A Companion to Documentary Film History

 
 
Standards Information Network (Verlag)
  • 1. Auflage
  • |
  • erschienen am 13. April 2021
  • |
  • 500 Seiten
 
E-Book | PDF mit Adobe-DRM | Systemvoraussetzungen
978-1-119-11629-5 (ISBN)
 
This volume offers a new and expanded history of the documentary form across a range of times and contexts, featuring original essays by leading historians in the field

In a contemporary media culture suffused with competing truth claims, documentary media have become one of the most significant means through which we think in depth about the past. The most rigorous collection of essays on nonfiction film and media history and historiography currently available, A Companion to Documentary Film History offers an in-depth, global examination of central historical issues and approaches in documentary, and of documentary's engagement with historical and contemporary topics, debates, and themes.

The Companion's twenty original essays by prominent nonfiction film and media historians challenge prevalent conceptions of what documentary is and was, and explore its growth, development, and function over time. The authors provide fresh insights on the mode's reception, geographies, authorship, multimedia contexts, and movements, and address documentary's many aesthetic, industrial, historiographical, and social dimensions. This authoritative volume:
* Offers both historical specificity and conceptual flexibility in approaching nonfiction and documentary media
* Explores documentary's multiple, complex geographic and geopolitical frameworks
* Covers a diversity of national and historical contexts, including Revolution-era Soviet Union, post-World War Two Canada and Europe, and contemporary China
* Establishes new connections and interpretive contexts for key individual films and film movements, using new primary sources
* Interrogates established assumptions about documentary authorship, audiences, and documentary's historical connection to other media practices.

A Companion to Documentary Film History is an ideal text for undergraduate and graduate courses covering documentary or nonfiction film and media, an excellent supplement for courses on national or regional media histories, and an important new resource for all film and media studies scholars, particularly those in nonfiction media.
1. Auflage
  • Englisch
  • Newark
  • |
  • USA
John Wiley & Sons Inc
  • Für Beruf und Forschung
  • 10,91 MB
978-1-119-11629-5 (9781119116295)
weitere Ausgaben werden ermittelt
Joshua Malitsky is Associate Professor of Cinema and Media Studies and Director of the Center for Documentary Research and Practice at Indiana University.He works on a range of topics related to documentary and other nonfiction media genres and has published a number of articles on documentary history and theory including topics such as the relationship between documentary and nation-building, documentary and science, documentary studies and linguistic anthropology, and the sports documentary.He is the author ofPost-Revolution Non-Fiction Film: Building the Soviet and Cuban Nations.
  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • List of Contributors
  • Introduction: Expanding Documentary Histories
  • Part I Documentary Borders and Geographies
  • Chapter 1 A Distant Local View: The Small-Town Film and US Cultural Diplomacy and Occupation, 1942-1952
  • Introduction
  • Domestic Films for Overseas Consumption
  • Motion Pictures for Occupied Territories
  • Small-Town Films
  • Small-Town Films as Local Films
  • Notes
  • References
  • Chapter 2 The Work of Displacement in Colonial Documentary: History, Movement, and Collectivity Between the Postwar Metropole and Colonial French West Africa
  • Introduction
  • Displacing Outrage and Mobilization to French West Africa: René Vautier and the Making of Afrique 50
  • The Work of Displacement in the Metropole: Afrique sur Seine, Paulin Vieyra, and the Groupe Africain du Cinéma
  • Notes
  • References
  • Chapter 3 Negation of the Negation: Tracking Documentary Film Theory in Japan
  • Rotha, Japan, and Documentary Theory
  • Reality and Actuality: Tsumura Hideo
  • Cinema of Facts: Imamura Taihei
  • Sur-documentary: Hanada Kiyoteru
  • Conclusion
  • Notes
  • References
  • Chapter 4 The Topographical Aesthetic in Late Stalinist Soviet Documentary Film
  • Introduction
  • Institutions and Genre Definitions
  • Films and the "Topographical Aesthetic"
  • Soviet Patriotism
  • Survival Strategy
  • Conclusion
  • Note
  • References
  • Part II Authors, Authorship, and Authoring Agencies
  • Chapter 5 Documentality: The Postwar Mental Health Film and the Database Logic of the Government Film Agency
  • Introduction
  • Governmentality and Modernity
  • The Psy-disciplines and Citizenship
  • Mental Mechanisms and Mental Symptoms
  • Conclusion
  • Notes
  • References
  • Chapter 6 Unmanned Capture: Automatic Cameras and Lifeless Subjects in Contemporary Documentary
  • Introduction
  • Death of the Camera
  • Unmanning + Capture
  • Scene 1: Double Hit
  • Scene 2: Racialized Capture and the Politics of Nonrecognition
  • Coda
  • Notes
  • References
  • Chapter 7 Corporate Authorship: French Industrial Culture and the Culture of French Industry
  • Introduction
  • Making a Corporate Film in the 1950s
  • Corporate Film Conflict and the Discourse of Authorial Control
  • Corporate Authorship in a New Authorial Context
  • Corporate Personhood, or, Authors upon Authors in a World Without Authors
  • Notes
  • References
  • Chapter 8 A Skillful Isis: Esfir Shub and the Documentarian as Caretaker
  • Introduction
  • Editing as Re-editing: Revision and Preservation
  • Editing as Collective Labor: Found Footage and Women's Work
  • Editing as Caretaking
  • Notes
  • References
  • Chapter 9 Now and Then: On the Documentary Regime, Vertov, and History1
  • 1
  • 2
  • 3
  • 4
  • 5
  • Notes
  • References
  • Part III Films and Film Movements
  • Chapter 10 Documentary Dreams of Activism and the "Arab Spring"
  • The Soviet Socialist Legacy
  • Two Media Activist Moments 80 Years Apart
  • "That Google Guy": Wael Ghonim
  • The Critique of Realism and the Crisis of Historicism
  • 1917
  • Coda
  • Notes
  • References
  • Chapter 11 A Culture of RealityNeorealism, Narrative Nonfiction, and Roberto Rossellini (1930s-1960s)
  • Introduction
  • The Neorealist Imperative
  • Rossellini's Animals
  • Rossellini as a Narrative Documentary Filmmaker
  • Rouch and Rossellini
  • Rouch and the Ethnographic Discourse
  • Voyage to India
  • Conclusion
  • Notes
  • References
  • Chapter 12 The Romantic Becomes Dialectic?: Joris Ivens, Cold Warrior and Socialist Realist, 1946-1956
  • Introduction
  • Cold War Phase-In 1947-1954: Reinventing Socialist Realism
  • Lied der Ströme: Cold War Watershed?
  • Conclusion
  • Notes
  • References
  • Partt IV Media Archaeologies: Media Archaeologies
  • Chapter 13 A Concise History and Theory of Documentaries on the Visual Arts
  • Introduction
  • Origins and Prewar Developments
  • "The Golden Age," Europe 1940-1960 and FIFA
  • Major Figures: Emmer, Storck, and Resnais
  • Education and Research Versus Artistic Autonomy
  • Artists and Acts of Creation
  • Art Book and Museum
  • Television: Standardization and Deconstruction
  • From the Neo-Avant-Garde to Post-Cinema
  • Notes
  • References
  • Chapter 14 Documentary in the Age of Mass Mobility: Minzu wansui and the Epic Gesture of Ethnographic Propaganda
  • Introduction
  • The Age of Documentary
  • The Dream of Mass Mobility: Wireless Propaganda
  • Minzu wansui (Long Live the Nation): Diary of an Artist Filmmaker
  • The Gesture of Filming: Medium, Form, Meaning
  • The Epic Gesture of Documentary
  • Notes
  • References
  • Chapter 15 Documentary Plasticity: Embryology and the Moving Image
  • Introduction
  • "The Unique Impression of Continuity"
  • Hans Elias and Educational Embryological Cinema
  • Plasticity, the Avant Garde, and Digital Technics
  • Notes
  • References
  • Chapter 16 Hans Richter and the Filmessay: A Media Archaeological Case Study of Documentary Film History and Historiography
  • Introduction
  • Documentary Film, Useful Cinema and the Filmessay
  • The Filmessay in Practice and the "Problem" with Die Börse
  • The Transatlantic Trajectory of the Filmessay
  • Instead of a Conclusion: The Aftermath of The Filmessay
  • Notes
  • References
  • Part V Audiences and Circulation: The Spaces of Reception
  • Chapter 17 Nonfiction Film in and out of the Moving Picture Theater: Roosevelt in Africa (1910)
  • Introduction
  • Nonfiction and Multipurpose Cinema
  • Illustrated Lectures and Lecturettes
  • Conclusion
  • Notes
  • References
  • Chapter 18 The Marginal Spectator
  • Introduction
  • Template: The UK to 1939
  • Case: The USA to 1941
  • Case: France to 1939
  • Case: Germany to 1933
  • The Return of the Suppressed?
  • Notes
  • References
  • Chapter 19 "Every Spectator Is Either a Coward or a Traitor": Watching The Hour of the Furnaces
  • Introduction
  • Militant Cinema and the "Film-Act" in the Writings of the Cine Liberación Group
  • The Rosario Mobile Film Unit
  • Militant Screening Audiences
  • Factory Occupations
  • Debates
  • Notes
  • References
  • Chapter 20 From Media Effects to the Empathy Machine: The Nature of the Audience and the Persistence of Wishful Thinking
  • Introduction
  • The Pliable Audience: Mass and Media Effects
  • The Active and Engaged Audience
  • The Productive Audience
  • Looking Ahead
  • Notes
  • References
  • Index
  • EULA

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