The documentary film reader: history, theory, criticism
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| Format: | Book |
| Language: | English |
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Oxford
Oxford University Press
[2016]
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis Klappentext |
| Item Description: | Includes bibliographical references and index |
| Physical Description: | xviii, 1024 Seiten Illustrationen |
| ISBN: | 9780199739646 9780199739653 |
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| adam_text | CONTENTS
Acknowledgments
charles musser, Foreword
Jonathan KAHANA, Editor’s General Introduction
I EARLY DOCUMENTARY: FROM THE ILLUSTRATED
LECTURE TO THE FACTUAL FILM
1 Jonathan kahana, Introduction to Section I
2 rick altman, “From Lecturer’s Prop to Industrial Product:
The Early History of Travel Films” (2006)
3 anonymous, “Burton Holmes Pleases a Large Audience
at the Columbia” (1905)
4 Kristen whissel, “Placing the Spectator on the Scene of History:
Modem Warfare and the Battle Reenactment at the Turn
of the Century” (2008)
5 dai vaughan, “Let There Be Lumière” (1999)
6 boleslas matuszewski, “A New Source of History” (1898)
7 tom gunning, Before Documentary: Early Nonfiction Films
and the ‘View’ Aesthetic” (1997)
8 edward s. curtis etal., “The Continental Film Company” (1912)
9 w. Stephen bush, Review of In the Land of the Head Hunters (19*4)
10 Catherine russell, “Playing Primitive” (1999)
u anonymous, “Movies of Eskimo Life Win Much Appreciation (1915)
12 anonymous, Review of Nanook of the North (1922)
13 John Grierson, “Flaherty’s Poetic Moana” (1926)
14 John Grierson, “Flaherty” (1931-32)
13
16
27
29
44
48
52
64
67
69
83
84
86
88
VI
CONTENTS
15 Hamid NAFicY, “Lured by the East: Ethnographic and Expedition
Films about Nomadic Tribes; The Case of Grass” (2006) 93
16 bêla balazs, “Compulsive Cameramen” (1925) no
17 anonymous, “New Films Make War Seem More Personal” (1916) 112
18 Nicholas reeves, “Cinema, Spectatorship, and Propaganda: Battle
of the Somme (1916) and Its Contemporary Audience” (1997) 113
II MODERNISMS: STATE, LEFT, AND AVANT-GARDE
DOCUMENTARY BETWEEN THE WARS 133
19 Jonathan kahana, Introduction to Section II 135
20 Robert allerton Parker, “The Art of the Camera:
An Experimental “Movie” ” (1921) 138
21 Siegfried kracauer, “Montage” (1947) 142
22 annette michelson, “The Man with the Movie Camera:
From Magician to Epistemologist” (1972) 148
23 seth feldman, “Cinema Weekly and Cinema Truth:
Dziga Vertov and the Leninist Proportion” {1973) 163
24 dziga vertov, “WE: Variant of a Manifesto” (1922) 171
25 JAY LEYDA, “Bridge” (1964) 174
26 Mikhail iAMPOLSKY, “Reality at Second Hand” (1991) 182
27 joRis ivens, “The Making of Rain” (1969) 192
28 joris ivens, “Reflections on the Avant-Garde Documentary” (1931) 196
29 tom conley, “Documentary Surrealism: On Land Without Bread” (1986) 199
30 john Grierson, “The Documentary Producer” (1933) 215
31 john Grierson, “First Principles of Documentary” (1932-34) 217
32 otis ferguson, “Home Truths from Abroad” (1937) 226
33 Charles wolfe, “Straight Shots and Crooked Plots: Social
Documentary and the Avant-Garde in the 1930s” (1995) 229
34 samuel brody, “The Revolutionary Film: Problem of Form” (1934) 247
35 LEO T. hurwitz, “The Revolutionary Film: Next Step” (1934) 249
36 ralph steiner and Leo t. hurwitz, “A New Approach
to Film Making” (1935) 252
37 Willard van dyke, Letter from Knoxville (1936) 256
38 ralph steiner, Letter to Jay Leyda (1935) 258
39 JOHN t. MCMANUS, “Down to Earth in Spain” (1937) 261
40 Charles wolfe, “Historicizing the “Voice of God”: The Place
of Voice-Over Commentary in Classical Documentary (1997) 264
CONTENTS
41 STEVE NEALE, “Triumph of the Will: Notes on Documentary
and Spectacle” (1979) 281
42 RICHARD GRIFFITH, Films at the Fair” (1939) 312
III DOCUMENTARY PROPAGANDA: WORLD WAR II
AND THE POST-WAR CITIZEN 323
43 Jonathan kahana, Introduction to Section III 325
44 james agee, Review of Iwo Jima Newsreels (1945) 328
45 james agee, Review of Son Pietro (1945) 330
46 thomas cripps and David culbert, “The Negro Soldier (1944):
Film Propaganda in Black and White” (1979) 332
47 André Bazin, “On Why We Fight: History, Documentation,
and the Newsreel” (1946) 348
48 jim leach, “The Poetics of Propaganda: Humphrey Jennings
and Listen to Britain”(1998) 352
49 george c. stoney, “Documentary in the United States
in the Immediate Post-World War II Years” (1989) 366
50 zoë druick, “Documenting Citizenship: Reexamining
the 1950s National Film Board Films about Citizenship” (2000) 368
51 srirupa roy, “Moving Pictures: The Films Division of India
and the Visual Practices of the Nation-State” (2007) 383
52 Jennifer horne, “Experiments in Propaganda: Reintroducing
James Blue’s Colombian Trilogy” (2009) 406
53 peter watkins with james blue and michael gill, “Peter Watkins
Discusses His Suppressed Nuclear Film The War Game” (1965) 420
IV AESTHETICS OF LIBERATION: FREE, DIRECT,
AND VÉRITÉ CINEMAS 429
54 Jonathan kahana, Introduction to Section IV 431
55 JEAN painlevé, “The Castration of Documentary” (1953) 434
56 jean cocteau, “On Blood of the Beasts” (1963) 439
57 lindsay anderson, “Free Cinema” (1957) 441
58 tom whiteside, “The One-Ton Pencil” (1962) 445
59 Edgar morin, “Chronicle of a Film” (1962) 461
60 JONATHAN ROSENBAUM, “Radical Humanism and the Coexistence
of Film and Poetry in The House is Black” (2003) 473
VIII CONTENTS
61 JEAN ROUCH With DAN GEORGAKAS, UDAYAN GUPTA, and JUDY JANDA,
“The Politics of Visual Anthropology” (1977) 478
62 ricky leacock, “For an Uncontrolled Cinema” (1961) 490
63 bruce elder, “On the Candid-Eye Movement” (1977) 492
64 jonas mekas, “To Mayor Lindsay / On Film
Journalism and Newsreels” (1966) 501
65 jeanne hall, “Realism as a Style in Cinema A Critical
Analysis of Primary” (1991) 503
66 Margaret mead, “As Significant as the Invention of Drama
or the Novel” (1973) 526
V TALKING BACK: RADICAL VOICES AND VISIONS AFTER 1968 529
67 Jonathan kahana, Introduction to Section V 531
68 Robert stam, “ Hour of the Furnaces and the Two Avant Gardes” (1981) 534
69 JUAN CARLOS ESPINOSA, JORGE FRAGA, ESTRELLA PANTIN, “Toward
a Definition of the Didactic Documentary: A Paper Presented
to the First National Congress of Education and Culture” (1978) 545
70 NORM ERUCHTER, MARILYN BUCK, KAREN ROSS, and ROBERT KRAMER,
“Newsreel” (1969) 550
71 Frederick wiseman with alan westin, “ “You Start Off With a
Bromide”: Conversation with Film Maker Frederick Wiseman” (1974) 556
72 david macdougall, “Beyond Observational Cinema” (1975) 565
73 pauline kael, “Beyond Pirandello” (1970) 571
74 pearl bowser, “Pioneers of Black Documentary Film” (1999) 576
75 Michael chanan, “Rediscovering Documentary: Cultural Context
and Intentionality” (1990) 597
76 Santiago alvarez with the editors of Cineaste, “5 Frames Are
5 Frames, Not 6, But 5 : An Interview with Santiago Alvarez” (1975) 605
77 abe mark nornes, “The Postwar Documentary Trace: Groping
in the Dark” (2002) 609
78 emile de antonio with tanya neufeld, “An Interview with
Emile de Antonio” (1973) 630
annette michelson, Reply to de Antonio 637
79 bill nichols, “The Voice of Documentary” (1983) 639
80 james roy macbean, “Tivo Laws from Australia, One White,
One Black: The Recent Past and the Challenging Future
of Ethnographic Film” (1983) 652
81 lee atwell, Review of Word Is Out (1979) 664
CONTENTS IX
82 jvlia lesage, “The Political Aesthetics of the Feminist
Documentary Film” (1978) 668
83 e. ann kapian, “Theories and Strategies of the Feminist
Documentary” (1983) 680
84 jill godmilow, “Paying Dues: A Personal Experience
with Theatrical Distribution” (1977) 693
85 coco fusco, “A Black Avant-Garde? Notes on Black Audio Film
Collective and Sankofa” (1988) 698
86 john greyson, “Strategic Compromises: AIDS and Alternative
Video Practices” (1990) 708
VI TRUTH NOT GUARANTEED: REFLECTIONS,
REVISIONS, AND RETURNS 721
87 Jonathan kahana, Introduction to Section VI 723
88 Robert sklar, “Documentary: Artifice in the Service of Truth” (1975) 726
89 chick strand, “Notes on Ethnographic Film by a Film Artist” (1978) 731
90 jonas mekas, “The Diary Film: A Lecture on Reminiscences
of a Journey to Lithuania”(1972) 737
91 michael renov, “Toward a Poetics of Documentary” (1993) 742
92 trinh t. minh-ha, “Mechanical Eye, Electronic Ear and the Lure
of Authenticity” (1984) 758
93 brian winston, “The Tradition of the Victim in Griersonian
Documentary” (1988) 763
94 j. hoberman, “Shoah: The Being of Nothingness” (1985-86) 776
95 CLAUDE LANZMANN with MARC CHEVRIE and HERVE LE ROUX, “Site
and Speech: An Interview with Claude Lanzmann about (1985) 784
96 linda williams, “Mirrors Without Memories: Truth, History,
and the New Documentary” (1993) 794
97 errol morris with peter bates, Truth Not Guaranteed: An Interview
with Errol Morris” (1989) 807
98 michael moore with harlan jacobson, “Michael Me” (1989) 8io
99 thomas waugh, ““Acting to Play Oneself”: Notes on Performance in
Documentary” (1990) 815
100 Phillip brian harper, “Marlon Riggs: The Subjective Position of
Documentary Video” (1995) 829
101 paula rabinowitz, “Melodrama/Male Drama: The Sentimental
Contract of American Labor Films” (2002) 836
X
CONTENTS
102 marsha orgeron and devin orgeron, “Familial Pursuits,
Editorial Acts: Documentaries after the Age of Home Video” (2007) 852
103 Vivian sobchack, “Inscribing Ethical Space: 10 Propositions
on Death, Representation, and Documentary” (1984) 871
104 paul Arthur, “Jargons of Authenticity (Three American
Moments)” (1993) 889
VII DOCUMENTARY TRANSFORMED: TRANSNATIONAL
AND TRANSMEDIAL CROSSINGS 911
105 Jonathan kahana, Introduction to Section VII 913
106 harun farocki and jill godmilow with Jennifer horne and
Jonathan kahana, “A Perfect Replica: An Interview with
Harun Farocki and Jill Godmilow” (1998) 916
107 rachel gabara, “Mixing Impossible Genres: David Achkar
and African Autobiographical Documentary” (2003) 924
108 jean-marie teno, “Writing on Walls: The Future of African
Documentary Cinema” (2010) 938
109 chris berry, “Getting Real: Chinese Documentary,
Chinese Postsocialism” (2007) 943
110 wu wenguang, “DV: Individual Filmmaking” (2006) 956
111 richard porton, “Weapon of Mass Instruction: Michael Moore’s
Fahrenheit 9/13” (2004) 961
112 scorr macdonald, “Up Close and Political: Three Short Ruminations
on Ideology in the Nature Film” (2006) 969
113 amy villarejo, “Bus 174 and the Living Present” (2006) 984
114 Barbara klinger, “Cave of Forgotten Dreams: Meditations on 3D” (2012) 989
Permissions Acknowledgments 597
Index 1003
Bringing together an expansive
range of writing by scholars, critics,
historians, and filmmakers, The
Documentary Film Fteader presents an
international perspective on the most
significant developments and debates
from several decades of critical writing
about documentary. Each of the book’s
seven sections covers a distinct
period in the history of documentary,
collecting both contemporary and
retrospective views of filmmaking in
the era. And each section is prefaced
by an introductory essay that explains
its design and provides critical
context. Painstakingly selected from
the archives of more than a hundred
years of cinema practice and theory,
the essays, reviews, interviews,
manifestos, and ephemera gathered
in this volume suit the needs and
interests of the beginning student, the
advanced scholar, the casual reader,
and the working documentarían.
ABOUT THE AUTHOR
JONATHAN KAHANAis Associate
Professor of Film Digital Media at the
University of California, Santa Cruz. He is
the author of Intelligence Work: The Politics
of American Documentary.
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