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

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

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

Call No: 761(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 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
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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 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 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 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; 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 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: 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: 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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Call No: PERSONALITY MICROFILM COLLECTION
PhysDes: Clippings
Subject: WRIGHT, BASIL