A new history of documentary film:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
New York ; London ; Oxford ; New Delhi ; Sydney
Bloomsbury Academic
2023
|
| Ausgabe: | Third edition |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | xvii, 443 Seiten, 8 ungezählte Seiten Illustrationen |
| ISBN: | 9781501385155 9781501385162 |
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Datensatz im Suchindex
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| adam_text | Contents List of Illustrations Preface Introduction How to Study Documentary How to Use This Book ix xvi 1 1 3 1 Ways to Think About Documentary Description Definition Intellectual Contexts 5 5 9 11 2 Origins Early War and Propaganda Films Propaganda 17 22 25 3 Exploration and Establishment 33 Exploration Early Visual Anthropology Frances and Robert Flaherty 34 38 41 The Soviets Reportage/Newsreel Theory 59 61 64 Compilation Epic Fiction and Documentary 66 68 70 Avant-Garde Expressions Avant-Garde and Documentary 75 76 City Symphonies Three Classic European City Symphonies Changes in the Avant-Garde 78 81 86 4 5
vi Contents 6 7 8 9 Institutionalization: Great Britain, 1929-39 Background 89 91 The System The Films 93 97 Women Filmmakers 103 Grierson’s Lasting Contribution 106 Institutionalization: United States 111 The March of Time 112 Government Sponsorship 114 Nongovernment Documentaries 122 Comparisons: Hie United Kingdom and The United States Canada An Aside 127 129 129 The Second World War 133 Part A: Great Britain Part B: Canada 133 145 Part C: United States 152 Conclusions 169 The Postwar Era, 1945-60 Personnel and Leadership 177 180 Sponsorship Marshall Plan Films Canadian Independents USIA Films 183 184 190 191 Subjects Approaches and Techniques 195 197 10 A New Channel: Documentary for Television, 1951-71 203 A Technical Note 203 Historical Background Documentary Series Characteristics of Broadcast Television Documentary 204 206 213 11 Free Cinema/New American Cinema, 1953-69 Britain Critical Background The Films 219 219 220 221
Contents Meaning United States New York School Films New American Cinema 12 Cinéma Verité/Dìrect Cinema vii 224 226 227 229 233 Historical Background New Technologies Canada United States 234 235 237 238 The Films France Direct Cinema versus Cinema Vérité Effects on Subjects and Styles 24! 248 250 251 Opposite Directions 255 13 Power to the People: The 1970s Some Established Filmmakers 261 262 New Directions in CV/Direct Political Emphases The Feminist Surge 266 271 275 Women’s Institutions Challenge for Change Public Access Television Other Emerging Organizations Conclusions 276 278 279 280 283 14 Video Arrives and Conquers: The 1980s 287 Film to Video Cable and Satellite Technology The Personal Essay Film Historical Compilation Strictly Political Ongoing Activism 287 290 293 294 297 297 Racial and Ethnic Voices Canada England Representing Gay and Lesbian Culture 298 306 307 308
viii 15 16 Contents 100 Years of Documentary 317 Business and Technology: The Bad and the Good American Public Television 318 321 Archival Storytelling 323 The Ken Burns Phenomenon 328 Canada Soldiers On 330 Developments in the UK 332 American Independents 337 Documentary Traditions in the Twenty-first Century 345 United States 345 Six Noted Filmmakers 348 Animation Experimental Film 360 362 17 Academic and Theoretical Approaches Finance Money and Ethics Film Festivals 18 Now and When Globalization 367 369 371 376 381 382 Aesthetics and Content Intimate Doings of Reality Technologies 384 386 388 Social Media and Documentary Commitment to History Effectiveness 392 394 397 Conclusions 401 Documentaries About Documentaries Filmmakers Introduction to Lists First-generation DocumentaryMakers Second-generation Documentary Makers Third-generation Documentary Makers 407 409 409 411 413 415 Author Index 420 Film Titles 432
A New History of Documentary Film includes new research that offers a fresh way to understand how the field began and grew. Retaining the original edition’s core structure, there is added emphasis of the interplay among various approaches to documentaries and the people who made them. This edition also clearly explains the ways that interactions among the shifting forces of economics, technology, and artistry shape the form. New to this edition: • An additional chapter that brings the story of English language documentary to the present day • Increased coverage of women and people of.color in documentary production • Streaming • Animated documentaries • List of documentary filmmakers, organized chronologically by the years of their activity in the field BETSY A. McLANE was Executive Director of the International Documentary Association for eight years. Dr. McLane was a member of the faculties of Loyola Marymount University, Emerson College, The University of Vermont, and Southern Oregon University, USA. She is a member of the Documentary Branch of The Academy of Motion Picture Arts and Sciences and was the first woman President of the University Film and Video Association.
|
| adam_txt |
Contents List of Illustrations Preface Introduction How to Study Documentary How to Use This Book ix xvi 1 1 3 1 Ways to Think About Documentary Description Definition Intellectual Contexts 5 5 9 11 2 Origins Early War and Propaganda Films Propaganda 17 22 25 3 Exploration and Establishment 33 Exploration Early Visual Anthropology Frances and Robert Flaherty 34 38 41 The Soviets Reportage/Newsreel Theory 59 61 64 Compilation Epic Fiction and Documentary 66 68 70 Avant-Garde Expressions Avant-Garde and Documentary 75 76 City Symphonies Three Classic European City Symphonies Changes in the Avant-Garde 78 81 86 4 5
vi Contents 6 7 8 9 Institutionalization: Great Britain, 1929-39 Background 89 91 The System The Films 93 97 Women Filmmakers 103 Grierson’s Lasting Contribution 106 Institutionalization: United States 111 The March of Time 112 Government Sponsorship 114 Nongovernment Documentaries 122 Comparisons: Hie United Kingdom and The United States Canada An Aside 127 129 129 The Second World War 133 Part A: Great Britain Part B: Canada 133 145 Part C: United States 152 Conclusions 169 The Postwar Era, 1945-60 Personnel and Leadership 177 180 Sponsorship Marshall Plan Films Canadian Independents USIA Films 183 184 190 191 Subjects Approaches and Techniques 195 197 10 A New Channel: Documentary for Television, 1951-71 203 A Technical Note 203 Historical Background Documentary Series Characteristics of Broadcast Television Documentary 204 206 213 11 Free Cinema/New American Cinema, 1953-69 Britain Critical Background The Films 219 219 220 221
Contents Meaning United States New York School Films New American Cinema 12 Cinéma Verité/Dìrect Cinema vii 224 226 227 229 233 Historical Background New Technologies Canada United States 234 235 237 238 The Films France Direct Cinema versus Cinema Vérité Effects on Subjects and Styles 24! 248 250 251 Opposite Directions 255 13 Power to the People: The 1970s Some Established Filmmakers 261 262 New Directions in CV/Direct Political Emphases The Feminist Surge 266 271 275 Women’s Institutions Challenge for Change Public Access Television Other Emerging Organizations Conclusions 276 278 279 280 283 14 Video Arrives and Conquers: The 1980s 287 Film to Video Cable and Satellite Technology The Personal Essay Film Historical Compilation Strictly Political Ongoing Activism 287 290 293 294 297 297 Racial and Ethnic Voices Canada England Representing Gay and Lesbian Culture 298 306 307 308
viii 15 16 Contents 100 Years of Documentary 317 Business and Technology: The Bad and the Good American Public Television 318 321 Archival Storytelling 323 The Ken Burns Phenomenon 328 Canada Soldiers On 330 Developments in the UK 332 American Independents 337 Documentary Traditions in the Twenty-first Century 345 United States 345 Six Noted Filmmakers 348 Animation Experimental Film 360 362 17 Academic and Theoretical Approaches Finance Money and Ethics Film Festivals 18 Now and When Globalization 367 369 371 376 381 382 Aesthetics and Content Intimate Doings of Reality Technologies 384 386 388 Social Media and Documentary Commitment to History Effectiveness 392 394 397 Conclusions 401 Documentaries About Documentaries Filmmakers Introduction to Lists First-generation DocumentaryMakers Second-generation Documentary Makers Third-generation Documentary Makers 407 409 409 411 413 415 Author Index 420 Film Titles 432
A New History of Documentary Film includes new research that offers a fresh way to understand how the field began and grew. Retaining the original edition’s core structure, there is added emphasis of the interplay among various approaches to documentaries and the people who made them. This edition also clearly explains the ways that interactions among the shifting forces of economics, technology, and artistry shape the form. New to this edition: • An additional chapter that brings the story of English language documentary to the present day • Increased coverage of women and people of.color in documentary production • Streaming • Animated documentaries • List of documentary filmmakers, organized chronologically by the years of their activity in the field BETSY A. McLANE was Executive Director of the International Documentary Association for eight years. Dr. McLane was a member of the faculties of Loyola Marymount University, Emerson College, The University of Vermont, and Southern Oregon University, USA. She is a member of the Documentary Branch of The Academy of Motion Picture Arts and Sciences and was the first woman President of the University Film and Video Association. |
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| spelling | McLane, Betsy A. Verfasser (DE-588)1047320215 aut A new history of documentary film Betsy A. McLane Third edition New York ; London ; Oxford ; New Delhi ; Sydney Bloomsbury Academic 2023 xvii, 443 Seiten, 8 ungezählte Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Includes bibliographical references and index Geschichte 1922-2005 gnd rswk-swf Documentary films History and criticism Dokumentarfilm (DE-588)4012653-5 gnd rswk-swf Dokumentarfilm (DE-588)4012653-5 s Geschichte 1922-2005 z DE-604 Erscheint auch als Online-Ausgabe, PDF 978-1-5013-8513-1 Erscheint auch als Online-Ausgabe 978-1-5013-8514-8 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034056275&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034056275&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | McLane, Betsy A. A new history of documentary film Documentary films History and criticism Dokumentarfilm (DE-588)4012653-5 gnd |
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| title | A new history of documentary film |
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