book
Documenting the documentary : close readings of documentary films and video / edited by Barry Keith Grant and Jeannette Sloniowski, forward by Bill Nichols Detroit MI: Wayne State University Press, 1998.
Call No: 761 DOCAuthor: Grant, Barry Keith ; Sloniowski, Jeanette Place: Detroit MIPublisher: Wayne State University PressPubDate: 1998PhysDes: 488 p. ; 23 cmSubject: 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 and Willard Van Dyke, 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 SITENotes: includes bibliiographic references and indexISBN: 0814326390Contents: 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
More info
book
Imagining reality : the Faber book of the documentary / [edited by] Kevin Macdonald and Mark Cousins London: Faber and Faber, 1996.
Call No: 761 MACAuthor: Macdonald, Kevin, 1967- ; Cousins, Mark Place: LondonPublisher: Faber and FaberPubDate: 1996PhysDes: xii, 400 p. : ill. ; 24 cmSubject: DOCUMENTARY 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) ; PHANTOM INDIA [INDE FANTOME, L'] [TV] (FR, Louis Malle, 1969) ; LET THERE BE LIGHT (US, John Huston, 1946) ; MARLENE (GW, Maximilian Schell, 1984) ; NANOOK OF THE NORTH (US, Robert Flaherty, 1922) ; NIGHT MAIL (UK, Harry Watt & Basil Wright, 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) ; 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 SITENotes: Includes bibliographical references and index; Faber book of the documentaryISBN: 0571177239LON: 13068333Contents: 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 QuestionID2: 47
More info
book
Introduction to documentary / Bill Nichols Bloomington IN: Indiana University Press, 2001.
Call No: 761 NICAuthor: Nichols, Bill Source: USPlace: Bloomington INPublisher: Indiana University PressPubDate: 2001PhysDes: 223 p. ; ill. ; 23 cmSubject: 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.219-223ISBN: 0253214696Contents: 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?URL status: URL: 'http://-'
Checked: 31/08/2021 1:09:15 PM
Status: Error
Details: Failed to send HTTP request (WinHttpSendRequest)
More info
book
Looking for trouble : on shopping, gender and the cinema / Suzanne Moore London: Serpent's Tail, 1991.
Call No: 67(41) MOOAuthor: Moore, Suzanne Source: UKPlace: LondonPublisher: Serpent's TailPubDate: 1991PhysDes: ix, 305 pages ; 20 cmSubject: CRITICISM ; FEMINISM AND THE CINEMA ; JAMES BOND IN FILMS ; POPULAR CULTURE AND THE CINEMA ; ALWAYS (US, Steven Spielberg, 1989) ; BIRD (US, Clint Eastwood, 1988) ; BLACK RAIN (US, Ridley Scott, 1989) ; BLUE STEEL (US, Kathryn Bigelow, 1989) ; BROKEN NOSES (US, Bruce Weber, 1987) ; CHOCOLATE [CHOCOLAT] (FR, Claire Denis, 1988) ; DEAD RINGERS (CN, David Cronenberg, 1988) ; DECLINE OF WESTERN CIVILISATION PART II: THE METAL YEARS, THE (US, Penelope Spheeris, 1988) ; DO THE RIGHT THING (US, Spike Lee, 1989) ; FAMILY VIEWING (CN, Atom Egoyan, 1987) ; FAREWELL TO THE KING (US, John Milius, 1989) ; GHOSTS... OF THE CIVIL DEAD (AT, John Hillcoat, 1988) ; GOOD MOTHER, THE (US, Leonard Nimoy, 1988) ; JESUS OF MONTREAL (CN/FR, Denys Arcand, 1989) ; KAMIKAZE HEARTS (US, Juliet Bashore, 1986) ; KROTKI FILM O ZABIJANIU (PL, Krzysztof Kieslowski, 1988) ; LONGTIME COMPANION (US, Norman Rene, 1990) ; MADONNA: TRUTH OR DARE (US, Alek Keshishian, 1991) ; MARUSA NO ONNA (JA, Juzo Itami, 1987) ; PARIS BY NIGHT (UK, David Hare, 1989) ; PATTY HEARST (US, Paul Schrader, 1988) ; ROGER AND ME (US, Michael Moore, 1989) ; SCANDAL (UK, Michael Caton-Jones, 1989) ; SERPENT AND THE RAINBOW (US, Wes Craven, 1988) ; SHE-DEVIL (US, Susan Seidelman, 1989) ; SHE MUST BE SEEING THINGS (US, Sheila McLaughlin, 1987) ; SKIN DEEP (US, Blake Edwards, 1989) ; SLEEPING WITH THE ENEMY (US, Joesph Ruben, 1991) ; SOMETHING WILD (US, Jonathan Demme, 1986) ; STAR TREK V: THE FINAL FRONTIER (US, William Shatner, 1989) ; SWEETIE (AT, Jane Campion, 1989) ; TEENAGE MUTANT NINJA TURTLES (US, Steve Barron, 1990) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) ; THIRTYSOMETHING [TV] (US, 1987-91) ; TIE ME UP! TIE ME DOWN! (SP, Pedro Almodovar, 1990)
SEE
ATAME! ; TORCH SONG TRILOGY (US, Paul Bogart, 1988) ; TOTAL RECALL (US, Paul Verhoeven, 1990) ; TUCKER (US, Francis Ford Coppola, 1988) ; TWIN PEAKS [TV] (US, David Lynch & others, 1990-1991) ; UNHOLY, THE (US, Camilio Vila, 1988) ; WAR OF THE ROSES, THE (US, Danny DeVito, 1989) ; WIRED (US, Larry Peerce, 1989) ; WORLD APART, A (UK, Chris Menges, 1988) ; BAUDRILLARD, JEAN ; TARKOVSKY, ANDREI ; WINDSOR, BARBARA Summary: "In her articles and essays, Suzanne Moore takes a vitriolic look at the icons of modern life - post feminism, Baudrillard, Laura Ashley, Twin Peaks, the new man, safe sex, James Bond, a green planet. In her film reviews, she dissects the 'mega' filmmakers of our time - Steven Spielberg, Federico Fellini, Akira Kurosawa, Pedro Almodovar, Ken Russell and David Lynch. Definitely not 'one of the boys', Suzanne Moore's attitude to the good and famous is refreshing and irreverent." -Book blurb.Notes: Contains bibliographyISBN: 1852422424Contents: Introduction -- Feminism -- Men: Men against men; Target man; The brothers grim; Toy soldiers or wicked willies; Prince; Torch Song tightrope; Here's looking at you, kid -- Women: Material girl; Hi, I'm Anneka - fly me; Green light spells danger; The odds of getting even; A call to underarms; Fatal fantasies; Happiness is a warm gun; Close-up as the cookie crumbles; Women who read too much; The great awakening; Modern romance; The merry life of Windsor -- Children: Hiding in the wardrobe; Hung-up on Father Christmas; Politics of choice; Birth and death; Maternal melodramas; Eternal childhood; Unhappy families; Heroes in a half-shell -- Fantasy -- Fear: Killjoy culture; Filming by numbers; The death of intimacy; To hell and back; Murder most foul; Electric shocks; Fag end; Soft soap -- Flesh: Good vibrations; Deviant laws; Everyday eroticism; One big act; A screw of convenience?; Missionary sex; The struggle for safe endings -- Faith: Kidnapped by the counter-culture; Sculpting in time; Playing Jesus by night; Nithing but the truth; Always a love story; Jazz junkie -- Power: Pleasure: Understimulation; And now for the news; Film slobs; The metal age; All night long; The money game; Mall-content?; Mini-politics: saying no in public; Belushi's last high; something to stay home about; Reach for the stars; Starship stories -- Politics: Political poison; Junk culture; Never really at home; A problem of identities; Brand loyalty; Sun rises in the east; You can't do the right thing all the time; Great expectations -- Populism: Postmodern paralysis; Britain's macho man; On the side of the man in the street; Against the sober grain -- Postmodernism: Politics of seduction; Getting a bit of the other - the pimps of postmodernism.ID2: 291
More info
book
Reel justice : the courtroom goes to the movies / Paul Bergman and Michael Asimow Kansas City: Andrews and McMeel, c1996.
Call No: 734.4 BERAuthor: Bergman, Paul, 1943 ; Asimow, Michael Place: Kansas CityPublisher: Andrews and McMeelPubDate: c1996PhysDes: xix, 338 p. : ill. ; 23 cmSubject: TRIALS IN FILMS ; ACCUSED, THE (US, Jonathan Kaplan, 1988) ; EVIL ANGELS (AT, Fred Schepisi, 1988) ; INHERIT THE WIND (US, Stanley Kramer, 1960) ; MAN FOR ALL SEASONS, A (US, Fred Zinnemann, 1966) ; ONION FIELD, THE (US, Harold Becker, 1979) ; REVERSAL OF FORTUNE (US, Barbet Schroeder, 1990) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) ; BILLY BUDD (UK, Peter Ustinov, 1962) ; BREAKER MORANT (AT, Bruce Beresford, 1980) ; CAINE MUTINY, THE (US, Edward Dmytryk, 1954) ; FEW GOOD MEN, A (US, Rob Reiner, 1992) ; PATHS OF GLORY (US, Stanley Kubrick, 1957) ; ADAM'S RIB (US, George Cukor, 1949) ; [MISTER] MR DEEDS GOES TO TOWN (US, Frank Capra, 1936) ; MY COUSIN VINNY (US, Jonathan Lynn, 1992) ; AND JUSTICE FOR ALL (US, Norman Jewison, 1979) ; COMPULSION (US, Richard Fleischer, 1959) ; IN THE NAME OF THE FATHER (IE/UK/US, Jim Sheridan, 1993) ; LIFE OF EMILE ZOLA, THE (US, William Dieterle, 1937) ; PHILADELPHIA (US, Jonathan Demme, 1993) ; SOMMERSBY (US, Jon Amiel, 1993) ; TO KILL A MOCKINGBIRD (US, Robert Mulligan, 1962) ; YOUNG MR. LINCOLN (US, John Ford, 1939) ; MUSIC BOX (US, Constantin Costa-Gavras, 1989) ; PARADINE CASE, THE (US, Alfred Hitchcock, 1947) ; BEYOND A REASONABLE DOUBT (US, Fritz Lang, 1956) ; BOOMERANG (US, Elia Kazan, 1947) ; PRESUMED INNOCENT (US, Alan J. Pakula, 1990) ; THEY WON'T FORGET (US, Mervyn LeRoy, 1937) ; WRONG MAN, THE (US, Jim McBride, 1993) ; ANATOMY OF A MURDER (US, Otto Preminger, 1959) ; M (G, Fritz Lang, 1931) ; STAR CHAMBER, THE (US, Peter Hyams, 1983) ; SUSPECT (US, Peter Yates, 1987) ; TRIAL BY JURY (US, Heywood Gould, 1994) ; [TWELVE] 12 ANGRY MEN (US, Sidney Lumet, 1956) ; CLASS ACTION (US, Michael Apted, 1991) ; LOSING ISAIAH (US, Stephen Gyllenhaal, 1995) ; MIRACLE ON 34TH STREET (US, Les Mayfield, 1994) ; NUTS (US, Martin Ritt, 1987) ; VERDICT, THE (US, Sidney Lumet, 1982) ; WHOSE LIFE IS IT, ANYWAY? (US, John Badham, 1981) ; ALL THAT MONEY CAN BUY (US, William Dieterle, 1941) ; BLOOD OATH (AT, Stephen Wallace, 1990) ; HOUR OF THE PIG, THE (FR/UK, Leslie Megahey, 1993) ; YOUNG PHILADELPHIANS, THE (US, Vincent Sherman, 1959) ; LIBEL (UK, Anthony Asquith, 1959) ; KRAMER VS. KRAMER (US, Robert Benton, 1979) ; OX-BOW INCIDENT, THE (US, William Wellman, 1943) ; ON TRIAL (US, Terry Morse, 1939) ; I WANT TO LIVE! (US, Robert Wise, 1958) ; JUDGMENT AT NUREMBERG (US, Stanley Kramer, 1961) ; LET HIM HAVE IT (UK, Peter Medak, 1991) ; [TEN] 10 RILLINGTON PLACE (UK, Richard Fleischer, 1971) ; COURT-MARTIAL OF BILLY MITCHELL, THE (US, Otto Preminger, 1955) ; BANANAS (US, Woody Allen, 1971) ; MURDER IN THE FIRST (US, Marco Rocco, 1995) ; TRIAL (US, Mark Robson, 1955) ; GUILTY AS SIN (US, Sidney Lumet, 1993) ; JAGGED EDGE (US, Richard Marquand, 1985) ; LETTER, THE (US, William Wyler, 1940) ; KNOCK ON ANY DOOR (US, Nicholas Ray, 1949) ; WITNESS FOR THE PROSECUTION (US, Billy Wilder, 1957) ; ACT OF MURDER, AN (US, Michael Gordon, 1948) ; FURY (US, Fritz Lang, 1936) ; I CONFESS (US, Alfred Hitchcock, 1953) ; PLACE IN THE SUN, A (US, George Stevens, 1951) ; THEY WON'T BELIEVE ME (US, Irving Pichel, 1947) Notes: Includes bibliographical references (p. [321]-326) and indexISBN: 0836210352 (pbk.)LON: 11957271
More info
book
Speaking truths with film : evidence, ethics, politics in documentary / Bill Nichols Oakland: California University of California Press, 2016.
Call No: 761 NICAuthor: Nichols, Bill Source: USPlace: OaklandPublisher: California University of California PressPubDate: 2016PhysDes: 281 p. ; ill. ; 23 cmSubject: 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.
More info
book
Spike, Mike, slackers & dykes : a guided tour across a decade of American independent cinema / John Pierson with the conversational collaboration of Kevin Smith London: Faber and Faber, 1996, c1995.
Call No: 210.2(73) PIEAuthor: Pierson, John Place: LondonPublisher: Faber and FaberPubDate: 1996, c1995PhysDes: 374 p., [16] p. of plates : ill., ports ; 24 cmSubject: INDEPENDENT FILMS. USA ; INDEPENDENT PRODUCTION. USA ; FESTIVALS. PARK CITY. SUNDANCE ; WARNER BROS. ; MIRAMAX FILMS ; SMITH, KEVIN ; WEISS, ROB ; MOORE, MICHAEL ; TROCHE, ROSE ; TURNER, GUINEVERE ; LEE, SPIKE ; LINKLATER, RICHARD ; BORDEN, LIZZIE ; Pierson, John ; GOMEZ, NICK ; JARMUSCH, JIM ; MORRIS, ERROL ; AMONGST FRIENDS (US, Rob Weiss, 1993) ; ANNA (US, Yurek Bogayevicz, 1987) ; CLERKS (US, Kevin Smith, 1994) ; MALLRATS (US, Kevin Smith, 1995) ; GO FISH (US, Rose Troche, 1994) ; PARTING GLANCES (US, Bill Sherwood, 1986) ; STRANGER THAN PARADISE (US/GW, Jim Jarmusch, 1984) ; WORKING GIRLS (US, Lizzie Borden, 1986) ; ROGER AND ME (US, Michael Moore, 1989) ; SHE'S GOTTA HAVE IT (US, Spike Lee, 1986) ; HOOP DREAMS (US, Steve James, 1994) ; SLACKER (US, Richard Linklater, 1990) ; THIN BLUE LINE, THE (US, Errol Morris, 1988) Notes: First published in the USA in 1995 by Hyperion/Miramax; Includes indexISBN: 0571179142 (pbk.)LON: 13149590
More info
journal article
The Thin Blue Line and the limits of documentary in Post Script (1994) vol.13 iss.2 p.44-50
Author: Michaels, Lloyd PhysDes: SerialSubject: THIN BLUE LINE, THE (US, Errol Morris, 1988) Summary: This article presents a critical analysis of the documentary film "The Thin Blue Line," directed by Errol Morris. The film employs reflexive strategies to imply certain parallels between the operation of the legal system and the interpretive activity of the film spectator. It rejects what has defined as the two earlier styles in the evolution of documentary: direct address and cinema verite. The film's expressionistic style becomes apparent through the use of obtrusive formal elements as microscopic closeups and slow motion of cinematography. The film constructs the character of Randall Adams in a way that undermines every attempt to know him.
More info
title clippings file
THIN BLUE LINE, THE : (US, Errol Morris, 1988)
More info
