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005 20221109232051.0
008 971210s1998 miua b s001 0 eng d
010 _a 97051990
011 _aBIB MATCHES WORLDCAT
020 _a0814326390
_qpbk. (alk. paper)
020 _a9780814326398
_qpbk. (alk. paper)
035 _a(ATU)b10739634
035 _a(OCoLC)38106819
040 _aDLC
_beng
_erda
_cDLC
_dDLC
_dATU
050 0 0 _aPN1995.9.D6
_bD58 1998
082 0 _a070.18
245 0 0 _aDocumenting the documentary :
_bclose readings of documentary film and video /
_cedited by Barry Keith Grant and Jeannette Sloniowski.
264 1 _aDetroit :
_bWayne State University Press,
_c[1998]
264 4 _c©1998
300 _a488 pages :
_billustrations ;
_c23 cm.
336 _atext
_btxt
_2rdacontent
337 _aunmediated
_bn
_2rdamedia
338 _avolume
_bnc
_2rdacarrier
490 1 _aContemporary film and television series
504 _aIncludes bibliographical references and index.
505 0 0 _tForeword --
_tPreface --
_tAcknowledgments --
_tIntroduction --
_g1.
_tThe Filmmaker as Hunter: Robert Flaherty's Nanook of the North --
_g2.
_t"Peace between Man and Machine": Dziga Vertov's The Man with a Movie Camera --
_g3.
_tParadise Regained: Sergei Eisenstein's Que viva Mexico! as Ethnography --
_g4.
_tSynthetic Vision: The Dialectical Imperative of Luis Bunuel's Las Hurdes --
_g5.
_tThe Art of National Projection: Basil Wright's Song of Ceylon --
_g6.
_tThe Mass Psychology of Fascist Cinema: Leni Riefenstahl's Triumph of the Will --
_g7.
_tAmerican Documentary Finds Its Voice: Persuasion and Expression in The Plow That Broke the Plains and The City --
_g8.
_t"Men Cannot Act before the Camera in the Presence of Death": Joris Ivens's The Spanish Earth --
_g9.
_tThe Poetics of Propaganda: Humphrey Jennings and Listen to Britain --
_g10.
_t"It Was an Atrocious Film": Georges Franju's Blood of the Beasts --
_g11.
_tThe "Dialogic Imagination" of Jean Rouch: Covert Conversations in Les maitres fous --
_g12.
_tDocumenting the Ineffable: Terror and Memory in Alain Resnais's Night and Fog --
_g13.
_t"Don't You Ever Just Watch?": American Cinema Verite and Dont Look Back --
_g14.
_t"Ethnography in the First Person": Frederick Wiseman's Titicut Follies --
_g15.
_tThe Two Avant-gardes: Solanas and Getino's The Hour of the Furnaces --
_g16.
_tSeeing with Experimental Eyes: Stan Brakhage's The Act of Seeing with One's Own Eyes --
_g17.
_t"A Bastard Union of Several Forms": Style and Narrative in An American Family --
_g18.
_tThe Documentary of Displaced Persona: Michael Rubbo's Daisy: The Story of a Facelift --
_g19.
_tGender, Power, and a Cucumber: Satirizing Masculinity in This Is Spinal Tap --
_g20.
_tDocumentary Film and the Discourse of Hysterical/Historical Narrative: Ross McElwee's Sherman's March --
_g21.
_tSubjectivity Lost and Found: Bill Viola's I Do Not Know What It Is I Am Like --
_g22.
_tThe Filmmaker as Global Circumnavigator: Peter Watkins's The Journey and Media Critique --
_g23.
_tMirrors without Memories: Truth, History, and The Thin Blue Line --
_g24.
_tDocumentaphobia and Mixed Modes: Michael Moore's Roger & Me --
_g25.
_tSilence and Its Opposite: Expressions of Race in Tongues Untied --
_g26.
_tContaining Fire: Performance in Paris Is Burning --
_g27.
_tContested Territory: Camille Billops and James Hatch's Finding Christa --
_tGeneral Bibliography --
_tSources for Films and Videos --
_tFilm and Video Distributors --
_tContributors --
_tIndex.
588 _aMachine converted from AACR2 source record.
650 0 _aDocumentary films
_xHistory and criticism
_9371494
700 1 _aGrant, Barry Keith,
_d1947-
_eeditor.
_9233356
700 1 _aSloniowski, Jeannette,
_d1946-
_eeditor.
_9410510
830 0 _aContemporary film and television series.
_9238327
907 _a.b10739634
_b03-10-17
_c27-10-15
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