The documentary film reader :: history, theory, criticism /
The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Oxford University Press,
[2016]
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film. |
| Beschreibung: | 1 online resource (xviii, 1024 pages) |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9780190226541 0190226544 |
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| 245 | 0 | 4 | |a The documentary film reader : |b history, theory, criticism / |c edited by Jonathan Kahana. |
| 264 | 1 | |a New York : |b Oxford University Press, |c [2016] | |
| 300 | |a 1 online resource (xviii, 1024 pages) | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; The Documentary Film Reader; Copyright; Contents; Acknowledgments; Foreword; The Documentary Film Reader; I Early Documentary: From the Illustrated Lecture to the Factual Film; 1 Introduction to Section I;)2 "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006);))3 "Burton Holmes Pleases a Large Audience at the Columbia" (1905); 4 "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008);)5 "Let There Be Lumière" (1999); 6 "A New Source of History" (1898). | |
| 505 | 8 | |a 7 "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997); 8 "The Continental Film Company" (1912); 9 Review of In the Land of the Head Hunters (1914); 10 "Playing Primitive" (1999); 11 "Movies of Eskimo Life Win Much Appreciation" (1915); 12 Review of Nanook of the North (1922); 13 "Flaherty's Poetic Moana" (1926); 14 "Flaherty" (1931-32); 15 "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006); 16 "Compulsive Cameramen" (1925); 17 "New Films Make War Seem More Personal" (1916). | |
| 505 | 8 | |a 18 "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997); II Modernisms: State, Left, and Avant-Garde Documentary Between the Wars; 19 Introduction to Section II; 20 "The Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969). | |
| 505 | 8 | |a 28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937). | |
| 505 | 8 | |a 40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946). | |
| 520 | |a The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film. | ||
| 650 | 0 | |a Documentary films |x History and criticism. | |
| 650 | 6 | |a Documentaires |x Histoire et critique. | |
| 650 | 7 | |a LANGUAGE ARTS & DISCIPLINES |x Journalism. |2 bisacsh | |
| 650 | 7 | |a Documentary films |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 700 | 1 | |a Kahana, Jonathan, |d 1966-2019, |e editor. | |
| 758 | |i has work: |a The documentary film reader (Text) |1 https://id.oclc.org/worldcat/entity/E39PCG36v8cBQhWFYxXmDCbDMd |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |t Documentary film reader. |d Oxford ; New York : Oxford University Press, [2016] |z 9780199739646 |w (DLC) 2015013454 |w (OCoLC)907391317 |
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| author2 | Kahana, Jonathan, 1966-2019 |
| author2_role | edt |
| author2_variant | j k jk |
| author_facet | Kahana, Jonathan, 1966-2019 |
| building | Verbundindex |
| bvnumber | localFWS |
| callnumber-first | P - Language and Literature |
| callnumber-label | PN1995 |
| callnumber-raw | PN1995.9.D6 D5755 2016eb |
| callnumber-search | PN1995.9.D6 D5755 2016eb |
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| contents | Cover; The Documentary Film Reader; Copyright; Contents; Acknowledgments; Foreword; The Documentary Film Reader; I Early Documentary: From the Illustrated Lecture to the Factual Film; 1 Introduction to Section I;)2 "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006);))3 "Burton Holmes Pleases a Large Audience at the Columbia" (1905); 4 "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008);)5 "Let There Be Lumière" (1999); 6 "A New Source of History" (1898). 7 "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997); 8 "The Continental Film Company" (1912); 9 Review of In the Land of the Head Hunters (1914); 10 "Playing Primitive" (1999); 11 "Movies of Eskimo Life Win Much Appreciation" (1915); 12 Review of Nanook of the North (1922); 13 "Flaherty's Poetic Moana" (1926); 14 "Flaherty" (1931-32); 15 "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006); 16 "Compulsive Cameramen" (1925); 17 "New Films Make War Seem More Personal" (1916). 18 "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997); II Modernisms: State, Left, and Avant-Garde Documentary Between the Wars; 19 Introduction to Section II; 20 "The Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969). 28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937). 40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946). |
| ctrlnum | (OCoLC)932625385 |
| dewey-full | 070.1/8 |
| dewey-hundreds | 000 - Computer science, information, general works |
| dewey-ones | 070 - Documentary, educational, news media; journalism |
| dewey-raw | 070.1/8 |
| dewey-search | 070.1/8 |
| dewey-sort | 270.1 18 |
| dewey-tens | 070 - Documentary, educational, news media; journalism |
| discipline | Allgemeines |
| format | Electronic eBook |
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Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969).</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937).</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946).</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. 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| genre | Criticism, interpretation, etc. fast |
| genre_facet | Criticism, interpretation, etc. |
| id | ZDB-4-EBA-ocn932625385 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:26:57Z |
| institution | BVB |
| isbn | 9780190226541 0190226544 |
| language | English |
| oclc_num | 932625385 |
| open_access_boolean | |
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| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (xviii, 1024 pages) |
| psigel | ZDB-4-EBA |
| publishDate | 2016 |
| publishDateSearch | 2016 |
| publishDateSort | 2016 |
| publisher | Oxford University Press, |
| record_format | marc |
| spelling | The documentary film reader : history, theory, criticism / edited by Jonathan Kahana. New York : Oxford University Press, [2016] 1 online resource (xviii, 1024 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Includes bibliographical references and index. Print version record. Cover; The Documentary Film Reader; Copyright; Contents; Acknowledgments; Foreword; The Documentary Film Reader; I Early Documentary: From the Illustrated Lecture to the Factual Film; 1 Introduction to Section I;)2 "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006);))3 "Burton Holmes Pleases a Large Audience at the Columbia" (1905); 4 "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008);)5 "Let There Be Lumière" (1999); 6 "A New Source of History" (1898). 7 "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997); 8 "The Continental Film Company" (1912); 9 Review of In the Land of the Head Hunters (1914); 10 "Playing Primitive" (1999); 11 "Movies of Eskimo Life Win Much Appreciation" (1915); 12 Review of Nanook of the North (1922); 13 "Flaherty's Poetic Moana" (1926); 14 "Flaherty" (1931-32); 15 "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006); 16 "Compulsive Cameramen" (1925); 17 "New Films Make War Seem More Personal" (1916). 18 "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997); II Modernisms: State, Left, and Avant-Garde Documentary Between the Wars; 19 Introduction to Section II; 20 "The Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969). 28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937). 40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946). The Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film. Documentary films History and criticism. Documentaires Histoire et critique. LANGUAGE ARTS & DISCIPLINES Journalism. bisacsh Documentary films fast Criticism, interpretation, etc. fast Kahana, Jonathan, 1966-2019, editor. has work: The documentary film reader (Text) https://id.oclc.org/worldcat/entity/E39PCG36v8cBQhWFYxXmDCbDMd https://id.oclc.org/worldcat/ontology/hasWork Print version: Documentary film reader. Oxford ; New York : Oxford University Press, [2016] 9780199739646 (DLC) 2015013454 (OCoLC)907391317 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1124767 Volltext |
| spellingShingle | The documentary film reader : history, theory, criticism / Cover; The Documentary Film Reader; Copyright; Contents; Acknowledgments; Foreword; The Documentary Film Reader; I Early Documentary: From the Illustrated Lecture to the Factual Film; 1 Introduction to Section I;)2 "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006);))3 "Burton Holmes Pleases a Large Audience at the Columbia" (1905); 4 "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008);)5 "Let There Be Lumière" (1999); 6 "A New Source of History" (1898). 7 "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997); 8 "The Continental Film Company" (1912); 9 Review of In the Land of the Head Hunters (1914); 10 "Playing Primitive" (1999); 11 "Movies of Eskimo Life Win Much Appreciation" (1915); 12 Review of Nanook of the North (1922); 13 "Flaherty's Poetic Moana" (1926); 14 "Flaherty" (1931-32); 15 "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006); 16 "Compulsive Cameramen" (1925); 17 "New Films Make War Seem More Personal" (1916). 18 "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997); II Modernisms: State, Left, and Avant-Garde Documentary Between the Wars; 19 Introduction to Section II; 20 "The Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969). 28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937). 40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946). Documentary films History and criticism. Documentaires Histoire et critique. LANGUAGE ARTS & DISCIPLINES Journalism. bisacsh Documentary films fast |
| title | The documentary film reader : history, theory, criticism / |
| title_auth | The documentary film reader : history, theory, criticism / |
| title_exact_search | The documentary film reader : history, theory, criticism / |
| title_full | The documentary film reader : history, theory, criticism / edited by Jonathan Kahana. |
| title_fullStr | The documentary film reader : history, theory, criticism / edited by Jonathan Kahana. |
| title_full_unstemmed | The documentary film reader : history, theory, criticism / edited by Jonathan Kahana. |
| title_short | The documentary film reader : |
| title_sort | documentary film reader history theory criticism |
| title_sub | history, theory, criticism / |
| topic | Documentary films History and criticism. Documentaires Histoire et critique. LANGUAGE ARTS & DISCIPLINES Journalism. bisacsh Documentary films fast |
| topic_facet | Documentary films History and criticism. Documentaires Histoire et critique. LANGUAGE ARTS & DISCIPLINES Journalism. Documentary films Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1124767 |
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