Documentary media : history, theory

In Death in Documentaries: The Memento Mori Experience , Benjamin Bennett-Carpenter suggests that documentaries are an especially apt form of contemporary memento mori. Bernard, Sheila Curran and Rabin, Kenn. Fully revised and updated, Archival Storytelling second edition is a timely, pragmatic look at the use of audiovisual materials available to filmmakers and scholars, from the earliest photographs of the 19th century to the work of media makers today.

Filled with insights from filmmakers, archivists, and intellectual property experts, this second edition defines key terms such as copyright, fair use, public domain, and orphan works. It guides readers through the complex archival process and challenges them to become not only archival users but also archival and copyright activists.

Brylla, Catalin, Kramer, Mette, eds. Cognitive Theory and Documentary Film. Palgrave Macmillan, This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos.

Taking an interdisciplinary approach, the essays draw on the latest research in film studies, the neurosciences, cultural studies, cognitive psychology, social psychology, and the philosophy of mind. With a foreword by documentary studies pioneer Bill Nichols and contributions from both theorists and practitioners, this volume firmly demonstrates that cognitive theory represents a valuable tool not only for film scholars but also for filmmakers and practice-led researchers.

Bui, Camille. Presses Universitaires de Provence, Aix en Provence, Comment rendre compte de ce rapport dynamique entre images et praxis? Cahill, James Leo and Caminati, Luca, eds. The collected essays consider filmmaking in cross-cultural contexts and films made in or about peoples in South America, Asia, Africa, Indigenous North America, as well as polar, outer space, and underwater exploration, with famous figures such as Jacques Yves Cousteau alongside amateur and scientific filmmakers.

Critical Distance in Documentary Media. This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age.

As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities.

It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies. Documentary Cinema. An Aesthetic and Political Crossroads. Prometeo, Especialistas de renombre internacional algunos de ellos por primera vez publicados en nuestro idioma re? Cazenave, Jennifer. SUNY Press, The unused footage was scattered and inaccessible for years before it was restored and digitized by the United States Holocaust Memorial Museum.

In An Archive of the Catastrophe , Jennifer Cazenave presents the first comprehensive study of this collection.

She argues that the outtakes pose a major challenge to the representational and theoretical paradigms produced by the documentary, while offering new meanings of Shoah and of Holocaust testimony writ large.

As a rare instance of outtakes preserved during the pre-digital era of cinema, this unused footage challenges us to establish a new critical framework for understanding how documentaries are constructed and reshapes the way we view this key Holocaust film. This volume addresses the underscrutinised topic of cinema newsreels. These short, multi-themed newsfilms, usually accompanied by explanatory intertitles or voiceovers, were a central part of the filmgoing experience around the world from through the late s, and in many cases even later.

As the only source of moving image news available before the widespread advent of television, newsreels are important social documents, recording what the general public was told and shown about the events and personalities of the day. Often disregarded as quirky or trivial, they were heavily utilised as propaganda vehicles, offering insights into the socio-political norms reflected in cinema during the first half of the twentieth century.

The book presents a range of current research being undertaken in newsreel studies internationally and makes a case for a reconsideration of the importance of newsreels in the wider landscape of film history.

Chang, Anita Wen-Shin. Peter Lang, This book offers a theory and methodology of transmedia arts activism within the technocultural and sociopolitical landscape of expanded documentary production, distribution, reception and participation. In the context of the growing field of transmedia documentaries, the author discusses the potentials and benefits of a critical design practice and production ethics that can transform this field to pilot new collaborations in documentary and digital media platforms towards a third digital documentary.

Clark, Joseph. In News Parade , Joseph Clark examines the history of the newsreel and how it changed the way Americans saw the world. Clark focuses on the sound newsreel of the s and s, arguing that it represents a crucial moment in the development of a spectacular society where media representations of reality became more fully integrated into commodity culture. It pays particular attention to how discourses of race and gender worked together with the rhetoric of speed, mobility, and authority to establish the power and privilege of newsreel spectatorship.

Cohen, Hart. The aim of this book is to provide a significant study of the relationship of archives to contemporary forms of digital mediation. The volume introduces a specific archive, the Strehlow Collection, and tracks the ways in which its materials and research dissemination practices are influenced by media forms we now identify with the emergence of digital technology. Conway, Mike. University of Massachusetts Press, In , an innovative documentary on a Berlin Wall tunnel escape brought condemnation from both sides of the Iron Curtain during one of the most volatile periods of the Cold War.

While the television industry ultimately awarded the program three Emmys, the U. Department of State pressured NBC to cancel the program, and print journalists criticized the network for what they considered to be a blatant disregard of journalistic ethics.

In Contested Ground , Mike Conway argues that the production and reception of television news and documentaries during this period reveals a major upheaval in American news communications. Coover, Roderick, ed. Bloomsbury, Over the past half century, computing has profoundly altered the ways stories are imagined and told. Immersive, narrative, and database technologies transform creative practices and hybrid spaces revealing and concealing the most fundamental acts of human invention: making stories.

The Digital Imaginary illuminates these changes by bringing leading North American and European writers, artists and scholars, like Sharon Daniel, Stuart Moulthrop, Nick Montfort, Kate Pullinger and Geof Bowker, to engage in discussion about how new forms and structures change the creative process. Through interviews, commentaries and meta-commentaries, this book brings fresh insight into the creative process form differing, disciplinary perspectives, provoking questions for makers and readers about meaning, interpretation and utterance.

The Digital Imaginary will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including storymakers, educators, curators, critics, readers and artists, alike. Daniels, Jill. Cambridge Scholars Publishing, There has been a significant growth in autobiographical documentary films in recent years.

This innovative book proposes that the filmmaker in her dual role as maker and subject may act as a cultural guide in an exploration of the social world. It argues that, in the cinematic mediation of memory, the mimetic approach in the construction of documentary films may not be feasible, and memory may instead be evoked elliptically through hybrid strategies such as critical realism and fictional enactment.

Fox, Broderick. Documentary Media: History, Theory, Practice. In a digital moment where both the democratizing and totalitarian possibilities of media are unprecedented, the need for complex, ethical, and imaginative documentary media—for you, the reader of this book to think, question, and create—is vital. Whether you are an aspiring or seasoned practitioner, an activist or community leader, a student or scholar, or simply a curious audience member, author Broderick Fox opens up documentary media, its changing forms, and diversifying social functions to readers in a manner that is at once rigorous, absorbing, and practical.

This new edition updates and further explores the various histories, ideas, and cultural debates that surround and shape documentary practice today.

Each chapter engages readers by challenging traditional assumptions, posing critical and creative questions, and offering up innovative historical and contemporary examples. Freeman, Marilyn. The 3rd Thing, With humor and humility, Freeman reveals her innovative approach to making video essays, a process developed over years of art-making, study and personal searching—a process of waking up again and again to the extraordinary possibilities hidden in everyday existence.

This book is an essential resource for artists who question the importance of their work in these dark times, and for anyone seeking wisdom and wonder in our ordinary world. Fritsche, Maria. London: Bloomsbury, The American Marshall Plan Film Campaign and the Europeans is the first book to explore the use of the Marshall Plan films and, importantly, their distribution and reception across Europe.

The study examines every available film — the that remain from the estimated to have been made — and looks at how they were designed to instil hope, argue the case for economic restructuring and persuade the Europeans of the superiority of the liberal-capitalist system. The book goes on to reason that the films served as a powerful weapon in the cultural Cold War, but that the European audiences were by no means passive victims of the US propaganda effort.

Maria Fritsche discusses the Marshall Plan films in the context of countries across Western, Northern and Southern Europe, covering the majority of the 17 European countries that participated in the Plan in the process.

The book incorporates 70 images and utilises a vast number of archival sources to explore the strategies the US adopted to sway the minds of the Europeans, the problems they encountered in the process and, not least, the varied responses of the European audiences.

Geva, Dan. The Ethics Lab Guidebook. Nor is it imposed as a set of universal abstracts or legal imperatives. Rather, our ethical landscape is shaped by its community members, who serve as a vital source for creative self-growth and comprise a nurturing locus of inspiring communality.

A Philosophical History of Documentary, Springer Link, The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Toward a Philosophy of the Documentarian: A Prolegomenon. The theme of this book is the documentarian— what the documentarian is and how we can understand it as a concept.

Working from the premise that the documentarian is a special—extended—sign, the book develops a model of a quadruple sign structure for-and-of the documentarian, growing out of enduring traditions in philosophy, semiotics, psychoanalysis, and documentary theory.

Dan Geva investigates the intellectual premise that allows the documentarian to show itself as an extremely sophisticated, creative, and purposeful being-in-the-world—one that is both embedded in its own history and able to manifest itself throughout its entire documentary life project, as a stand-alone conceptual phase in the history of ideas. Ghosh, Bishnupriya, Sarkar, Bhaskar, eds. The Routledge Companion to Media and Risk. This collection presents new work in risk media studies from critical humanities perspectives.

Defining, historicizing, and consolidating current scholarship, the volume seeks to shape an emerging field, signposting its generative insights while examining its implicit assumptions.

Alphaville: Journal of Film and Screen Media , no. Patricia Holland is a writer, researcher and lecturer specialising in various aspects of media and visual culture including film, television, and popular imagery. She has a special interest in documentary and has worked as an independent filmmaker and freelance journalist. ISSN Reflecting on his own filmmaking, Fox has stated: I always told myself, just shoot.

References 1. Flaherty, Robert, director. Nanook of the North. Fox, Broderick, director. Broderick Fox, Lanzmann, Claude, director.

BBC, Nichols, Bill. Representing Reality. Indiana UP, Oppenheimer, Joshua, director. The Act of Killing. Final Cut for Real, Suggested Citation Holland, Patricia. Thunder , May 16, TitusGroan , Joseph , qu13tm4n and 3 others like this. You must log in or sign up to reply here. Show Ignored Content. Similar Threads. Replies: 0 Views: Shop for Books on Google Play Browse the world's largest eBookstore and start reading today on the web, tablet, phone, or ereader. Go to Google Play Now ». Documentary Media : History, Theory, Practice.

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