS; RICHTER, HANS; ASTRUC, ALEXANDRE; MARKER, CHRIS; VERTOV, DZIGA; GODARD, JEAN-LUC; GORIN, JEAN-PIERRE; MULVEY, LAURA; JULIEN, ISAAC
Summary: The essay—with its emphasis on the provisional and explorative rather than on definitive statements—has evolved from its literary beginnings and is now found in all mediums, including film. Today, the essay film is, arguably, one of the most widely acclaimed and critically discussed forms of filmmaking around the world, with practitioners such as Chris Marker, Hito Steyerl, Errol Morris, Trinh T. Minh-ha, and Rithy Panh. Characteristics of the essay film include the blending of fact and fiction, the mixing of art- and documentary-film styles, the foregrounding of subjective points of view, a concentration on public life, a tension between acoustic and visual discourses, and a dialogic encounter with audiences. This anthology of fundamental statements on the essay film offers a range of crucial historical and philosophical perspectives. It provides early critical articulations of the essay film as it evolved through the 1950s and 1960s, key contemporary scholarly essays, and a selection of writings by essay filmmakers. It features texts on the foundations of the essay film by writers such as Hans Richter and André Bazin; contemporary positions by, among others, Phillip Lopate and Michael Renov; and original essays by filmmakers themselves, including Laura Mulvey and Isaac Julien. -- publishers' web site
ISBN: 9780231172677
Contents: Introduction, by Nora M. Alter and Timothy Corrigan Part I. Foundations 1. "On the Nature and Form of the Essay," by Georg Lukács 2. The Man Without Qualities, by Robert Musil 3. "On the Essay and Its Prose," by Max Bense 4. "The Essay as Form," by Theodor W. Adorno 5. "Preface to The Collected Essays of Aldous Huxley," by Aldous Huxley Part II. The Essay Film Through History 6. "The Film Essay: A New Type of Documentary Film," by Hans Richter 7. "The Future of Cinema," by Alexandre Astruc 8. "Bazin on Marker," by André Bazin Part III. Contemporary Positions 9. "In Search of the Centaur: The Essay-Film," by Phillip Lopate 10. "The Political Im/Perceptible in the Essay Film: Farocki's Images of the World and the Inscription of War," by Nora M. Alter 11. "Essay Questions," by Paul Arthur 12. "The Electronic Essay," by Michael Renov 13. "The Essay Film: Problems, Definitions, Textual Commitments," by Laura Rascaroli 14. "Of the History of the Essay Film: Vertov, to Varda," by Timothy Corrigan 15. "The Cinema and the Essay as a Way of Thinking," by Raymond Bellour 16. "The Essay Film: From Film Festival Favorite to Flexible Commodity Form?," by Thomas Elsaesser Part IV. Filmmakers on the Essayistic 17. "Performing Borders: Transnational Video," by Ursula Biemann 18. "Proposal for a Tussle," by Jean-Pierre Gorin 19. "The Essay as Conformism? Some Notes on Global Image Economies," by Hito Steyerl 20. "On Writing the Film Essay," by Lynne Sachs 21. "Tramp Steamer," by Ross McElwee 22. "The ABCs of the Film Essay," by Harun Farocki and Christa Blümlinger 23. "Riddles as Essay Film," by Laura Mulvey 24. "Certain Obliquenesses," by Renée Green 25. "Essay Documentary: The disembodied narrator and an unclaimed image that floats through space and time," by Rea Tajiri 26. "From Ten Thousand Waves to Lina Bo Bardi, via Kapital," by Isaac Julien Bibliography Contributors Permissions Index

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: 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 Hersog, 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 --

Call No: FESTIVAL CATALOGUE SHELVES held 1982-1983, 1985, 1998
Place: Canada
Publisher: [s.n.]
PubDate: 1982-1998
PhysDes: 4 v. : ill. ; 23-31 cm
Subject: FESTIVALS. CANADA; FOREIGN FILMS USE: IMPORT OF FILMS; SHORT FILMS; DOCUMENTARY FILMS; ANIMATION
Notes: The Festival International du Nouveau Cinema and Video Montreal includes a selection of feature length films, short films, documentaries and animated films. The festival also hosts special programs relating to world cinema such as new Italian cinema and French-Canadian cinema. The catalogues also include numerous black and white stills and film synopses in both French and English languages. Prior to 1985 the festival title was referred to as the Festival International du Nouveau Cinema Montreal.
ID2: 103

Call No: SUBJECT CLIPPINGS FILE
PhysDes: Clippings
Subject: FESTIVALS. MELBOURNE. REAL LIFE ON FILM; DOCUMENTARY FILMS

Call No: 761 TOE
Author: Toeplitz, Jerzy
CorpAuthor: Australian Film and Television School. Open Program Resources
Place: [North Ryde, N.S.W.]
Publisher: Australian Film and Television School, Open Program Resources
PubDate: 1979
PhysDes: 39p. ; 29cm
Subject: DOCUMENTARY FILMS; HISTORY OF CINEMA; HISTORY OF CINEMA. SILENT PERIOD; WORLD WAR II AND THE CINEMA; FLAHERTY, ROBERT; VERTOV, DZIGA; GRIERSON, JOHN; RIEFENSTAHL, LENI; RUTTMAN, WALTER; VEDRES, NICOLE; PARIS 1900 (FR, Nicole Vedres, 1948); MOANA (US, Robert Flaherty, 1926); GRASS (US, Ernest B. Schoedsack, 1926)
Summary: "This booklet contains the edited transcripts of a series of lectures given by Professor Toeplitz during a six week full-time workshop on documentary film. The workshop was for documentary filmmakers in Australia and New Zealand."
Notes: Documentary films. Lectures, speeches (ANB/PRECIS SIN 037718x); Bibliography: p.38-39
ISBN: 0642924759 : price unknown
LON: 1664997

Call No: 62 FIE
Author: Devereaux, Leslie; Hillman, Roger
Place: Berkeley
Publisher: University of California Press
PubDate: 1995
PhysDes: xiv, 362 p. : ill. ; 24 cm
Subject: MONTAGE; ETHNOGRAPHIC FILMS; PHOTOGRAPHY AND THE CINEMA; WAR AND THE CINEMA; WAR IN FILMS; MODERNISM AND THE CINEMA; HORROR FILMS; BODY IN FILMS; MEN IN FILMS; SPECTATORSHIP; CARNIVAL AND THE CINEMA; WOMEN AND THE CINEMA; NARRATIVE IN FILMS; SOUND; ADAPTATIONS; AUSTRALIAN ABORIGINES AND THE CINEMA; DOCUMENTARY FILMS; HOLLYWOOD; EHE DER MARIA BRAUN, DIE (GW, Rainer Werner Fassbinber, 1979); NAME DER ROSE, DER (GW/IT/FR, Jean-Jacques Annaud, 1986); RIVERS OF SAND (US, Robert Gardner, 1974)
Notes: Includes bibliographical references and index
ISBN: 0520085248 (pbk. : alk. paper); 0520085221 (alk. paper)
LON: 10726537

Call No: FESTIVAL CATALOGUE SHELVES
Place: Wales
Publisher: [s.n.]
PubDate: 1984
PhysDes: 1 v. : ill. ; 30 cm
Subject: FESTIVALS. WALES; FOREIGN FILMS USE: IMPORT OF FILMS; SHORT FILMS; TELEVISION AND THE CINEMA. EUROPEAN COUNTRIES; TELEVISION. UK; DOCUMENTARY FILMS
Notes: The Fifth Celtic Film and Television Festival includes a selection of feature length films, short films, documentaries and television programs. The festival program has an emphasis on film and television from Celtic nations such as Wales, Ireland, Scotland and France. The catalogue also includes numerous black and white stills and film synopses. NB. The festival catalogue is in English, French and Welsh languages.

Call No: 62 MAN
Author: Manvell, Roger, 1909
Edition: Further rev
Place: Harmondsworth
Publisher: Penguin
PubDate: 1950
PhysDes: 182 p., [80] p. of plates : ill. ; 18 cm
Series: Pelican book ; A126
Subject: SOCIETY AND THE CINEMA; AESTHETICS; CENSORSHIP; INDUSTRY, FILM; DOCUMENTARY FILMS
Notes: Includes index; Bibliography: p. 251-263
LON: abn86084370; 4435368
URL status: URL: 'http://-' Checked: 31/08/2021 12:39:26 PM Status: Error Details: Failed to send HTTP request (WinHttpSendRequest)

Call No: 22 COY
Author: Coynik, David
Edition: Rev. ed
Source: US
Place: Evanston
Publisher: McDougal, Littel & Company
PubDate: 1976
PhysDes: 216 p. : ill. ; 28 cm
Subject: FILMMAKING; EDITING; COLOUR; SOUND; GENRES; DOCUMENTARY FILMS; ANIMATION
Summary: This book gives a background for some of the techniques which filmmakers use to communicate, and in the final chapter gives information on making a film.
Notes: Includes index
ISBN: 0883433044
Donation: donated by the family of Wayne Levy, 2006

Call No: 626:165.62 CAS
Author: Casebier, Allan
Place: Cambridge New York
Publisher: Cambridge University Press
PubDate: 1991
PhysDes: vii, 165 p. ; 24 cm
Series: Cambridge studies in film
Subject: HUSSERL, EDMUND; PHILOSOPHY AND THE CINEMA; DOCUMENTARY FILMS; BORDWELL, DAVID; BAZIN, ANDRE; MARKER, CHRIS; KUROSAWA AKIRA; LACAN, JACQUES; METZ, CHRISTIAN; OSHIMA NAGISA; OZU YASUJIRO; TOUCH OF EVIL (US, Orson Welles, 1958)
Notes: Includes index; Bibliography: p. 159-160; Filmography: p. 161-162
ISBN: 0521411327 (hardback)
LON: 7950801

Author: Mogg, Ken and Gillies, Max
PhysDes: Article
Subject: DOCUMENTARY FILMS; REALISM IN FILMS; LUMIERE, AUGUSTE & LOUIS; FLAHERTY, ROBERT; NANOOK OF THE NORTH (US, Robert Flaherty, 1922); Grierson, John
Summary: An accompanying article for the screening of the compilation film "Film and Reality" (Britain, 1942) produced by the National Film Library.

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
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Call No: 63 RAN
Author: Rancier, Jacques; Battista, Emiliano
Source: FR/US
Place: New York
Publisher: Berg Publishers
PubDate: 2006
PhysDes: viii, 196 pages ; 24 cm
Subject: AESTHETICS; ART AND THE CINEMA; ART CINEMA; AUTEUR THEORY; CINEMATOGRAPHY; DOCUMENTARY FILMS; HISTORY AND THE CINEMA; HISTORY OF CINEMA; NARRATIVE IN FILMS; PHILOSOPHY AND THE CINEMA; SYMBOLISM IN FILMS; BRESSON, ROBERT; DELEUZE, GILLES; EPSTEIN, JEAN; EISENSTEIN, SERGEI M.; GODARD, JEAN-LUC; HITCHCOCK, ALFRED; LANG, FRITZ; MANN, ANTHONY; MARKER, CHRIS; MEDVEKIN, ALEXANDER; MURNAU, FRIEDRICH WILHELM; OZU YASUJIRO; RAY, NICHOLAS; ROSSELLINI, ROBERTO; VERTOV, DZIGA; AU HASARD, BALTHAZAR (FR/SW, Robert Bresson, 1966); BRONENOSETS POTEMKIN [BATTLESHIP POTEMKIN] (UR, Sergei Eisenstein, 1925); CHINOISE, LA (FR, Jean-Luc Godard, 1967); FAUST (G, Friedrich Wilhelm Marnau, 1926); WHILE THE CITY SLEEPS (US, Fritz Lang, 1955)
Summary: "Film Fables traces the history of modern cinema, moving effortlessly from Eisenstein's and Murnau's transition from theatre to film to Fritz Lang's confrontation with television, from the classical poetics of Mann's Westerns to Ray's romantic poetics of the image, from Rossellini's neo-realism to Deleuze's philosophy of the cinema and Marker's documentaries."
Notes: Includes index
ISBN: 9781845201685
ID2: 291

Call No: 62 DEN
Author: DeNitto, Dennis,
Place: New York
Publisher: Harper & Row
PubDate: c1985
PhysDes: xv, 544 p. : ill. ; 23 cm
Subject: THEORY; CRITICISM; EDITING; HISTORY OF CINEMA; REALISM IN FILMS; EXPRESSIONISM; MONTAGE; NEOREALISM; NOUVELLE VAGUE; COMEDIES; DOCUMENTARY FILMS; CINEMA VERITE; PROPAGANDA FILMS; WESTERNS; MUSICALS; VARIETE (G, E.A. Dupont, 1925); GOLD RUSH, THE (US, Charles Chaplin, 1925); PRODUCERS, THE (US, Mel Brooks, 1967); TITICUT FOLLIES (US, Frederick Wiseman, 1967); BROKEN BLOSSOMS (US, David Wark Griffith, 1919); OKTIABR [OCTOBER] (UR, Sergei Eisenstein, 1928); LADRI DI BICICLETTE (IT, Vittorio De Sica, 1949); QUATRE CENTS COUPS, LES (FR, Francois Truffaut, 1959); MAN OF ARAN (UK, Robert Flaherty, 1934); TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); STAGECOACH (US, John Ford, 1939); SHANE (US, George Stevens, 1953); WILD BUNCH, THE (US, Sam Peckinpah, 1969); TOP HAT (US, Mark Sandrich, 1935); SINGIN' IN THE RAIN (US, Gene Kelly & Stanley Donen, 1952); WEST SIDE STORY (US, Robert Wise, 1961); SOMMARNATTENS LEENDE (SW, Ingmar Bergman, 1956)
Notes: Includes indexes; Bibliography: p. 493-503
ISBN: 0060416297 (pbk.)
Order Received: 2000
Order Type: Donation
LON: 3664711

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; HOLLYWOOD; 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: 761(73) ALE
Author: Alexander, William, 1938
Place: Princeton, N.J.
Publisher: Princeton University Press
PubDate: c1981
PhysDes: xviii, 355 p., [6] leaves of plates : ill. ; 24 cm
Subject: DOCUMENTARY FILMS. USA; FASCISM AND THE CINEMA; WORKER'S FILM & PHOTO LEAGUE; WORLD WAR II AND THE CINEMA; VAN DYKE, WILLARD; IVENS, JORIS; LORENTZ, PARE; KLINE, HERBERT; NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942)
Notes: Includes index; Bibliography: p. [327]-340
ISBN: 0691046786 : $27.50; 0691101116 (lim. print. ed.) : $12.50
LON: 1856120
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Author: Beresford, Bruce
PhysDes: Article
Subject: COSTUME DESIGNING; DOCUMENTARY FILMS. AUSTRALIA; FILMMAKING, AUSTRALIA; HISTORICAL FILMS. AUSTRALIA; LOCATION SHOOTING. AUSTRALIA: WESTERN AUSTRALIA; BERESFORD, BRUCE; MORRISBY, TED; O'CONNELL, JOHN; WRECK OF THE BATAVIA, THE (AT, Bruce Beresford, 1973)
Summary: Bruce Beresford discusses his experiences as director on the semi-documentary Wreck of the Batavia, about a Dutch East India Company ship wrecked off the West Australian coast in 1629

Call No: held Vol. 1, no. 1 (Nov. 1939)-v. 1, no. 4 (Winter 1940) - complete
Source: US
Place: New York
Publisher: Arno Press
PubDate: 1968
Subject: DOCUMENTARY FILMS; SOUND; MUSIC IN FILMS; STATE AND THE CINEMA. USA; STATE AND THE CINEMA. CANADA; STATE AND THE CINEMA. BRAZIL; STATE AND THE CINEMA. MEXICO; TRADE UNIONS. USA; POTAMKIN, HARRY ALAN; GREAT DICTATOR, THE (US, Charles Chaplin, 1940); FANTASIA (US, Walt Disney, 1940); GONE WITH THE WIND (US, Victor Fleming, 1939); GRAPES OF WRATH, THE (US, John Ford, 1940); SHCHORS (UR, Alexander Dovzhenko, 1939); CONFESSIONS OF A NAZI SPY (US, Anatole Litvak, 1939); CITY, THE (US, Ralph Steiner and Willard Van Dyke, 1939); MAISONS DE LA MISERE, LES (BE, Henri Storck, 1937)
Notes: Reprint. Originally published : New York : Kamin Publishers.

Call No: REFERENCE SECTION; 027(430.1) TELDOK "1978" FIL
CorpAuthor: Teldok Films
Source: GG
Place: Freiburg, West Germany
Publisher: Teldok Film
PubDate: 1978
PhysDes: 12 leaves : ill. ; 30 cm
Subject: DOCUMENTARY FILMS. GERMANY; DOCUMENTARY FILMS. THIRD WORLD; POLITICS AND THE CINEMA
Notes: In the 'German Federal Republic Distribution Catalogues' box - 027(430.1); Introductory essay about Teldok Films written by Peter Krieg and Heidi Knott.

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

Author: Barnouw, Erik & Zimmermann, Patricia
PhysDes: Article
Subject: FLAHERTY, ROBERT; INDEPENDENT FILMS; FESTIVALS; DOCUMENTARY FILMS
Summary: A special edition Wide Angle on the history of the Robert Flaherty Film Seminar (The Flaherty), a festival for film screening, seminars, and scholarship. Includes interviews, articles, and recollections.

Call No: 81FRA DUR
Author: Durgnat, Raymond
Source: UK
Place: London
Publisher: Studio Vista
PubDate: c1967
PhysDes: 144 p. : ill. ; 17 cm.
Series: Movie paperbacks
Subject: DOCUMENTARY FILMS; POETIC REALISM; SURREALISM AND THE CINEMA; AVANT-GARDE FILMS; FRANJU, GEORGES; SANG DES BETES, LE (FR, Georges Franju, 1948); PREMIERE NUIT, LA (FR, Georges Franju, 1958); EN PASSANT PAR LA LORRAINE (FR, Georges Franju, 1951); HOTEL DES INVALIDES (FR, Georges Franju, 1952); GRAND MELIES, LE (FR, Georges Franju, 1952); POUSSIERES, LES (FR, Georges Franju, 1954); A PROPOS D'UNE RIVIERE (FR, Georges Franju, 1955); NOTRE DAME CATHEDRALE DE PARIS (FR, Georges Franju, 1956); TETE CONTRE LES MURS, LA (FR, Georges Franju, 1959); YEUX SANS VISAGE, LES (FR/IT, Georges Franju, 1959); PLEINS FEUX SUR L'ASSASSIN (FR, Georges Franju, 1960); THOMAS L'IMPOSTEUR (FR, Georges Franju, 1965); RIDEAUX BLANCS, LES (FR, Georges Franju, 1965)
Notes: Bibliography: p. 143-144.
ISBN: 0289277973

Author: Marks, Dick
PhysDes: Article
Subject: DOCUMENTARY FILMS. THIRD WORLD; MOUNTAIN FILMS; DILLON, MIKE
Summary: Cinematographer, Mike Dillon discusses his work filming 100 documentaries over forty years and his humanitarian work in Nepal

Call No: 767.2(430) MOM
CorpAuthor: Goethe-Institut (Munich, Germany)
Place: MFunchen
Publisher: Goethe-Institut
PubDate: 1981
PhysDes: 47 p. : ill. ; 21 cm
Subject: DOCUMENTARY FILMS. GERMANY; FASCISM AND THE CINEMA; NAZIS IN FILMS
Notes: Cover title
LON: 2820924

Call No: 451-02(71) GEN
Author: Armatage, Kay
Place: Toronto
Publisher: University of Toronto Press
PubDate: 1999
PhysDes: xi, 329 p
Subject: WOMEN IN FILMS. CANADA; CANADA; WOMEN, FILMS MADE BY. CANADA; GENDER AND THE CINEMA. CANADA; FEMINISM AND THE CINEMA. CANADA; DOCUMENTARY FILMS. CANADA; AVANT-GARDE FILMS. CANADA; LANDSCAPES IN FILMS. CANADA; IMPERIALISM AND THE CINEMA. CANADA; NATIONAL IDENTITY AND THE CINEMA. CANADA; HOMOSEXUALITY AND THE CINEMA. CANADA; BODY IN FILMS. CANADA; ROZEMA, PATRICIA; POIRIER, ANNE CLAIRE; FAR SHORE, THE (CN, Joyce Wieland, 1975); LOYALTIES (CN, Anne Wheeler, 1986); MOUVEMENTS DU DESIR (CN/SZ, Lea Pool, 1994)
Notes: Includes bibliographical references and index
ISBN: 0802041205 (bound) : $70.00; 0802079644 (pbk.) : $21.95; 0802041205 (bound); 0802079644 (pbk.)
LON: 14526441

Call No: REFERENCE SECTION; 023(430) GER"2001"
CorpAuthor: Arbeitsgemeinschaft Dokumentarfilm
Place: Frankfurt-am-Main
Publisher: Arbeitsgemeinschaft Dokumentarfilm
PubDate: 2001
PhysDes: 122 p. ; 30 cm
Subject: GERMANY; FILMOGRAPHIES; DOCUMENTARY FILMS. GERMANY
Notes: catalogue

Call No: FESTIVAL CATALOGUE SHELVES held 1988
Source: US
Place: New York, NY
Publisher: [s.n.]
PubDate: 1988
PhysDes: v. ; 28 cm
Subject: FESTIVALS. NEW YORK; DOCUMENTARY FILMS; DEMME, JONATHAN; WATKINS, PETER
Notes: The Global Village Documentary Festival is an important American film festival that is devoted entirely to documentary films. The film festival program is in the form of a typed document and includes introductory notes and a list of the selected films with a synopsis of each film. Located in the Various US Film Festivals A-G section.
ID2: 112

Call No: 761 HUG
Author: Hughes, Helen
Source: UK/US
Place: Bristol, U.K. ; Chicago, USA
Publisher: Intellect
PubDate: 2014
PhysDes: 175 pages : illustrations ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; CRITICISM; ENVIRONMENTAL ISSUES IN FILMS; ECOLOGY FILMS
Summary: "During the first decade of the twenty first century, a stunning array of documentary films focusing on environmental issues, representing the world on the brink of ecological catastrophe, has been met with critical and popular acclaim.Green Documentary is the first book-length study of this phenomenon." -- LIBRARIES AUSTRALIA
Notes: Includes bibliographical references (p. [143] - 156) and index
ISBN: 9781783201839
Contents: -- acknowledgements -- chapter 1: introduction: contemplation, irony, argument -- chapter 2: the institutional context -- chapter 3: the contemplative response -- chapter 4: the ironic response -- chapter 5: the argumentative response -- chapter 6: the material response -- works cited -- index --

Call No: 761 GIL
Author: Gillezeau, Marcus
Place: Sydney
Publisher: Australian Film Commission
PubDate: 1997
PhysDes: 25 p. ; 30cm
Subject: DOCUMENTARY FILMS. AUSTRALIA; TECHNOLOGY AND THE CINEMA. AUSTRALIA; DIGITAL TECHNOLOGY. AUSTRALIA; EQUIPMENT; FILMMAKING; CAMERAS; SOUND; SOUND RECORDING; PRODUCTION; POST-PRODUCTION; EDITING
Summary: "This paper outlines production and post-production paths for low budget documentaries with budgets ranging from $20,000 to $100,000. It explores both digital and analogue methods. It includes pointers on what needs to be considered during pre-production and the shoot which will result in time and cost savings during post-production." -- TAKEN FROM INTRODUCTION TO REPORT
LON: abn98003903; 13617349

Author: Gillezeau, Marcus
PhysDes: Article; Illustration(s)
Subject: DOCUMENTARY FILMS; SOUND; HURLEY, FRANK; PARER, DAMIEN; DAVIS, MARK; BRADBURY, DAVID; AFRIKA - CAPE TOWN TO CAIRO [TV] (AT, Michael Davie, 1998)
Summary: Gillezeau examines the ethical issues involved in sound design for documentaries, looking at the work of Frank Hurley and Damien Parer.

Call No: 451 LAC
Author: Lacey, Nick, 1961
Place: New York
Publisher: St. Martin's Press
PubDate: 1998
PhysDes: x, 256 p. : ill. ; 23 cm
Subject: TYPE CHARACTERS IN FILMS; SEMIOLOGY; NEWS PROGRAMMES. UK; WESTERNS; PROPAGANDA FILMS; REALISM IN FILMS; DOCUMENTARY FILMS; MAI '68 (FRANCE); SHERMAN, CINDY; DYER, RICHARD; BLUE STEEL (US, Kathryn Bigelow, 1989)
Notes: Includes bibliographical references (p. 247-251) and index
ISBN: 031221202X (hbk. : alk. paper); 0312212038 (pbk. : alk. paper)
Order Received: 2000
Order Type: Donation
LON: 13463631

Call No: 81BAR MUR
Author: Murray, Stuart
Source: NZ
Place: Wellington
Publisher: Huia
PubDate: 2008
PhysDes: xiv, 108 p., [12] p. of plates : ill. (chiefly col.) ; 24 cm
Subject: CRITICISM; PRODUCTION; DIRECTION; DOCUMENTARY FILMS; NEW ZEALAND; MAORI CINEMA; MAORI IN FILMS; BARCLAY, BARRY; MATTER OF TASTE, A (NZ, Barry Barclay,1968); SPINNINING A YARN (NZ, Barry Barclay, 1971) ALL THAT WE NEED (NZ, Barry Barclay, 1972) THERE'S A PROBLEM HERE (NZ, Barry Barclay, 1972 ) TOWN THAT LOST A MIRACLE, THE [TV](NZ,1972) IN THE COMPANY OF TREES (NZ, Barry Barclay,; ASHES (NZ,1975) [TV]; HUNTING hORNS (NZ,1976,) [TV]; WOMEN IN POWER: INDIRA GANDHI (NZ, 1976) [TV]; IN SEARCH OF PAKEHATANGA - AUTUMN FIRES (NZ,1977) [TV]; AKU MAHI WHATU MAORI (NZ, 1977) [TV]; MY ART OF MAORI WEAVING (NZ,1977) [TV]; MAHAWELI (NZ, Barry Barclay,1979) NEGLECTED MIRACLE ,THE (NZ, Barry Barclay, 1985); KAMATE! KAMATE! (NZ, Barry Barclay, 1987); NGATI (NZ, Barry Barclay, 1987); TE UREWERA (NZ, 1987) [TV]; TE RUA(NZ/G Barry Barclay, 1991); STOREHOUSE, THE( NZ, Barry Barclay,1991); FEATHERS OF PEACE, THE (NZ, Barry Barclay, 2000); KAIPARA AFFAIR, THE (NZ, Barry Barclay, 2005)
Summary: The book looks at the films, television work and documentaries of Barry Barclay, and presents him as a film maker who made a significant contribution to New Zealand's understanding of both its Maori community and bicultural character.
Notes: Bibliography: p. 99-103; Includes filmography; Includes index
ISBN: 9781869693282

Call No: 761 MAC
Author: Macdonald, Kevin, 1967-; Cousins, Mark
Place: London
Publisher: Faber and Faber
PubDate: 1996
PhysDes: xii, 400 p. : ill. ; 24 cm
Subject: DOCUMENTARY FILMS; JEWS IN FILMS; CINEMA VERITE; CINEMA-DIRECT; GENOCIDE IN FILMS; NEWSREELS; PROPAGANDA FILMS; SOCIAL PROBLEMS IN FILMS; WAR IN FILMS; VERTOV, DZIGA; ROUCH, JEAN; IMAMURA, SHOHEI; KIESLOWSKI, KRZYSZTOF; MALLE, LOUIS; MARKER, CHRIS; OPHULS, MARCEL; Grierson, John; HUSTON, JOHN; ANDERSON, LINDSAY; BUNUEL, LUIS; ALVAREZ, SANTIAGO; ANTONIO, EMILE DE; BALAZS, BELA; BLUE, JAMES; BROOMFIELD, NICK; CAVALCANTI, ALBERTO; COLINA, JOSE DE LA; COOPER, MERIAN C.; DIETRICH, MARLENE; FLAHERTY, ROBERT; IVENS, JORIS; IWASAKI, AKIRA; JENNINGS, HUMPHREY; KAUFMAN, MIKHAIL; KAUL, MANI; LANZMANN, CLAUDE; LEACOCK, RICHARD; MAYSLES, ALBERT & DAVID; MORRIS, ERROL; RIEFENSTAHL, LENI; SCHELL, MAXIMILIAN; SHUB, ESTHER; TSUCHIMOTO, NORIAKI; WISEMAN, FREDERICK; WRIGHT, BASIL; TRIUMPH DES WILLENS (G, Leni Riefenstahl, 1935); WITH LAWRENCE IN ARABIA (US, Lowell Thomas, 1919); INDE FANTOME, L' (FR, Louis Malle, 1968); LET THERE BE LIGHT (US, John Huston, 1946); MARLENE (GW, Maximilian Schell, 1984); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936); REGEN (NE, Joris Ivens, 1929); SONG OF CEYLON (UK, Basil Wright, 1934); SPANISH EARTH, THE (US, Joris Ivens, 1937); THIN BLUE LINE, THE (US, Errol Morris, 1988); SANS SOLEIL (FR, Chris Marker, 1983); SHOAH (FR/SZ, Claude Lanzmann, 1985); A PROPOS DE NICE (FR, Jean Vigo, 1930); CRUMB (US, Terry Zwigoff, 1994); HOUSING PROBLEMS (UK, Edgar Anstey & Arthur Elton, 1935); YUKI YUKITE SHINGUN (JA, Kazuo Hara, 1987); VERITES ET MENSONGES (FR/IR, Orson Welles, 1975[prod.1973]); FIRST LOVE (US, Joan Darling, 1977); GIMME SHELTER (US, David Maysles & Albert Maysles & Charlotte Zwerin, 1970); HOOP DREAMS (US, Steve James, 1994); LAS HURDES (SP, Luis Bunuel, 1932)
Summary: Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. It gathers a wide-ranging collection of writings by and about such groundbreaking documentary-makers as Vertov, Flaherty, Marcel Ophuls, Chris Marker, Kieslowski, Claude Lanzmann, and Nick Broomfield. The story is carried up to date by attention to the success documentaries have had among mainstream movie audiences in recent years, including Michael Moore's Bowling For Columbine and Fahrenheit 9/11, The Buena Vista Social Club, Spellbound, Capturing The Friedmans, Être Et Avoir, and The Fog Of War. --TAKEN FROM PUBLISHER'S SITE
Notes: Includes bibliographical references and index; Faber book of the documentary
ISBN: 0571177239
LON: 13068333
Contents: Part 1. -- 1.The Kingdom of Shadows -- 2. Going to Extremes -- 3. Kino Eyes and Agit Trains -- 4. Documentary and the Avante Guarde -- Part 2. -- 5. The British Movement -- 6. Battling for minds -- 7. Aspects of Asia -- Part 3. -- 8. The Essayists -- 9. The Grain of Truth -- Part 4. -- 10. The Cinema of Social Concern -- 11. Diversity -- 12. The Burning Question
ID2: 47

Call No: held Fall 1990-vol.14 no.9 Fall 1990-Dec./Jan. 1995/96 incomplete
CorpAuthor: International Documentary Association
Source: US
Place: Los Angeles, CA
Publisher: The Association
PhysDes: v. : ill. ; 28 cm
Subject: DOCUMENTARY FILMS
Notes: Subtitle varies; Description based on: Vol. 2, no. 3 (fall 1983); title from caption
ISSN: 0742-5333
Frequency: Monthly (bimonthly Dec./Jan. and July/Aug.), LON: sn 84009565; 3120100

Call No: FESTIVAL CATALOGUE SHELVES held 1975-1976, 1979-1982
Source: G
Place: Berlin, Germany
Publisher: [s.n.]
PubDate: 1975-1982
PhysDes: 6 v. : ill. ; 21 cm
Subject: FESTIVALS. BERLIN; INDEPENDENT FILMS; DOCUMENTARY FILMS; AVANT-GARDE FILMS; WORLD CINEMA
Notes: The Internationales Forum des Jungen Films (International Forum of Young Cinema) is an independently run section of the International Berlin Festival. The festival includes works that promote the independent, documentary and avant-garde cinema in its broadest sense. The catalogues include numerous black and white stills and film synopses relating to each film that is screened. NB. the festival programs are in English, French and German languages.

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Bloomington IN
Publisher: Indiana University Press
PubDate: 2001
PhysDes: 223 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; ETHICS AND THE CINEMA; FEMINISM AND THE CINEMA; REALISM IN FILMS; SOCIAL PROBLEMS IN FILMS; VIDEO, FILMS ON; VOICE OVER; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); NANOOK OF THE NORTH (US, Robert Flaherty, 1922); NIGHT AND FOG (FR, Alain Resnais, 1995); NUIT ET BROUILLARD (FR, Alain Resnais, 1955); THIN BLUE LINE, THE (US, Errol Morris, 1988)
Summary: Introduction to Documentary provides an overview of the most important topics and issues in documentary history and criticism. Designed for students in any field that makes use of visiual evidence and persuasive strategies, this book spells out the distinguishing qualities of documentary. This book offers suggestive answers to basic issues that have stood at the centre of all debate on documentary from its very beginnings to today. It covers questions of ethics, form, modes, voice, history, and politics among others. A final chapter addresses the question of how to write about documentary in a clear, convincing manner.
Notes: Includes Notes on source material pp.179-190; Filmography pp.191-201; List of Distributors pp.201-218; Index pp.219-223
ISBN: 0253214696
Contents: 1. Why are ethical issues central to documentary filmmaking -- 2. How do documentaries differ from other types of film -- 3. What gives documentary films a voice of their own? -- 4. What are documantaries about? -- 5. How did documentary filmmaking get started? -- 6. What types of documentary are there? -- 7. How have documentaries addressed social and political issues? -- 8. How can we write effectively about documentary?
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Call No: 62 INT
Author: Nelmes, Jill, 1954
Edition: 2nd ed
Place: London
Publisher: Routledge
PubDate: 1999
PhysDes: xviii, 522 p. : ill. ; 26 cm
Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980)
Notes: Includes bibliographical references and index
ISBN: 0415173094 (hb); 0415173108 (pb)
LON: 14043939
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Call No: 62 INT
Author: Nelmes, Jill, 1954
Edition: 3rd ed
Place: London
Publisher: Routledge
PubDate: 2003
PhysDes: xviii, 522 p. : ill. ; 26 cm
Subject: WARNER BROS.; STUDIO SYSTEM; AUDIENCES; GENRES; DOCUMENTARY FILMS; ANIMATION; COMPUTERS AND THE CINEMA; WOMEN AND THE CINEMA; FEMINISM AND THE CINEMA; HOMOSEXUALITY AND THE CINEMA; HOMOSEXUALITY IN FILMS; UNITED KINGDOM; INDIA; USSR; GERMANY; NARRATIVE IN FILMS; SPECTATORSHIP; CENSORSHIP; STARS; AUTEUR THEORY; MOTION PICTURE PRODUCERS AND DISTRIBUTORS OF AMERICA; KULESOV, LEV; KAPOOR, RAJ; Ray, Satyajit; DOVZENKO, ALEKSANDR; SHUB, ESTHER; FLAHERTY, ROBERT; JENNINGS, HUMPHREY; RIEFENSTAHL, LENI; WISEMAN, FREDERICK; POTTER, SALLY; TOCCAFONDO, GIANLUIGI; FELLOW TRAVELLER (UK/US, Philip Saville, 1990); DUCK AMUCK (US, Chuck Jones, 1953); GIRLS' NIGHT OUT (UK, Joanna Quinn, 1987); COLOUR BOX, A (UK, Len Lye, 1935); DEADSY (UK, David Anderson, 1989); DILWALE DULHANIYA LE JAYENGE (II, Aditya Chopra, [1995]); JAWS (US, Steven Spielberg, 1975); CRYING GAME, THE (UK, Neil Jordan, 1992); PLATOON (US, Oliver Stone, 1986); MARS ATTACKS! (US, Tim Burton, 1996); ROBOCOP (US, Paul Verhoeven, 1987); GENERAL, THE (US, Buster Keaton & Clyde Bruckman, 1927); IF... (UK, Lindsay Anderson, 1968); PULP FICTION (US, Quentin Tarantino, 1994); NEW YORK, NEW YORK (US, Martin Scorsese, 1977); HOOP DREAMS (US, Steve James, 1994); WHEN WE WERE KINGS (US, Leon Gast, 1996); GIRLS LIKE US (US, Jane C. Wagner & Tina De Feliciantonio, 1997); CREATURE COMFORTS (UK, Nick Park, 1991); NEIGHBOURS (US, Norman McLaren, 1952); STILTE ROND CHRISTINE M., DE (NE, Marleen Gorris, 1982); GOLD DIGGERS, THE (US, Sally Potter, 1983); ORLANDO (UK/RU/FR/NE, Sally Potter, 1992); PIANO, THE (AT, Jane Campion, 1993); VICTIM (UK, Basil Dearden, 1961); DESERT HEARTS (US, Donna Deitch, 1985); LIVING END, THE (US, Gregg Araki, 1992); LOOKING FOR LANGSTON (UK, Isaac Julien, 1989); GO FISH (US, Rose Troche, 1994); TRAINSPOTTING (UK, Danny Boyle, 1996); FULL MONTY, THE (UK/US, Robert Cattaneo, 1997); ABSCHIED VON GESTERN (GW, Alexander Kluge, 1966); AMERIKANISCHE FREUND, DER (GW/FR, Wim Wenders, 1977); DEUTSCHLAND BLEICHE MUTTER (GW, Helma Sanders-Brahms, 1980)
Summary: Reference work covering a wide range of concepts, theories and ideas about film studies covering different periods and countries. Attempts to present the diversity of thought within film theory. First published in 1996.
Notes: Includes annotated key reading for each chapter, bibliography, glossary of key terms and index.
ISBN: 0415173094 (hb); 0415173108 (pb)
LON: 14043939

Call No: SUBJECT CLIPPINGS FILE; VIRTUAL REALITY
Author: Quinn, Karl
PhysDes: Clippings File Article
Subject: VIRTUAL REALITY; DOCUMENTARY FILMS
Summary: An article about documentary filmmakers, Oscar Raby and Katy Morrison. This article includes information about the world of virtual reality in cinema, citing Raby's film, Assent, shown at the Sheffield Documentary film festival and Sundance.

Call No: 71(45) SOR
Author: Sorlin, Pierre
Place: New York
Publisher: Routledge
PubDate: 1996
PhysDes: viii, 202 p. : ill. ; 23 cm
Series: National cinemas series
Subject: ITALY; NEOREALISM; TELEVISION AND THE CINEMA. ITALY; FASCISM AND THE CINEMA. ITALY; DOCUMENTARY FILMS. ITALY; ANTONIONI, MICHELANGELO; BLASETTI, ALESSANDRO; PAGANO, BARTOLOMEO; NAZZARI, AMEDEO; ROSSELLINI, ROBERTO; DE SICA, VITTORIO; VISCONTI, LUCHINO; Pasolini, Pier Paolo; Fellini, Federico
Notes: Filmography: p. (181)-202; Includes bibliographical references and index
ISBN: 0415116988 (pbk. : alk. paper); 041511697X (hbk. : alk. paper)
LON: 12008493

Call No: 81GRI BEV
Author: Beveridge, James
Place: New York
Publisher: Macmillan Publishing Co., Inc.
PhysDes: xix, 362 p. : ill. ; 24 cm
Subject: DOCUMENTARY FILMS; DIRECTORS. UK; Grierson, John
Summary: Interviews and essays, most of which were done for the film 'Grierson'.
Notes: Includes index.
ISBN: 0025105302
Donation: donated by the family of Wayne Levy, 2006

Call No: 761(41) ORB
Author: Orbanz, Eva
CorpAuthor: Stiftung Deutsche Kinemathek
Place: Berlin
Publisher: Spiess
PubDate: 1977
PhysDes: 213 p. : ill. ; 21 cm
Subject: DOCUMENTARY FILMS; DIRECTORS. UK; ROTHA, PAUL; ANDERSON, LINDSAY; REISZ, KAREL; WATT, HARRY; ANSTEY, EDGAR; BROOMFIELD, NICK; BOND, RALPH; WRIGHT, BASIL; GRIGSBY, MIKE; FORMAN, DENIS; GARNETT, TONY; STEWART, CHARLES
Notes: Translation of Eine Reise in die Legende und zuruck
ISBN: 3920889517 : DM12.80
LON: 1264498

Call No: F023(430.1) K"1954/9" DEV
Source: GG
Place: [s.l]
Publisher: [s.n.]
PubDate: [19-?]
PhysDes: 357 p. ; 21 cm
Subject: GERMANY; DOCUMENTARY FILMS. GERMANY
Notes: catalogue
Language: German

Call No: 81VER KIN
Author: Vertov, Dziga, 1896-1954; Michelson, Annette
Source: US
Place: Berkeley, Ca.
Publisher: University of California Press
PubDate: 1984
PhysDes: lxi, 344 p. : ill. ; 23 cm
Subject: ART CINEMA; CINEMATOGRAPHY; DOCUMENTARIES; DOCUMENTARY FILMS. USSR; EDITING; INDUSTRY, FILM. USSR; NEWSREELS; POLITICS AND THE CINEMA; REVOLUTION AND THE CINEMA; SOCIALISM AND THE CINEMA; WOMEN AND THE CINEMA; VERTOV, DZIGA; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929); KINOGLAZ (UR, Dziga Vertov, 1924); KOLYBELNAYA (UR, Dziga Vertov, 1937); LULLABY (UR, Dziga Vertov, 1937); THREE SONGS ABOUT LENIN (UR, Dziga Vertov, 1934); TRI PESNI O LENINE (UR, Dziga Vertov, 1934)
Summary: "Vertov's writings, collected here, range from calculated manifestoes setting forth a new, heroic version of film's potentiual to dark rumination on the inactivity forced upon him by the growing bureaucratization of the of the Soviet state and its film industry. His theory was at every point elaborated in direct, vigorous relation with practice; his doctrine of kino-eye, breaking with film's subjection to traditional narrative purposes, was a passionate call to action. Vertov's spirit of revolutionary optimism leaps from his pages. Articles, memoranda, speeches, letters, proposals for films, poured from his pen - explaining, defining, persuading. In voluminous notebooks and diaries he proposed a cinema implicated in the process of revolutionary transformation, one that would play a leading role in the construction of socialism." -- BOOK BLURB
Notes: Includes index; Filmography: p. [330]-334
ISBN: 0520046242 (cloth); 0520047605 (pbk.); 0520056302 (alk. paper)
LON: 82011189; 2248486

Author: Gardner, Geoffrey
PhysDes: Review
Subject: JUTRA, CLAUDE; DOCUMENTARY FILMS. CANADA; DOCUMENTARY FILMS; CINEMA VERITE; EDUCATION, FILM. CANADA
Summary: Review of Claude Jutra's feature documentary "Knowing to Learn", about modern education.

Call No: 79LAS CAR
Author: Carlyon, Les
CorpAuthor: HSV7
Source: AT
Place: South Melbourne
Publisher: HSV7
PubDate: c1980
PhysDes: 80 p. : ill. (some col.) ; 27 cm
Subject: AUSTRALIA; BUSHRANGERS IN FILMS; DOCUMENTARY FILMS; DOCUMENTARY FILMS. AUSTRALIA; KELLY [NED] IN FILMS; LAST OUTLAW, THE (AT, Ian Jones, 1980)
Summary: A book on the life of famous Australian bushranger Ned Kelly (and family). Focuses on the movie 'The Last Outlaw' directed by Ian Jones.
Notes: Cover title; "Written by Les Carlyon, with contributions by Ian Jones and Dr. John McQuilton"--p. [2]
Contents: -- Ned Kelly: the man -- a special chemistry -- Ian Jones and Bronwyn Binns -- getting it right -- the magic valley -- rebuilding the past -- Les Binns: art director -- a clan and a family -- mates to the death -- the land war -- the police-- historys verdict --map: Kelly country -- an age of transition -- the sour dream of land -- milestones -- 1: the fitzpatrick incident -- 2: stringybark creek -- 3: glenrowan -- sir Redmond Barry -- 4: a trial, and a hanging -- the clothes they wore -- Jane Hyland: costume designer -- guns of the Kelly story -- the Kelly armour -- fact & fantasy -- when the Kellys rode -- John Baird: horsemaster -- profiles -- the people of the story -- the music man -- Brian May: composer -- production credits -- sponsors -- the cast --

Call No: F53 PER
Author: Perkins, W. H.
Source: Australia
Place: Hobart
Publisher: Fullers Bookshop
PubDate: 1968
PhysDes: 320 p. ; 18 cm
Subject: COURSES, FILM. AUSTRALIA; ADAPTATIONS. DICKENS, CHARLES; ADAPTATIONS. SHAKESPEARE, WILLIAM; WESTERNS; LAW IN FILMS; TRIALS IN FILMS; DOCUMENTARIES; DOCUMENTARY FILMS; OLIVER TWIST (UK, David Lean, 1948); GREAT EXPECTATIONS (UK, David Lean, 1946); HENRY V (UK, Laurence Olivier, 1944); TWELVE ANGRY MEN (US, Sidney Lumet, 1957); 3.10 TO YUMA (US, Delmer Daves, 1957); BACK OF BEYOND, THE (AT, John Heyer, 1953)

Author: De Young, Robert
PhysDes: Article; Bibliography; Illustration(s)
Subject: DOCUMENTARY FILMS; COHEN, LEONARD; DYLAN, BOB; DON'T LOOK BACK (US, D.A. Pennebaker, 1967); LADIES AND GENTLEMEN, MR LEONARD COHEN (CN, Donald Brittain, 1965)
Summary: Article maps some of the ways in which Leonard Cohen and Bob Dylan have been represented, and have intervened in the process of their own representation, in documentary films.

Author: Gardner, Geoffrey
PhysDes: Article Filmography
Subject: DUNLOP, IAN; DIRECTORS. AUSTRALIA; AUSTRALIA IN FILMS; AUSTRALIA; COMMONWEALTH FILM UNIT; ETHNOGRAPHIC FILMS; DOCUMENTARY FILMS. AUSTRALIA; ROUCH, JEAN; CHRONIQUE D' UN ETE (FR, Jean Rouch & Edgar Morin, 1961); CINEMA VERITE
Summary: Australian ethnographic filmmaker Ian Dunlop describes his experience making his film "Desert People" with the Commonwealth Film Unit. Includes a detailed index of Dunlop's completed films.

Author: Hodsdon, Barrett
Subject: DOCUMENTARY FILMS. AUSTRALIA; AUSTRALIAN FILM INSTITUTE; AWARDS. AUSTRALIA; EDUCATION, FILM. AUSTRALIA
Summary: Report on the program of lectures and screenings organised by the Australian National University's Humanties Research Centre on the topic "Documentary: a fiction (un)like any other"., curated by American screen studies academic, Bill Nichols. Analyses issues raised by the seminars, and examines a selection of documentaries on show at the Australian Film Institute Awards.
Notes: Conf. Rep

Author: Roscoe, Jane
PhysDes: Article; Illustration(s)
Subject: C`EST ARRIVE PRES DE CHEZ VOUS (BE, Remy Belvaux & Andre Bonzel & Benoit Poelvoorde, 1992); DOCUMENTARY FILMS
Summary: Discusses the mock documentary Man Bites Dog and how it critiques documentary films, in particular the look of documentaries.

Author: Jones, Dave
PhysDes: Article
Subject: ART AND THE CINEMA; ASIANS IN FILMS. AUSTRALIA; CINEMATOGRAPHY; DOCUMENTARY FILMS. AUSTRALIA; INDONESIA; POLITICAL FILMS. AUSTRALIA; VIETNAM; RAY, SATYAJIT; RUBBO, MICHAEL
Summary: Interview with filmmaker Michael Rubbo on the development of his career and his thoughts on art and the cinema
Notes: Article by Dave Jones on his personal view of Michael Rubbo's films p. 8-9

Call No: TITLE CLIPPINGS FILE; UNITY (US, Shaun Monson, 2015)
Author: Romei, Stephen
PhysDes: Clippings File Article
Subject: DOCUMENTARY FILMS; UNITY (US, Shaun Monson, 2015)
Summary: Review of the film, Unity.

Call No: 79MAN ROB
Author: Roberts, Graham
Source: UK/US
Place: London ; New York
Publisher: I.B. Tauris
PubDate: c2000
PhysDes: xv, 108 p. : ill. ; 22 cm
Series: KINOfiles film companions ; 2
Subject: DOCUMENTARY FILMS; RUSSIANS IN FILMS; POLITICS AND THE CINEMA. USSR; USSR; CELOVEK S KINOAPPARATOM (UR, Dziga Vertov, 1929); MAN WITH A MOVIE CAMERA (UR, Dziga Vertov, 1929)
Summary: "This volume investigates the production, context and reception of the film "The Man with the Movie Camera" directed by Dziya Ventov, the people who made it, and the film itself, including its place in Russian and World cinema."--BOOK JACKET
Notes: Includes bibliographical references (p. [107]-108)
ISBN: 9781860643941
Contents: -- Introduction -- acknowledgments -- note on transliteration -- production details and credits -- preface -- 1: plot and synopsis -- 2: the historical context -- 3: a textual analysis -- 4: significance and significance -- further reading --

Author: Pierce, Mark
PhysDes: Review
Subject: SAVAGE EYE, THE (US, Ben Maddow, Sidney Meyers, Joseph Strick, 1959); STRICK, JOSEPH; DOCUMENTARY FILMS
Summary: Review of "The Savage Eye", mainly criticising Joseph Strick for his inability to 'understand America'. Notes the techniques used by the director to convey the story, such as the documentary style.

Call No: 71(729.1) MEM
Author: Myerson, Michael, 1940-, comp
Place: New York
Publisher: Grossman Publishers
PubDate: 1973
PhysDes: 199 p. illus. 21 cm
Subject: CUBA; DOCUMENTARY FILMS. CUBA; POSTERS; REVOLUTION AND THE CINEMA. CUBA; ALEA, TOMAS GUTIERREZ; LUCIA (CU, Humberto Solas, 1969); MEMORIAS DEL SUBDESARROLLO (CU, Tomas Gutierrez Alea, 1968)
ISBN: 0670468274; 0670468282 (pbk.)
LON: 595744

Call No: 71(72) NOB
Author: Noble, Andrea
Source: UK
Place: Abingdon, Oxon, UK
Publisher: Routledge
PubDate: 2005
PhysDes: viii, 224p. : ill. ; 23cm
Subject: MEXICO; MEXICO IN FILMS; NATIONAL CULTURE AND THE CINEMA. MEXICO; NATIONAL CULTURE IN FILMS. MEXICO; INDUSTRY, FILM. MEXICO; AUDIENCES. MEXICO; MOVEMENTS AND STYLES IN FILM HISTORY; POLITICS IN FILMS. MEXICO; POLITICAL FILMS. MEXICO; REVOLUTION AND THE CINEMA. MEXICO; DOCUMENTARY FILMS. MEXICO; MELODRAMA. MEXICO; MUJER DEL PUERTO, LA (MX, Arcady Boytler, 1933); MUJER DEL PUERTO, LA (MX, Arturo Ripstein, 1991); MARIA CANDELARIA (MX, Emilio Fernández, 1943); UNE FAMILIA DE TANTAS (MX, Alejandro Galindo, 1948); CASTILLO DE LA PUREZA, EL (MX, Arturo Ripstein, 1972); CALLEJON DE LOS MILAGROS, EL (MX, Jorge Fons, 1995); QUE VIVA MEXICO! (UR, Sergei Eisenstein, [prod. 1932]); ESPALDAS MOJADAS (MX, Alejandro Galindo, 1955); JARDIN DEL EDÉN, EL (MX, María Novaro, 1994); Y TU MAMA TAMBIEN (MX, Alfonso Cuaron, 2001)
Summary: Mexican National Cinema offers an account of the development of Mexican cinema from the intense cultural nationalism of the Mexican Revolution, through the "Golden Age" of the 1940s and the Nuevo Cine of the 1960s, to the renaissance in Mexican cinema in the 1990s. The book moves from broad historical and theoretical context, particularly theories of nation, emergent discourses of "mexicanidad" and the establishment and development of the Mexican industry, towards readings of key film texts and genres. Individual chapters discuss the relationship between Hollywood cinema and Mexican cinema, the stars of the "Golden Age," the role of foreign auteurs in the founding of Mexican cinema, tensions in the industry in the 1960s, and the national and international reception of contemporary films and film-makers. The author then examines the portrayal of Mexican nationhood through critical analysis of film genres including Revolutionary films, machismo and "mexicanidad," the prostitute, and the work of female auteurs.
ISBN: 0415230101

Call No: 451-054(=927)(44) KEA
Author: Kealhofer-Kemp, Leslie
Source: UK
Place: Liverpool
Publisher: Liverpool University Press
PubDate: 2015
PhysDes: xii, 226 pages : illustrations ; 24 cm
Series: Contemporary French and francophone cultures ; 41
Subject: FRANCE; FRANCE IN FILMS; WOMEN IN FILMS; RELIGION AND THE CINEMA; TRANSNATIONALISM AND THE CINEMA; DOCUMENTARY FILMS
Summary: "Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Women of this generation migrated to France during the decades preceding and following the end of French colonial rule, and they are generally - though not always accurately - regarded as belonging to a generation of migrants silenced under the weight of poverty, illiteracy, Islamic tradition, and majority ethnic Islamophobia. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book brings together a diverse corpus of over 60 documentaries, short films, telefilms (made-for-television films), and feature films released in France between 1979 and 2014, and it devotes one chapter to each kind of film. In examining the ways in which the voices, experiences, and points of view of Maghrebi migrant women in France are represented and communicated through a selection of key films, this study offers new perspectives on Maghrebi migrant women in France. It shows that women of this generation, as they are represented in these films, are far more diverse and often more empowered than has generally been thought. The films examined in this study are part of larger contemporary debates and discussions relating to immigration, integration, and what it means to be French." -- LIBRARIES AUSTRALIA
Notes: Includes bibliographical references and index
ISBN: 9781781381984
Contents: -- list of illustrations -- acknowledgments -- introduction: Maghrebi migrant women in France and French cinema -- 1: The Voices of Maghrebi Women in Documentary Films: Framing Construction and Transparency -- 2: First-Generation Women in Short Films: Crossing Barriers and Communicating Experiences through Objects -- 3: The Voices of Maghrebi Migrant Women in French Telefilms: Portraying Agency -- 4: Transmitting the Voices of Maghrebi Women through Feature Films: From Verbal to Non-Verbal Forms of Communication -- conclusion -- appendix -- notes -- bibliography index --

Call No: 62 KRA
Author: Kracauer, Siegfried, 1889-1966
Place: London
Publisher: Dennis Dobson
PubDate: 1961
PhysDes: xix, 364 p., [61] p. of plates : ill. ; 24 cm
Subject: PHOTOGRAPHY AND THE CINEMA; CINEMATOGRAPHY; ACTING; SOUND; DIALOGUE; AVANT-GARDE FILMS; THEATRE AND THE CINEMA; LITERATURE AND THE CINEMA; DOCUMENTARY FILMS
Notes: Includes index; Bibliography: p. 339-349
LON: abn87035540; 5049801

Call No: 761 ROS
Author: Rosenthal, Alan, 1936
Place: Berkeley
Publisher: University of California Press
PubDate: 1971
PhysDes: 287 p. illus., ports. 24 cm
Subject: DOCUMENTARY FILMS; CINEMA-DIRECT; WISEMAN, FREDERICK; PENNEBAKER, D. A.; WATKINS, PETER; KING, ALLAN; LEITERMAN, RICHARD; SILVERSTEIN, MORTON; SAARE, ARLA; BARRON, ARTHUR; MCLAREN, NORMAN; FUNT, ALLEN; STONEY, GEORGE; CAWSTON, RICHARD; BURNLEY, FRED; MARRIED COUPLE, A (CN, Allan King, 1969); PAS DE DEUX (CN, Norman McLaren, 1968); WHAT DO YOU DO WITH A NAKED LADY? (US, Allen Funt, 1969); NEIGHBOURS (US, Norman McLaren, 1952); CATHY COME HOME (UK, Ken Loach, 1966); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); MONTEREY POP (US, D. A. Pennebaker, 1968); HIGH SCHOOL (US, Frederick Wiseman, 1969); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: " Several case studies of feature films projects have been published, but til now we have had no equivalent basis for the understanding of documentary. This is the first casebook to focus exclusively on the nonfiction film maker: his revolutionary techniques, his particular conceptions of his work, his unique artistic strategies, his creative and practical problems. In creating this study Alan Rosenthal has interviewed film makers whose work lies on the active growing edge of the medium: director-producers, writers, cameramen, editors- men and women who have in recent years pushed back the boundaries of cinematic convention and profoundly influenced our notions of photography, acting, and editing. Some films are covered by interviews with several members of the creative team, whose differing perspectives help to shape the final work." -- BOOK BLURB
Notes: Interviews with film makers
ISBN: 0520018885
LON: 218982

Call No: 761 ROS
Author: Rosenthal, Alan
Edition: 1st pbk ed.
Source: US
Place: Berkeley, Calif.
Publisher: University of California Press
PubDate: 1972
PhysDes: 287 p. : ill. ; 20 cm
Subject: DOCUMENTARY FILMS; CINEMA-DIRECT; WISEMAN, FREDERICK; PENNEBAKER, D. A.; WATKINS, PETER; KING, ALLAN; LEITERMAN, RICHARD; SILVERSTEIN, MORTON; SAARE, ARLA; BARRON, ARTHUR; MCLAREN, NORMAN; FUNT, ALLEN; STONEY, GEORGE; CAWSTON, RICHARD; BURNLEY, FRED; MARRIED COUPLE, A (CN, Allan King, 1969); PAS DE DEUX (CN, Norman McLaren, 1968); WHAT DO YOU DO WITH A NAKED LADY? (US, Allen Funt, 1969); NEIGHBOURS (US, Norman McLaren, 1952); CATHY COME HOME (UK, Ken Loach, 1966); DON'T LOOK BACK (US, D.A. Pennebaker, 1967); MONTEREY POP (US, D. A. Pennebaker, 1968); HIGH SCHOOL (US, Frederick Wiseman, 1969); WAR GAME, THE (UK, Peter Watkins, 1966)
Summary: " Several case studies of feature films projects have been published, but til now we have had no equivalent basis for the understanding of documentary. This is the first casebook to focus exclusively on the nonfiction film maker: his revolutionary techniques, his particular conceptions of his work, his unique artistic strategies, his creative and practical problems. In creating this study Alan Rosenthal has interviewed film makers whose work lies on the active growing edge of the medium: director-producers, writers, cameramen, editors- men and women who have in recent years pushed back the boundaries of cinematic convention and profoundly influenced our notions of photography, acting, and editing. Some films are covered by interviews with several members of the creative team, whose differing perspectives help to shape the final work." -- BOOK BLURB
Notes: Interviews with film makers.
ISBN: 0520022548
Donation: donated by the family of Wayne Levy, 2006
Contents: -- acknowledgements -- introduction -- direct cinema: 1. a married couple: Allan King, producer-director, Richard Leiterman, photographer and associate director, Arla Saare, editor -- 2. High school: Frederick Wiseman, producer-director -- 3. Salesman, Albert Mayles, director-photographer, Charlotte Zwerin, editor -- Television journalism: 4. this week: Jeremy Irons, producer 5. what harvest for the reaper? Morton Silverstein, writer-producer, Laurence Solomon, editor -- 6: hard times in the country: Jack Willis, writer-producer -- 7: sixteen in the Webster Groves and the Berkeley Rebels: Arthur Barron, producer-director -- Reconstructions and reenactments: 8. the war game: Peter Watkins, writer-director -- 9: Cathy come home: Jeremy Standford, writer -- 10: the dream divided : Fred Burnley, writer-director -- Specials: 11: dont look back and monterey pop: Don Alan Pennebaker, director-photographer -- 12: royal family: Richard Cawston, producer-director, Antony Jay, commentary writer, 13: Dubrovnik festival: Jack Kuney, producer-director -- Sponsored films : 14. a cry for help: George Stoney, writer-director -- 15. the furure came yesterday: Antony Jay: writer-director -- Optical transformations: 17. neighbours and Pas de Deux, Norman McLaren, producer-director -- index --

Call No: 761 BAR
Author: Barsam, Richard Meran
Place: London
Publisher: Allen and Unwin
PubDate: 1974
PhysDes: xix, 332 p. : ill., ports. ; 22 cm
Subject: NON-FICTION FILMS; DOCUMENTARY FILMS; CINEMA-DIRECT; PROPAGANDA FILMS; WAR FILMS; ANDERSON, LINDSAY; CAPRA, FRANK; CAVALCANTI, ALBERTO; VAN DONGEN, HELEN; DOVZENKO, ALEKSANDR; FLAHERTY, ROBERT; GRIERSON, JOHN; HUSTON, JOHN; IVENS, JORIS; JENNINGS, HUMPHREY; KING, ALLAN; LEACOCK, RICHARD; LYE, LEN; MAYSLES, ALBERT & DAVID; PENNEBAKER, D. A.; REISZ, KAREL; RIEFENSTAHL, LENI; ROTHA, PAUL; RUTTMAN, WALTER; STORCK, HENRI; VAN DYKE, WILLARD; VERTOV, DZIGA; WADLEIGH, MICHAEL; WATT, HARRY; WISEMAN, FREDERICK; WRIGHT, BASIL; BOND, RALPH; ANSTEY, EDGAR; LORENTZ, PARE; HAMMID, ALEXANDER; ROGOSIN, LIONEL; STEINER, RALPH; ELTON, ARTHUR; JACOBY, IRVING; LAND, THE (US, Robert Flaherty, 1942); FIGHT FOR LIFE, THE (US, Pare Lorentz, 1940); MAISONS DE LA MISERE, LES (BE, Henri Storck, 1937); ALL OF MY BABIES : A MIDWIFE'S OWN STORY (US, George Stoney, 1952); BATTLE OF RUSSIA, THE (US, Frank Capra, 1944); LET THERE BE LIGHT (US, John Huston, 1946); DON'T LOOK BACK (US, D.A. Pennebaker, 1967)
Summary: "Nonfiction film is the first work to document the whole history of nonfiction film from the 1920s to the present day. The main emphasis of the book is on the British and American cinema and hundreds of documentary, action, and 'actuality' films from Nanook of the North to Woodstock and Gimme Shelter are described, discussed and analysed, including films by the great pioneers such as Robert Flaherty, Basil Wright, John Grierson and Paul Rotha and the new experimental film makers like Richard Leacock, D. A. Pennebaker, Frederick Wiseman and Albert and David Maysles. Richard Barsam provides a critical framework against which the non-fiction film can be studied and enjoyed. Among the many topics covered are early American, Russian and Continental films, the British and American films of the twenties and thirties, the films of World War II and the whole range of styles and subjects of the fifties, sixties and today." -- BOOK BLURB
Notes: Originally published: New York : Dutton, 1973; Bibl.: p.317-321. - List of films: p.299-316. - Index
ISBN: 0047910313 (Pbk) : ª1.95; 0047910305
LON: 1923477
Contents: 1. Defining nonfiction film -- 2. The American, Russian, and continental beginnings -- 3. John Grierson and the early British documentary -- 4. British documentary in the later 1930's -- 5. European and American nonfiction film: 1930-1940 -- 6. The humanistic vision of Robert Flaherty -- 7. World War II on film -- 8. Nonfiction film in transition: 1940-1950 -- 9. Old traditions and new directions: 1950-1960 -- 10. The new nonfiction film: 1960-1970
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Author: Gardner, Geoffrey
PhysDes: Review
Subject: DOCUMENTARY FILMS; DOCUMENTARY FILMS. USA; WAR IN FILMS
Summary: Review of Felix Green's documentary "North Vietnam: A Personal Report", also known as "Inside North Vietnam".

Author: Lane, Jim
PhysDes: Article
Subject: DOCUMENTARY FILMS; INDUSTRY, FILM. USA; BIOGRAPHICAL FILMS
Summary: Article on the convergence of autobiographical films with autobiographical literature and theory in an American context.

Author: Burton, Geoff
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; HEYER, JOHN; BACK OF BEYOND, THE (AT, John Heyer, 1953)
Summary: Article celebrates the 60th anniversary of the famous Australian documentary film, John Heyer's The Back of Beyond (1953)

Call No: 71(94) OXF REF
Author: Mayer, Geoff; McFarlane, Brian, 1934; Bertrand, Ina, 1939
Place: Melbourne
Publisher: Oxford University Press
PubDate: 1999
PhysDes: 1 v
Subject: AUSTRALIA; AWARDS. AUSTRALIAN FILM INSTITUTE; CITIES IN FILMS. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; HOMOSEXUALITY IN FILMS. AUSTRALIA; FOOD IN FILMS; GENRES. AUSTRALIA; JEWS IN FILMS. AUSTRALIA; LANDSCAPES IN FILMS. AUSTRALIA; LOST FILMS. AUSTRALIA; PERIODICALS, FILM. AUSTRALIA; MEN IN FILMS. AUSTRALIA; MELODRAMA. AUSTRALIA; MUSIC, FILM. AUSTRALIA; NARRATIVE IN FILMS. AUSTRALIA; RACIAL STEREOTYPES IN FILMS. AUSTRALIA; RELIGION AND THE CINEMA. AUSTRALIA; RURAL LIFE IN FILMS. AUSTRALIA; SHORT FILMS. AUSTRALIA; WAR AND THE CINEMA. AUSTRALIA; MCCALLUM, JOHN; MILLER, NATALIE; NEVIN, ROBYN; RABE, PAMELA; RUSH, GEOFFREY; TINGWELL, CHARLES (BUD); WILLIAMSON, DAVID; WITHERS, GOOGIE
Notes: Includes index; Bibliography
ISBN: 0195537971
LON: 20072774

Call No: F023(438)D "year" FIL
CorpAuthor: Film Polski
Place: Warsaw
Publisher: Film Polski
Subject: POLAND; FILMOGRAPHIES; DOCUMENTARY FILMS; EDUCATION, FILM. EUROPEAN COUNTRIES
Notes: also called Polish Popular Science and Educational Films and the Polish Documentary Film held 1958-73 [incomplete]

Call No: 761 CHA
Author: Chanan, Michael
Source: UK
Place: London
Publisher: British Film Institute
PubDate: 2007
PhysDes: viii, 280 p. : ill., ports. ; 24 cm
Subject: ARCHIVES & INSTITUTES, FILM; AVANT-GARDE FILMS; CINEMA VERITE; CINEMA-DIRECT; COMMENTARY; DOCUMENTARY FILMS. JAPAN; DOCUMENTARY FILMS. LATIN AMERICAN COUNTRIES; DOCUMENTARY FILMS. USA; DOCUMENTARY FILMS; FREE CINEMA; MONTAGE; MUSIC AND THE CINEMA; POLITICAL FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; TRUTH IN FILMS; FLAHERTY, ROBERT; GRIERSON, JOHN; IVENS, JORIS; ROUCH, JEAN; VERTOV, DZIGA; BERLIN DIE SINFONIE DER GROSSTADT (G, Walter Ruttman, 1927); BERLIN: SYMPHONY OF A GREAT CITY (G, Walter Ruttman, 1927); NANOOK OF THE NORTH (US, Robert Flaherty, 1922)
Summary: "Chanan traces the history of the documentary from the first Lumiere films to Grierson and his contemporaries, though to Free Cinema, Cinema verite and Direct Cinema, up to the current resurgence of documentary with high profile films such as those of Michael Moore. Chanan's thematic approach takes in topics such as the documentary before documentary, how documentary film language works, the veracity of the image, the construction of the soundtrack, the migration of documentary to television, political documentary, censorship, first-person film making, and the relation of the archives to history and memory. Drawing on examples of documentary cinema in Japan, Iran, and Latin America as well as Europe and the USA, Chanan argues that documentary provides a crucial public space in which ideas are debated, opinion is formed and those in authority are held to account. " - BLURB
Notes: Includes bibliographical references and index
ISBN: 9781844572267
Contents: Part 1: Mapping the field -- 1:The new documentary wave -- 2: The documentary field -- 3: Rules of evidence -- Part 2: Historical moments -- 4: Documentary before documentary -- 5: Discovery of space -- 6: The documented point of view -- 7: Soundscapes -- 8: Public address -- 9:Essays and endeavours -- 10:Truth games -- Part 3: Contemporary Themes -- 11:Different histories -- 12: Living history -- 13: The space of the subject -- 14: After Verite -- 15: History and memory -- Index

Author: Jones, Sandra
PhysDes: Article; Illustration(s)
Subject: EDUCATION, USE OF FILMS IN. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA
Summary: Using the 1998 Australian Waterfront Dispute as an issue, teachers and documentary producers collaborated to produce multimedia teaching tools for students. This experiment was successful and indicates further collaboration should be explored.

Call No: 754.22 HUN
Author: Huntley, John
Place: London
Publisher: Ian Allan
PubDate: 1969
PhysDes: 168 p., 48 p. of plates ; 24 cm
Subject: RAILWAYS IN FILMS; HISTORY OF CINEMA. SILENT PERIOD; HISTORY OF CINEMA. SOUND PERIOD; SHORT FILMS; DOCUMENTARY FILMS; CHILDREN, FILMS FOR; NEWSREELS
Donation: donated by the family of Wayne Levy, 2006

Call No: TITLE STILLS AUSTRALIA
Source: AT
Publisher: Emerald Films
PhysDes: 5 photographs : b&w ; 21 x 27 - 21 x 31 cm
Subject: DOCUMENTARY FILMS; RASKOLS (AT, Sally Browning, 1995)
Summary: 5 black and white photographs of documentary film about criminal gangs in Papua New Guinea and their growing anger against a small government elite which is jeopardising the sustainable human development of a whole nation. The film follows the lives of the Nightfox and Kaupeke gangs of the Western Highlands as they try to make sense of their traditional past, their criminal actions and their future.

Call No: 761NIC
Author: Nichols, Bill
Place: Bloomington
Publisher: Indiana University Press
PubDate: 1991
PhysDes: xx, 313 p. ; 24 cm
Subject: ANTHROPOLOGY AND THE CINEMA; BODY IN FILMS; COMMENTARY; DEATH IN FILMS; DOCUMENTARY FILMS; DOCUMENTARIES; ETHNOGRAPHIC FILMS; GAZE IN FILMS; IDEOLOGY AND THE CINEMA; IDEOLOGY IN FILMS; INTERVIEWS IN FILMS; NARRATIVE IN FILMS; PHILOSOPHY AND THE CINEMA; REALISM IN FILMS; TRUTH IN FILMS; VIEWERS
Summary: "Representing Reality examines the styles, strategies, and structures of documentary film. It does not offer a general survey of documentary film history so much as a conceptual overview of the form itself: what qualities of cinema underpin it, what institutional structures sustain it, what rhetorical operations inform it, what interpretive perspectives encompass it. How these questions arrange themselves into recurrent patterns and preoccupations [is] the central focus." -- Taken from preface.
Notes: Includes bibliographical references (p. [267]-296) and index; Filmology: p. [297]-304
ISBN: 0253340608 (alk. paper); 0253206812 (pbk. : alk. paper)
LON: 91002637; 8905992
Contents: Axes of orientation: I. The domain of documentary -- II. Documentary modes of representation -- III. Axiographics: ethical space in documentary film -- Documentary: a fiction (un)like any other: IV. Telling stories with evidence and arguments -- V. Sticking to reality: rhetoric and what exceeds it -- VI. The fact of realism and the fiction of objectivity -- Documentary representation and the historical world: VII> Pornography, ethnography, and the discourses of power / Christian Hansen, Catherine Needham, Bill Nichols -- VIII. Representing the body: questions of meaning and magnitude

Call No: 761(410) SUS
Author: Sussex, Elizabeth
Source: US/UK
Place: Berkeley and Los Angeles, California; London
Publisher: University of California Press
PubDate: c1975
PhysDes: xvi, 220 p. : illus. ; 23 cm
Subject: DOCUMENTARY FILMS; DOCUMENTARY FILMS. UK; UNITED KINGDOM; DOCUMENTARIES; DOCUMENTARIES: UNITED KINGDOM; MOVEMENTS AND STYLES IN FILM HISTORY; HISTORY OF CINEMA; CRITICISM; GRIERSON, JOHN; FLAHERTY, ROBERT; NIGHT MAIL (UK, Basil Wright & Harry Watt, 1936)
Summary: "The image of British documentary has usually been one of artistic prestige and a certain doctrinaire stuffiness. This book is an attempt to recreate the real human experience behind the myth - utilizing a kind of documentary method, intercutting the author's commentary and interview material. Elizabeth Sussex, who is a film-maker herself, talked with all the important living figures of the documentary movement about its complex conflicts, frustrations, and missed chances. Her account is tempered, critical, and knowledgeable. It not only provides a circumstantial record of the movement, but poses issues that must be confronted in any attempt to use film for social purposes. Some outstanding characters in the story - Cavalcanti and Jennings, for example - are evaluated anew, and aspects of the movement that we have known primarily through Grierson's genius for publicity receive skeptical scrutiny. Skillfully edited into a concise and dramatic chronological story, the interviews say more in their cumulative impact than any plain narrative could. The book puts all previous studies of documentary into a new perspective, and will be required reading for anyone concerned with the subject" -- BOOK JACKET
Notes: Reviewed in 'The Rise and Fall of the British Documentary: Grierson and the old boys' by William Guynn (Jump Cut, no. 15, 1977, pp. 28-29)
ISBN: 0520028694
Donation: Donated by James Sabine
Contents: -- preface -- acknowledgments -- interviewees in order of appearance -- 1 the movement moves in -- 2 the spell of Flaherty -- 3 innovations at the Post office -- 4 Night Mail -- 5 the movement divides -- 6 war and the peak of achievement -- 7 the post war decline -- 8 reflections on past and future -- epilogue -- index --

Call No: PERSONALITY CLIPPINGS FILE; COURTIN-WILSON, AMIEL
Author: Van Neerven, Ellen
PhysDes: Clippings File Article
Subject: COURTIN-WILSON, AMIEL; CHARLES, JACK; DOCUMENTARY FILMS; BASTARDY (AT, Amiel Courtin-Wilson, 2008); SILENT EYE, THE (AT, Amiel Courtin-Wilson, 2016)
Summary: Artcile where the author interviews Amiel Courtin-Wilson and discusses how he makes documentary films and also comments on Indigenous culture in Australia, particularily in relation to Jack Charles

Call No: 761(94) SEA
Author: Mitchell, Harvey
Source: AT
Place: Melbourne
Publisher: Vega Press
PubDate: 1989
PhysDes: 33 pages : illustrations ; 20 cm
Subject: SHELL FILM UNIT [AUSTRALIA]; DOCUMENTARY FILMS. AUSTRALIA
ISBN: 9780949869074

Call No: 722-053.2(94) EDG
Author: Edgar, Patricia
Source: AT
Place: East Melbourne
Publisher: Victorian Documentary Film Council; State Film Centre of Victoria Council
PubDate: [1979]
PhysDes: 23 pages : black and white photographs ; 30 cm
Subject: Australian Broadcasting Tribunal; CHILDREN AND TV. AUSTRALIA; CHILDREN AND THE MEDIA. AUSTRALIA; DOCUMENTARY FILMS. AUSTRALIA; LEGISLATION FOR CHILDREN. AUSTRALIA; PRODUCTION. AUSTRALIA; VIOLENCE ON TV. AUSTRALIA; YOUNG PEOPLE AND TV. AUSTRALIA; EDGAR, PATRICIA; GRIERSON, JOHN
Summary: "Children's television, which at this time is perhaps the most contentious television issue in Australia, has attracted concern and comment from all sections of the community. In this the International Year of the Child, it is fitting that this Lecture will explore a part of the child's world." - INTRODUCTION
Notes: A lecture delivered by Patricia Edgar B.A. B.Ed, M.A. Ph.D. at the State Film Centre, November 15 1979, at the invitation of the Victorian Documentary Film Council -- previously owned by Film Victoria

Call No: 802.25(94) SEC
Author: Burton, Geoff; Caputo, Raffaele
Place: St Leonards, N.S.W.
Publisher: Allen & Unwin
PubDate: 1999
PhysDes: x, 342 : ill. ; 23 cm
Subject: DIRECTORS. AUSTRALIA; PREVIEWS; EALING STUDIOS; FOX STUDIOS AUSTRALIA; DUIGAN, JOHN; WATT, HARRY; ROWE, GLENYS; MILLER, GEORGE; CAMPION, JANE; BERESFORD, BRUCE; ARMSTRONG, GILLIAN; FRANKLIN, RICHARD; ROEG, NICOLAS; ZUBRYCKI, TOM; RUBBO, MICHAEL; NOONAN, CHRIS; BENNETT, BILL; LOWENSTEIN, RICHARD; HICKS, SCOTT; SIRENS (AT/UK, John Duigan, 1994); YEAR MY VOICE BROKE, THE (AT, John Duigan, 1987); MAD MAX (AT, George Miller, 1979); BABE (AT, Chris Noonan, 1995); LITTLE WOMEN (US, Gillian Armstrong, 1994); WALKABOUT (UK, Nicolas Roeg, 1971); KISS OR KILL (AT, Bill Bennett, 1997); SHINE (AT/UK, Scott Hicks, 1996); ANGEL AT MY TABLE, AN (NZ, Jane Campion, 1990); DOCUMENTARY FILMS. AUSTRALIA; EUREKA STOCKADE (UK, Harry Watt, 1949 [prod. 1948]); FLIRTING (AT, John Duigan, 1991); DOGS IN SPACE (AT, Richard Lowenstein, 1986); MYTH AND THE CINEMA. AUSTRALIA; OVERLANDERS, THE (UK, Harry Watt, 1946); PIANO, THE (AT, Jane Campion, 1993); PORTRAIT OF A LADY, THE (UK/US, Jane Campion, 1996); RACE AROUND THE WORLD [TV] (AT, John Lander, 1997-); STRIKEBOUND (AT, Richard Lowenstein, 1984)
Notes: Includes index
ISBN: 1864487658 : $19.95
LON: 14469038
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Call No: FESTIVAL CATALOGUE SHELVES held 2009
Source: CC
Place: Shanghai, China
Publisher: [s.n.]
PubDate: 2009
PhysDes: 4 v. : ill. ; 21-29 cm
Subject: FESTIVALS. SHANGHAI INTERNATIONAL FILM; WORLD CINEMA; DOCUMENTARY FILMS; SHORT FILMS; BOYLE, DANNY; HITCHCOCK, ALFRED; NOUVELLE VAGUE
Notes: The Shanghai International Film Festival includes a selection of feature length films, short films, documentaries and retrospectives on such directors as Danny Boyle and Alfred Hitchcock, as well as a focus on French New Wave (Nouvelle Vague) films. The catalogue also includes numerous black and white and colour stills and film synopses relating to each film that is screened. The 2009 festival catalogue also includes a pocket guide, mini guide and film market guide.

Call No: 761 SHO
Author: Waugh, Thomas, 1948
Place: Metuchen, N.J.
Publisher: Scarecrow Press
PubDate: 1984
PhysDes: xxvii, 508 p. : ill. ; 23 cm
Subject: NEWSREELS; FEMINISM AND THE CINEMA; DOCUMENTARY FILMS; DOCUMENTARY FILMS. THIRD WORLD; ALVAREZ, SANTIAGO; VERTOV, DZIGA; SHUB, ESTHER; BRECHT, BERTOLT; GODARD, JEAN-LUC; IVENS, JORIS; RENOIR, JEAN; SOLANAS, FERNANDO E.; VAN DONGEN, HELEN; STRAND, PAUL; SCHEUMANN, PETER; MIEVILLE, ANNE-MARIE; KOPPLE, BARBARA; GUZMAN, PATRICIO; GETINO, OCTAVIO; ELAM, JOANN; ALLENDE, SALVADOR; BIRRI, FERNANDO; HURWITZ, LEO; VIE EST A NOUS, LA (FR, Jean Renoir & others, 1936); FINALLY GOT THE NEWS (US, League of Revolutionary Black Workers, 1970); NIGHTCLEANERS (UK, Berwick Street Film Collective, 1975); HARLAN COUNTY, U.S.A. (US, Barbara Kopple, 1976); SANRIZUKA: DAINI TORIDE NO HITOBITO (JA, Shinsuke Ogawa, 1971); HORA DE LOS HORNOS, LA (AG, Fernado E. Solanos, 1969); ICI ET AILLEURS (FR, Jean-Luc Godard & Anne-Marie Mieville, 1976); WAVES OF REVOLUTION (II, Arnaud Patwardhan, 1975); HABLANDO DEL PUNTO CUBANO (CU, Octavio Cortazar, 1972); POR PRIMERA VEZ (CU, Octavio Cortazar, 1967); NOW (CU, Santiago Alvarez, 1965); NATIVE LAND (US, Leo Hurwitz & Paul Strand, 1942); RAPE (US, JoAnn Elam, 1975); KRIEG DER MUMIEN, DER (GE, Walter Heynowski & Gerhard Scheumann, 1974); SPANISH EARTH, THE (US, Joris Ivens, 1937)
Summary: "This anthology of 25 articles is both historical and cross- cultural, covering the pioneering period of the twenties and thirties and the dynamic growth of committed documentary since the sixties; recent feminist initiatives in North America and Britain; committed documentary in the Third World over the last 25 years; the use of film within the American 'New Left;' and the particular problematic of radical film distribution. Contributors include such well-known activists and scholars as Joan Braderman, Julianne Burton, Guy Hennebelle, John Hess, Claire Johnstone, E. Ann Kaplan, Chuck Kleinhans, Julia Lesage, Steve Neale, Bill Nichols, Anand Patwardhan, and Paul Willemen. Filmmakers and collectives discussed include Dziga Vertov, Joris Ivens, Jean Renoir, Frontier Films, Newsreel, Chris Marker, Barbara Kopple, JoAnn Elam, Michelle Citron, Shinsuke Ogawa, Fernando Birri, Patricio Guzman, Santiago Alvarez, Fernando Solanas, Jean-Luc Godard, Anand Patwardhan, and the Nicaraguan Studio 'Incine.'" -- AMAZON BOOKS
Notes: Includes bibliographies and indexes
ISBN: 0810822172 (pbk.); 0810817063
LON: 84005603; 3178777
Contents: Introduction: why documentary filmmakers keep trying to change the world, or why people changing the world keep making documentaries / Thomas Waugh; Part 1: Pioneers -- "Cinema Weekly" and "Cinema Truth": Dziga Vertov and the Leninist Proportion / Seth Feldman -- Esther Shub: Film as a historical discourse / Vlada Petric -- Workers' newsreels in Germany, the Netherlands, and Japan during the Twenties and Thirties / Bert Hogenkamp -- Radical documentary in the United States, 1930-1942 / Russell Campbell -- The Communist Party and La Vie est a nous: document and fiction, poetics and politics / Daniel Serceau -- Joris Iven's The Spanish Earth: committed documentary and the popular front / Thomas Waugh --; Part 2: Contemporaries: The West -- Newsreel, 1967-1972: film and revolution / Bill Nichols -- Finally Got the News: the making of a radical documentary / Dan Georgakas -- French radical documentary after May 1968 / Guy Hennebelle -- Brecht in Britain: The Nightcleaners and the independent political film / Claire Johnston and Paul Willemen -- Theory and practice of the realist documentary form in Harlan County, U.S.A. / E. Ann Kaplan -- Feminist documentary: aesthetics and politics / Julia Lesage -- Talking about our lives and experiences: some thoughts about feminism, documentary, and "talking heads" / Barbara Halpern Martineau -- Shinsuke Ogawa's Peasants of the Second Fortress: guerrilla documentary in Japan / Joan Braderman -- Committed documentary in Quebec: a still-birth? / Real La Rochelle -- The challenge of radical film distribution: Conversations with Toronto's DEC Films Collective / Margaret Cooper -- Forms, politics, makers and contexts: basic issues for a theory of radical political documentary / Chuck Kleinhans --; Part 3: Contemporaries: The Third World -- Democratizing documentary: modes of address in the Latin American cinema, 1958-72 / Julianne Burton -- Santiago Alvarez: Cine-agitator for the Cuban Revolution and the Third World / John Hess -- Democracy as participation: the Battle of Chile / Victor Wallis and John D. Barlow -- Children of Vertov in the land of Brecht / Pierre Veronneau -- Notes and questions on political cinema: from Hours of the Furnaces to Ici et ailleurs / Steve Neale -- The guerrilla film, underground and in exile: a critique and a case study of Waves of Revolution / Anand Patwardhan -- The Sandinista documentary: a historical contextualization / John Ramirez
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Call No: 761 HON
Author: Hongisto, Ilona
Source: NE
Place: Amsterdam
Publisher: Amsterdam University Press
PubDate: c2015
PhysDes: 178p. ; 30cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; ETHICS IN FILMS; CRITICISM
Summary: "Soul of the Documentary offers a groundbreaking new approach to understanding documentary cinema. Working against current thinking, Ilona Hongisto argues that the documentary does more than merely represent whatis-by capturing actual people, places, and events-but also expresses realities to come. She makes a case for the form as one that is not bound by predetermined ideas or rules, and through close readings of a heterogeneous body of films, she imbues the tradition with a new sense of urgency and vitality. " -- BOOKTOPIA.COM.AU
ISBN: 9789089647559
Contents: -- acknowledgments -- prologue -- Imagination: Relational documents -- 1: Frames of the photograph -- 2 a documentary fable -- Fabulation: Documentary visions -- 3: Making up legends -- 4: Acts of resistance -- Affection: Documenting the potential -- 5: Moments of affection -- 6: The primacy of feeling -- epilogue: ethics of sustainability -- notes -- works cited -- index --

Call No: 761(47) NAV
Author: Navratil, Antonin
Publisher: CS Filmovy Ustav
PubDate: 1973
PhysDes: 371 p., [31] p. of plates : ill ; 19cm
Subject: DOCUMENTARY FILMS
Notes: Written in Russian

Call No: 761 NIC
Author: Nichols, Bill
Source: US
Place: Oakland
Publisher: California University of California Press
PubDate: 2016
PhysDes: 281 p. ; ill. ; 23 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS; AUDIENCES; MUSIC IN FILMS; VOICES; SOCIAL ISSUES IN FILMS; ETHICS AND THE CINEMA; ETHICS IN FILMS; POLITICS AND THE CINEMA; POLITICS IN FILMS; LAND WITHOUT BREAD (SP, Luis Bunuel, 1933); RESTREPO (US, Tim Hetherington/Sebastian Junger, 2010); THIN BLUE LINE, THE (US, Errol Morris, 1988); ACT OF KILLING, THE (DK/NO/UK, Joshua Oppenheimer, (2012); STEVE JOBS: THE MAN IN THE MACHINE (US, Alex Gibney, 2015)
Summary: "What issues, of both form and content, shape the documentary film? What role does visual evidence play in relation to a documentary's arguments about the world in which we live? Can a documentary be believed, and why or why not? How do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? In what ways can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways in which documentaries strive for accuracy and truthfulness, but simultaneously fabricate a form that shapes reality. Such films may rely on re-enactment to re-create the past, storytelling to provide satisfying narratives, and rhetorical figures such as metaphor and expressive forms such as irony to make a point. In many ways documentaries are a fiction unlike any other. With clarity and passion, Nichols offers close readings of several provocative documentaries including Land without Bread, Restrepo, The Thin Blue Line, The Act of Killing, and Steve Jobs: The Man in the Machine as part of an authoritative examination of the layered approaches and delicate ethical balance demanded of documentary filmmakers"--Provided by publisher.
Notes: Includes bibliographical references and index.
Contents: Documentary film and the modernist avant-garde -- Documentary reenactment and the fantasmatic subject -- Letter to Lynn Sachs about her film Investigation of a flame -- Breaking the frame, gender, violation and the avant-garde -- The coming of sound -- To see the world anew : revisiting the voice of documentary -- The sound of music -- The question of evidence : the power of rhetoric and the documentary film -- The terrorist event -- Remaking history : Jay Leyda, and the compilation film -- Restrepo : a case of inadvertent evidence -- The symptomatic biopic : Steve Jobs : the man in the machine -- Documentary ethics : doing the right thing -- Irony, paradox and the documentary : double meanings and double binds -- Letter to Errol Morris : feelings of revulsion and the limits of academic discourse -- Perpetrators, trauma and film -- San Francisco newsreel : collectives, politics, films -- The political documentary and the problem of impact.

Author: Baranowska, Carmela
PhysDes: Article; Illustration(s)
Subject: DOCUMENTARY FILMS. AUSTRALIA; INDE FANTOME, L' (FR, Louis Malle, 1968); SCENES FROM AN OCCUPATION (AT, Carmela Baranowska, 1999)
Summary: The author describes the difficulty of inexperienced documentary filmmakers in Australia receiving funding from government sources, and the hardships of filming in East Timor.

Call No: 761(41) LOV
Author: Lovell, Alan; Hillier, Jim, joint author
Source: UK
Place: London
Publisher: Secker and Warburg [for] the British Film Institute
PubDate: 1972
PhysDes: 176 p. illus., ports. 20 cm
Subject: DOCUMENTARIES; DOCUMENTARY FILMS. UK; FREE CINEMA; HISTORY OF CINEMA. 1930's; HISTORY OF CINEMA. 1940's; HISTORY OF CINEMA. 1950's; GRIERSON, JOHN; JENNINGS, HUMPHREY; ANDERSON, LINDSAY; REISZ, KAREL; RICHARDSON, TONY; FIRES WERE STARTED (UK, Humphrey Jennings, 1943)
Summary: "If the British cinema has a central tradition, a case can be made for it to be the documentary tradition. In this volume, Alan Lovell and Jim Hillier study the three main epochs of this tradition. Alan Lovell writes about the aims and theories of the seminal producer of documentaries in the 1930s, Hohn Grierson, showing how the theory became practice and with what results. His detailed and lucid account, supplemented by a full filmography, is likely to prove invaluable to students of the period. Jim Hillier takes the narative into the '40s and writes about the work of Humphrey Jennings, whose poetic imagination and gift for character transformed the reality of wartime England into contemplative statements: Fires Were Started remains one of the few genuine works of art to come from the cinema during the war. Finally, Alan Lovell describes the origins of the Free Cinema movement of the '50s, attempting to separate the individual talents (Tony Richardson, Karel Reisz, Lindsay Anderson) from the shared aesthetic and political assumptions of the time, and asks the question: How far was Free Cinema a genuine cause and how far was it a means of self-promotion for a limited group? This is not a book written to win friends among the film-making establishment, and its forthright view from the 1970s is likely to arouse passion in interested quarters." -- BOOK BLURB
Notes: Bibliography: p. 173-175
ISBN: 0436099187; 0436099195 (pbk.)
LON: 548482 548482

Author: Bishop, Rod
PhysDes: Article
Subject: SWASTIKA (UK, Phillippe Mora, 1973); MORA, PHILIPPE; NAZIS IN FILMS; DOCUMENTARY FILMS
Summary: Article by Bishop, and including exherts from Mora, on Philippe Mora's latest film, a film made with found film footage of Adolf Hitler.

Call No: REFERENCE SECTION; 058 INT
Author: Smith, Ian Haydn
CorpAuthor: Turner Classic Movies
Edition: 44th ed.
Source: UK
Place: London
Publisher: Wallflower Press
PubDate: 2008
PhysDes: 424 p. : ill. ; 24 cm
Subject: FILMOGRAPHIES. 2008; BOX OFFICE. 2008; FESTIVALS; OBITUARIES. 2008; DVD. 2008; GERMANY; DOCUMENTARY FILMS; AKIN, FATIH; BIER, SUSANNE; DEL TORO, GUILLERMO; GREENGRASS, PAUL; JIA, ZHANG KE
Notes: Includes: Directors of the Year; In Memoriam; Country Focus: Germany; Industry Focus: Documentary; Special Focus: The DVD Market; DVD Round-Up; World Survey (with individual country surveys); World Box Office Survey; Film Festival Calendar; Festival News; Leading Festivals; Other Festivals and Markets
ISBN: 9781905674619

Call No: 761 BAD
Author: Baddeley, Hugh W.
Edition: 4th rev. ed
Place: London
Publisher: Focal Press
PubDate: 1975
PhysDes: 282 p. : ill. ; 23 cm
Series: The library of communication techniques
Subject: BUDGETING; CAMERAS; CINEMATOGRAPHY; DISTRIBUTION; DOCUMENTARIES; DOCUMENTARY FILMS; EDITING; FILMMAKING; INSURANCE, FILM; LIGHTING; LOCATION FINDING; LOCATION SHOOTING; MUSIC AND THE CINEMA; PRE-PRODUCTION; POST-PRODUCTION; PRODUCTION; PRODUCTION COSTS; SCRIPTWRITING; SOUNDTRACKS; SOUND EDITING; SOUND RECORDING
Summary: "Hugh Baddeley has carried out further revisions of this book since the last edition which he enlarged by nearly forty pages. He has taken into consideration the needs of television and the text now contains interviews with well-known TV producers and key TV personnel. It deals with every aspect of documentary and factual film production. Intended for the working professional, the trainee, and the student, amateurs too will find the breadth and scope of the subject stimulating. Nowadays when the film serves not merely as a tool of entertainment, but increasingly as a tool with a variety of eminently practical jobs to do, more people than ever before become involved with film production. Public relations officers, sales managers, television executives, those in charge of works film units, organisations using films for fund raising for charities, and members of expeditions will find here vital information. The means and methods of producing factual films are dealt with step-by-step from the initial idea to the making of release prints and their distribution. The typical problems of the "documentary" - shooting on distant and remote locations, as well as the difficulties of providing effective lighting outside the studio - are presented in practical terms. Sound recording, both under studio conditions and on location, is covered in detail. The techniques involved in laying and mixing multiple recordings to produce the final master track are described. Especially valuable are those practical suggestions that the author is able to offer from his own long personal experience. These range from budgeting and obtaining insurance cover to dealing with foreign customs." -- BOOK JACKET
Notes: First ed. published 1963; Includes index
ISBN: 0240509158; 0240509293 (pbk.)
LON: 8735625 8735625
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Call No: 62 TYL
Author: Tyler, Parker
Place: New York
Publisher: Thomas Yoseloff
PubDate: 1960]
Subject: EXPERIMENTAL FILMS; DOCUMENTARY FILMS; ART AND THE CINEMA; INDUSTRY, FILM. USA; CHAPLIN, CHARLES; RASHOMON (JA, Akira Kurosawa, 1950); MIRACOLO A MILANO (IT, Vittorio de Sica, 1951)
LON: 60010847; 5581269
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Author: Gardner, Geoffrey
PhysDes: Review
Subject: MINGOZZI, GIANFRANCO; DOCUMENTARY FILMS; DOCUMENTARY FILMS. ITALY; CINEMA VERITE
Summary: Review of the cinema verite technqiue used in the first feature by Italian filmmaker Gianfranco Mingozzi.

Author: Hall, Jeanne (ed)
PhysDes: Article
Subject: DOCUMENTARY FILMS; CONFERENCES. USA; TONGUES UNTIED (US, Marlon Riggs, 1989); HOMOSEXUALITY IN FILMS; HOME VIDEO; WISEMAN, FREDERICK
Summary: Collection of articles from the 12th annual Ohio University Film Conference which focused on documentary film and video. Topics looked at include gay representation in 'Tongues Untied', an analysis of a Brazilian documentary on America, the impact of home videos at weddings, the misconception of documentary cinema by viewers, and an analysis on Frederick Wiseman's 'Meat' and 'Primate'.

Author: Marks, Dick
PhysDes: Article
Subject: DOCUMENTARY FILMS. AUSTRALIA; FEMINISM AND THE CINEMA. AUSTRALIA; SOCIAL ISSUES IN FILMS; GREEN, KITTY; LATHAM, MICHAEL; UKRAINE IS NOT A BROTHEL (AT/UE, Kitty Green, 2013)
Summary: Interview with Director Kitty Green and Director of Photography Michael Latham, about their experiences filming in Ukraine, whilst working on the documentary, Ukraine Is Not a Brothel, profiling the Ukrainian feminist social activist group FEMEN
Notes: Interview

Call No: FESTIVAL CATALOGUE SHELVES held 1983
Place: Canada
Publisher: [s.n.]
PubDate: 1983
PhysDes: 1 v. ; 22 cm
Subject: FESTIVALS. CANADA; FOREIGN FILMS USE: IMPORT OF FILMS; SHORT FILMS; DOCUMENTARY FILMS; ANIMATION; STUDENTS, FILMS MADE BY
Notes: The Universiade International Student Film Festival includes a selection of feature length films, short films, documentaries and animated films. The catalogue includes a synopsis of films in competition.

Call No: FESTIVAL CATALOGUE SHELVES held 1962, 1964
Place: Canada
Publisher: [s.n.]
PubDate: 1962-1964
PhysDes: 2 v. : ill. ; 23 cm
Subject: FESTIVALS. CANADA; FOREIGN FILMS USE: IMPORT OF FILMS; SHORT FILMS; DOCUMENTARY FILMS; ANIMATION
Notes: The Vancouver International Amateur Film Festival includes a selection of feature length films, short films, documentaries and animated films made by amateur filmmakers. The catalogues also include numerous black and white stills and film synopses.

Call No: FESTIVAL CATALOGUE SHELVES held 1961-1963, 1965, 2001, 2008
Place: Canada
Publisher: [s.n.]
PubDate: 1961-2008
PhysDes: 6 v. : ill. ; 23-28 cm
Subject: FESTIVALS. CANADA; FOREIGN FILMS USE: IMPORT OF FILMS; SHORT FILMS; DOCUMENTARY FILMS; ANIMATION; RENOIR, JEAN
Notes: The Vancouver International Film Festival includes a selection of feature length films, short films, documentaries and animated films. The festival also hosts various film related seminars and retrospectives on classic film directors. The catalogues also include numerous black and white and colour stills and film synopses. The 1963 festival catalogue also includes a separate press book.
ID2: 100