Documentary films Books

Book Synopsis''An entertaining first-hand account of pure rock ''n'' roll madness.'' The Daily Telegraph''Hundreds of exclusive photos and brilliant one-liners make for a sensational read.'' the Sun''We are the biggest band in Britain of all time, ever. The funny thing is, all that fucking mouthing off three years ago about how we were going to be the biggest band in the world - we actually went and did it.'' Noel GallagherOasis are one of the biggest bands the world has ever seen. Here, in Supersonic, they tell the story of their beginnings from dive-bar hopefuls to global superstars. They themselves talk us through the pivotal moments in their phenomenal trajectory, from the day Noel Gallagher joined his brother Liam''s band, through their first crucial five years culminating at their landmark gigs at Knebworth Park in 1996 - the pinnacle of their success.With over thirty hours of interviews with Liam, Noel and those closest to them, this book documents in unprecedented depth and with their trademark candour and humour, the story behind one of the world''s greatest bands, all told in their own words and fully illustrated with exclusive photographs and ephemera throughout.Trade ReviewSupersonic is not quite an autobiography...Rather, it is a thorough and thoroughly entertaining oral history. * i news *This incredible book offers additional insights into their turbulent upbringing, the making of the band...the hundreds of exclusive photos and brilliant one-liners make for a sensational read. * the Sun *Thirty hours of band member interviews have been cooked into an entertaining first-hand account of pure rock 'n' roll madness. * The Daily Telegraph *

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Book SynopsisFrom much-loved documentary maker Louis Theroux comes a funny, heartfelt and entertaining account of his life and weird times in TV.The Sunday Times Bestseller.'Honest and soul-searching' - Sunday Express______________In 1994 fledgling journalist Louis Theroux was given a one-off gig on Michael Moore’s TV Nation, presenting a segment on apocalyptic religious sects. Gawky, socially awkward and totally unqualified, his first reaction to this exciting opportunity was panic. But he’d always been drawn to off-beat characters, so maybe his enthusiasm would carry the day. Or, you know, maybe it wouldn’t . . .In Gotta Get Theroux This, Louis takes the reader on a joyous journey from his anxiety-prone childhood to his unexpectedly successful career. Nervously accepting the BBC’s offer of his own series, he went on to create an award-winning documentary style that has seen him immersed in the weird worlds of paranoid US militias and secretive pro-wrestlers, get under the skin of celebrities like Max Clifford and Chris Eubank and tackle gang culture in San Quentin prison, all the time wondering whether the same qualities that make him good at documentaries might also make him bad at life.As Louis woos his beautiful wife Nancy and learns how to be a father, he also dares to take on the powerful Church of Scientology. Just as challenging is the revelation that one of his old subjects, Jimmy Savile, was a secret sexual predator, prompting him to question our understanding of how evil takes place. Filled with wry observation and self-deprecating humour, this is Louis at his most insightful and honest best.______________'Funny, engaging' - Sunday Times'Gripping' - Daily Mail'Absorbing and surprisingly candid' - Telegraph MagazineTrade ReviewAn absorbing and surprisingly candid book . . . * Telegraph Magazine *Gripping * Daily Mail *Engaging, funny * Sunday Times *If you are a fan of Louis Theroux's self-deprecating humour and relaxed broadcasting style, you will enjoy this honest and soul-searching account of his life so far. * Sunday Express *

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Book SynopsisTrade ReviewDocumentary film has never been more popular - nor creatively complex - and Bill Nichols's book gives a concise over-view of the genre while tackling the important ideas, issues, and conundrums that we as filmmakers all face. -- Mark Lewis * Filmmaker *This new edition of Introduction to Documentary is incisive and magisterial, a brilliantly organized and ambitious analysis of that enigmatic, open-ended, and vital are of cinema in which reality is not so much documented as transformed. Nichols addresses with ambition and humility all the key questions about what happens — ethically, aesthetically, and politically — when real people agree to play themselves, and collaborate with the filmmaker to transform their lives for the screen. -- Joshua Oppenheimer * Director, Producer, Filmmaker *Table of ContentsAcknowledgmentsIntroduction1. How Can We Define Documentary Film?2. Why Are Ethical Issues Central to Documentary Filmmaking?3. What Gives Documentaries a Voice of Their Own?4. What Makes Documentaries Engaging and Persuasive?5. How Did Documentary Filmmaking Get Started?6. How Can We Differentiate among Documentary Models and Modes? What Are the Poetic, Expository, and Reflexive Modes?7. How Can We Describe the Observational, Participatory, and Performative Modes of Documentary Film?8. How Have Documentaries Addressed Social and Political Issues?9. How Can We Write Effectively about Documentary?10. I Want to Make a Documentary. Where Do I Start?Appendix A: Sample Film Project Proposal: Sex with SamNotes on Source MaterialIndex

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Book SynopsisVertigo (1958) is widely regarded as not only one of Hitchcock's best films, but one of the greatest films of world cinema. Made at the time when the old studio system was breaking up, it functions both as an embodiment of the supremely seductive visual pleasures that 'classical Hollywood' could offer and – with the help of an elaborate plot twist – as a laying bare of their dangerous dark side. The film's core is a study in romantic obsession, as James Stewart's Scottie pursues Madeleine/Judy (Kim Novak) to her death in a remote Californian mission. Novak is ice cool but vulnerable, Stewart – in the darkest role of his career – genial on the surface but damaged within. Although it can be seen as Hitchcock's most personal film, Charles Barr argues that, like Citizen Kane, Vertigo is at the same time a triumph not so much of individual authorship as of creative collaboration. He highlights the crucial role of screenwriters Alec Coppel and Samuel Taylor and, by a combination of textual and contextual analysis, explores the reasons why Vertigo continues to inspire such fascination. In his foreword to this special edition, published to celebrate the 20th anniversary of the BFI Film Classics series, Barr looks afresh at Vertigo alongside the recently-rediscovered 'lost' silent The White Shadow (1924), scripted by Hitchcock, which also features the trope of the double, and at the acclaimed contemporary silent film The Artist (2011), which pays explicit homage to Vertigo in its soundtrack.Table of ContentsForeword.- Acknowledgments.- 1 Obsession.- 2 Construction.- 3 Illusion.- 4 Revelation.- Notes.- Credits.- Bibliography.

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Book SynopsisIn the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais’s Van Gogh (1948), Henri-Georges Clouzot’s Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.Trade ReviewThis remarkable book charts the development, as well as the public and critical acceptance, of the art film documentary at the mid-point of the 20th century. In a series of elegantly written and deeply perceptive essays by some of the most respected authorities in the field, such classic films as The Mystery of Picasso (1956), Henry Moore (1951), and the experimental feature film Pictura (1951) are brought back to public attention in a volume that is an essential text for both cinema historians and art lovers as well. A dazzling volume in every respect – bravo! -- Wheeler Winston Dixon, James Ryan Professor of Film Studies, University of Nebraska-Lincoln, USAIt is not well-known today that in the aftermath of World War II, emerging trends in media and international alliances, ideas about mass communication and the democratization of culture, and representation of national identity converged to produce a "golden age" of films about art and artists in Europe and the U.S. Art in Cinema is an invaluable resource on the mid-century heyday of the art documentary. -- Susan Felleman, Professor, Art History & Film and Media Studies, University of South Carolina, USATable of ContentsPreface and Acknowledgements Introduction: The Mid-Century Celluloid Museum, Steven Jacobs (Ghent University & Antwerp University, Belgium) & Dimitrios Latsis (Toronto Metropolitan University, Canada) 1. The Institutional Breeding Grounds of the Postwar Film on Art, Birgit Cleppe (Ghent University, Belgium) 2. American Art Comes of Age: Documentaries and the Nation at the Dawn of the Cold War, Dimitrios Latsis (Toronto Metropolitan University, Canada) 3. Art History with a Camera: Rubens (1948) and Paul Haesaerts’s Concept of Cinéma Critique, Steven Jacobs (Ghent University & Antwerp University, Belgium) & Joséphine-Charlotte Vandekerckhove (Ghent University, Belgium & Verona University, Italy) 4. Carlo Ludovico Ragghianti’s Critolfims and Beyond: From Cinema to Information Technology, Emanuele Pellegrini (IMT School for Advanced Studies, Italy) 5. André Bazin’s Art Documentary in Saintonge, Angela Dalle Vacche (Georgia Institute of Technology, USA) 6. Projecting Cultural Diplomacy: Cold War Politics, Films on Art, and Willard Van Dyke’s The Photographer, Natasha Ritsma (Loyola University Museum of Art, USA) 7. Henry Moore and A Sculptor’s Landscape: Modernity, the Land and the Bomb in Two Television Films by John Read, John Wyver (University of Westminster, UK) 8. Creative Process, Material Inscription and Dudley Shaw Ashton’s Figures in a Landscape (1953), Lucy Reynolds (University of Westminster, UK) 9. Neoplasticism and Cinema: Ilya Bolotowsky’s Experimental Films on Art, Henning Engelke (Goethe University Frankfurt, Germany) Mid-Twentieth-Century Art Documentaries: A Selected Bibliography About the Authors Index

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Book Synopsis''This gripping book is destined to become THE book about Andrew Tate'' Jon Ronson''A fascinating and disturbing investigation'' Ian HislopThe behind-the-scenes story of a four-year investigation into Andrew Tate, exploring how a failed reality TV star turned accused organised criminal managed to become one of the most famous influencers in the world.In 2022, Andrew Tate went from a little-known kickboxer and failed reality TV star to a lifestyle icon for legions of men and boys, and a figure that would define a new era of misogyny. Tate started the year as a fringe internet celebrity, but by August he was the most googled man in the world. In that same month, Matt Shea and Jamie Tahsin gained access to his Bucharest compound and infamous War Room, making a documentary that would result in the first women coming forward to accuse him publicly of sexual and physical violence. Tate would end the year in a Romanian jail, facing charges of hu

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Book SynopsisTrade ReviewA masterful deconstruction of documentary techniques, with impressive original research. This book is recommended for everyone interested in how documentaries are made, especially students in film production and critical studies. * Mark Freeman, Professor Emeritus, School of Theatre, Television, and Film, San Diego State University *Jacob Brica's brilliant new book is a thoughtful and thorough exploration of the grammar of documentary. This is a must read --for filmmakers and viewers alike-- as Bricca deconstructs the tools and tricks of our trade. As someone who has been editing documentaries for years, I found that every word of this book rings true. * Kate Amend, ACE *Deftly combining practical experience and scholarly sources, How Documentaries Work is an ideal primer for introducing students to documentary practices and conventions...Essential. All readers. * Choice *Table of ContentsINTRODUCTION CHAPTER 1: RAW MATERIALS Verité Interviews Archival Reenactments and Animation Voiceover Narration Title Cards CHAPTER 2: MEANING Creating Meaning Within the Interview Frame Creating Visual Uniformity with Interviews Creating Meaning with Objects in the Frame Creating Meaning with Words Interview-As-Narration Creating Meaning with Verité Open vs. Closed Meanings CHAPTER 3: NARRATIVE The Setup Position The Crisis Moment Producing the Narrative Turn Producing the Narrative Turn with Juxtaposition Micro-Narratives Callbacks Non-Narrative Documentaries CHAPTER 4: PRESENCE FRAMING Observational Framing The Semi-Staged Scene The Participatory Frame Narration and the Participatory Frame Voice of God Narration Altering the Outcome The Reflexive Frame CHAPTER 5: FLOW Unifying with Sound Pivots and Pauses Juxtaposition Collective Memory CHAPTER 6: TIME The Experience of Time in Verité The Interleaving of Scenes Use of the Present Tense CHAPTER 7: TITLES Naming Characters Conferring Legitimacy Look and Feel Subtitles CHAPTER 8: ARCHIVAL Archival Treatments Manipulation of Newspaper Assets Historical Shorthand CHAPTER 9: SOUND Sweetening Foley Time and Space Framing Presence with Sound: The Cave & For Sama CHAPTER 10: MUSIC Fear of Music Film vs. Television Verité vs. Expository, Interviews vs. Archival Tone Procedural Music CONCLUSION The Brave New World of Hybridity in Documentary Acknowledgements Appendix: List of Films and Television Shows Cited

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Book SynopsisOver the past fifty years, a unique hybrid genre of nonfiction cinema called the avant-doc has emerged in the world of independent film. Combining the unconventional techniques of avant-garde auteurs like Stan Brakhage with the verisimilitude of traditional documentaries, the avant-doc expands the way cinema captures and chronicles events. Drawing on firsthand interviews with nineteen of the form''s chief practitioners and participants, Avant-Doc constructs an oral history that provides the first insider''s perspective on the phenomenon.Trade ReviewA compelling achievement, Avant-Doc diagrams a new fluid geography of cinema, where traditional categories such as experimental,"documentary," and "fiction" dissolve. The insightful, probing conversations assembled so deftly here vaporize fixed cinematic modes. These filmmakers describe cinema as a living organism, pulsating in networks of politics, arts, philosophies, teachers, literature, communities, technologies, and aesthetics. * Patricia R. Zimmermann, author of States of Emergency: Documentaries, Wars, Democracy *Scott MacDonald's groundbreaking and seminal new volume, Avant-Doc, illuminates correspondences between avant-garde cinema and documentary through a series of compelling interviews with major independent filmmakers and noted scholar Annette Michelson. This intimate and probing follow-up to MacDonald's Critical Cinema series creates a lively and deeply personal oral history. Avant-Doc broadens our understanding of connections between avant-garde and documentary film, while providing a rich treasure trove of research material that current and future scholars will find invaluable. * J.J. Murphy, author of The Black Hole of the Camera: The Films of Andy Warhol *Table of ContentsTable of Contents: ; Introduction ; Annette Michelson ; Robert Gardner ; Ed Pincus (and Jane Pincus, Lucia Small) ; Alfred Guzzetti ; Ross McElwee ; Nina Davenport ; Leonard Retel Helmrich ; Jonathan Caouette ; Pawel Wojtasik ; Michael Glawogger ; Susana de Sousa Dias ; Alexander Olch (on The Windmill Movie) ; Amie Siegel (on DDR/DDR) ; Arthur and Jennifer Smith (on Ice Bears of the Beaufort) ; Betzy Bromberg (on Voluptuous Sleep) ; Jen Proctor (on A Movie by Jen Proctor) ; Jane Gillooly (on Suitcase of Love and Shame) ; Godfrey Reggio (on Visitors) ; Todd Haynes ; Sensory Ethnography ; Ilisa Barbash and Lucien Castaing-Taylor (on In and Out of Africa and Sweetgrass) ; Lucien Castaing-Taylor (on his installation work and on Harvard's Sensory Ethnography Lab) ; Lucien Castaing-Taylor and Verena Paravel (on Leviathan) ; Stephanie Spray and Pacho Velez (on Manakamana) ; Filmographies ; Bibliographies

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Book SynopsisThe 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, as well as providing sufficient depth for graduate classes.Trade ReviewThe volume offers a rich and varied corpus of works that includes scholarly essays, film criticism, manifestos, interviews, letters, and personal recollections ... [the editors] have performed tremendous acts of scholarly service ... [presenting] a rich mosaic of writing on film form, politics, and practice that order the discursive field while still allowing the unruly documentary construct room to breathe. * Tanya Goldman, Cinema Journal *Table of ContentsForeword by Charles Musser ; Introduction ; I. Early Documentary: From the Illustrated Lecture to the Factual Film ; Jonathan Kahana, Introduction to Section I ; Rick Altman, "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006) ; Anonymous, "Burton Holmes Pleases a Large Audience at the Columbia" (1905) ; Kristen Whissel, "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008) ; Dai Vaughan, "Let There Be Lumiere" (1999) ; Boleslas Matuszewski, "A New Source of History" (1898) ; Tom Gunning, "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997) ; Edward Curtis et al., "The Continental Film Company" (1912) ; W. Stephen Bush, "In The Land of the Head Hunters" (1914) ; Catherine Russell, "Playing Primitive" (1999) ; Anonymous, "Movies of Eskimo Life Win Much Appreciation" (1915) ; Anonymous, "Nanook of the North" (1922) ; John Grierson, "Flaherty's Poetic Moana" (1926) ; John Grierson, "Flaherty" (1931-32) ; Hamid Naficy, "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006) ; Bela Balazs, "Compulsive Cameramen" (1925) ; Anonymous, "New Films Make War Seem More Personal" (1916) ; Nicholas Reeves, "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 ; Jonathan Kahana, Introduction to Section II ; Robert Allerton Parker, "The Art of the Camera: An Experimental 'Movie'" (1921) ; Siegfried Kracauer, "Montage" (1947) ; Annette Michelson, "The Man with the Movie Camera: From Magician to Epistemologist" (1972) ; Seth Feldman, "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973) ; Dziga Vertov, "WE: Variant of a Manifesto" (1922) ; Jay Leyda, "Bridge" (1964) ; Mikhail Iampolsky, "Reality at Second Hand" (1991) ; Joris Ivens, "The Making of Rain" (1969) ; Joris Ivens, "Reflections on the Avant-Garde Documentary" (1931) ; Tom Conley, "Documentary Surrealism: On Land Without Bread" (1986) ; John Grierson, "The Documentary Producer" (1933) ; John Grierson, "First Principles of Documentary" (1932-34) ; Otis Ferguson, "Home Truths from Abroad" (1937) ; Charles Wolfe, "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995) ; Samuel Brody, "The Revolutionary Film: Problem of Form" (1934) ; Leo T. Hurwitz, "The Revolutionary Film: Next Step" (1934) ; Ralph Steiner and Leo T. Hurwitz, "A New Approach to Filmmaking" (1935) ; Willard Van Dyke, Letter from Knoxville (1936) ; Ralph Steiner, Letter to Jay Leyda (1935) ; John T. McManus, "Down to Earth in Spain" (1937) ; Charles Wolfe, "Historicizing the 'Voice of God': The Place of Voice-Over Commentary in Classical Documentary" (1997) ; Steve Neale, "Triumph of the Will: Notes on Documentary and Spectacle" (1979) ; Richard Griffith, "Films at the Fair" (1939) ; III: Documentary Propaganda: World War II and the Post-War Citizen ; Jonathan Kahana, Introduction to Section III ; James Agee, Review of Iwo Jima newsreels (1945) ; James Agee, Review of San Pietro (1945) ; Thomas Cripps and David Culbert, "The Negro Soldier (1944): Film Propaganda in Black and White" (1979) ; Andre Bazin, "On Why We Fight: History, Documentation, and the Newsreel" (1946) ; Jim Leach, "The Poetics of Propaganda: Humphrey Jennings and Listen to Britain" (1998) ; George C. Stoney, "Documentary in the United States in the Immediate Post-World War II Years" (1989) ; Zoe Druick, "Documenting Citizenship: Reexamining the 1950s National Film Board Films about Citizenship" (2000) ; Srirupa Roy, "Moving Pictures: The Films Division of India and the Visual Practices of the Nation-State" (2007) ; Jennifer Horne, "Experiments in Propaganda: Reintroducing James Blue's Colombian Trilogy" (2009) ; Peter Watkins with James Blue and Michael Gill, "Peter Watkins Discusses His Suppressed Nuclear Film The War Game" (1965) ; IV. Aesthetics of Liberation: Free, Direct, and Verite Cinemas ; Jonathan Kahana, Introduction to Section IV ; Jean Painleve, "The Castration of Documentary" (1953) ; Jean Cocteau, "On Blood of the Beasts" (1963) ; Lindsay Anderson, "Free Cinema" (1957) ; Tom Whiteside, "The One-Ton Pencil" (1962) ; Edgar Morin, "Chronicle of a Film" (1962) ; Jonathan Rosenbaum, "Radical Humanism and the Coexistence of Film and Poetry in The House is Black" (2003) ; Jean Rouch with Dan Georgakas, Udayan Gupta, and Judy Janda, "The Politics of Visual Anthropology" (1977) ; Ricky Leacock, "For an Uncontrolled Cinema" (1961) ; Bruce Elder, "On the Candid-Eye Movement" (1977) ; Jonas Mekas, "To Mayor Lindsay / On Film Journalism and Newsreels" (1966) ; Jeanne Hall, "Realism as a Style in Cinema Verite: A Critical Analysis of Primary" (1991) ; Margaret Mead, "As Significant as the Invention of Drama or the Novel" (1973) ; V: Talking Back: Radical Voices and Visions After 1968 ; Jonathan Kahana, Introduction to Section V ; Robert Stam, "Hour of the Furnaces and the Two Avant Gardes" (1981) ; 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) ; Marilyn Buck, Norm Fruchter, Robert Kramer, and Karen Ross, "Newsreel" (1969) ; Frederick Wiseman with Alan Westin, "'You Start Off With a Bromide': Conversation with Film Maker Frederick Wiseman" (1974) ; David MacDougall, "Beyond Observational Cinema" (1973/1992) ; Pauline Kael, "Beyond Pirandello" (1970) ; Pearl Bowser, "Pioneers of Black Documentary Film" (1999) ; Michael Chanan, "Rediscovering Documentary: Cultural Context and Intentionality" (1990) ; Santiago Alvarez with the editors of Cineaste, "'5 Frames Are 5 Frames, Not 6, But 5': An Interview with Santiago Alvarez" (1975) ; Abe Mark Nornes, "The Postwar Documentary Trace: Groping in the Dark" (2002) ; Emile de Antonio with Tanya Neufeld, "An Interview with Emile de Antonio" (1973) ; Annette Michelson, Reply to de Antonio (1973) ; Bill Nichols, "The Voice of Documentary" (1983) ; James Roy MacBean, "Two Laws from Australia, One White, One Black: The Recent Past and the Challenging Future of Ethnographic Film" (1983) ; Lee Atwell, Review of Word is Out (1979) ; Julia Lesage, "The Political Aesthetics of the Feminist Documentary Film" (1978) ; E. Ann Kaplan, "Theories and Strategies of the Feminist Documentary" (1983) ; Jill Godmilow, "Paying Dues: A Personal Experience with Theatrical Distribution" (1977) ; Coco Fusco, "A Black Avant-Garde? Notes on Black Audio Film Collective and Sankofa" (1988) ; Renee Tajima, Letter to Scott MacDonald (1995) ; John Greyson, "Strategic Compromises: AIDS and Alternative Video Practices" (1990) ; VI. Truth Not Guaranteed: Reflections, Revisions, and Returns ; Editor's section introduction ; Robert Sklar, "Documentary: Artifice in the Service of Truth" (1975) ; Jonas Mekas, "The Diary Film (A Lecture on Reminiscences of a Journey to Lithuania)" (1972) ; Chick Strand, "Notes on Ethnographic Film by a Film Artist" (1978) ; Michael Renov, "Toward a Poetics of Documentary" (1993) ; Trinh T. Minh-ha, "Mechanical Eye, Electronic Ear and the Lure of Authenticity" (1984) ; Brian Winston, "The Tradition of the Victim in Griersonian Documentary" (1988) ; J. Hoberman, "Shoah: The Being of Nothingness" (1985-86) ; Claude Lanzmann with Marc Chevrie and Herve Le Roux, "Site and Speech: An Interview with Claude Lanzmann about Shoah" (1985) ; Linda Williams, "Mirrors without Memories: Truth, History, and the New Documentary" (1993) ; Peter Bates, "Truth Not Guaranteed: An Interview with Errol Morris" (1989) ; Harlan Jacobson with Michael Moore, "Michael & Me" (1989) ; Thomas Waugh, "'Acting to Play Oneself': Notes on Performance in Documentary" (1990) ; Phillip Brian Harper, "Marlon Riggs: The Subjective Position of Documentary Video" (1995) ; Paula Rabinowitz, "Melodrama/Male Drama: The Sentimental Contract of American Labor Films" (2002) ; Marsha Orgeron and Devin Orgeron, "Familial Pursuits, Editorial Acts: Documentaries After the Age of Home Video" (2007) ; Vivian Sobchack, "Inscribing Ethical Space: 10 Propositions on Death, Representation, and Documentary" (1984) ; Paul Arthur, "Jargons of Authenticity (Three American Moments)" (1993) ; VII: Documentary Transformed: Transnational and Transmedial Crossings ; Jonathan Kahana, Introduction to Section VII ; Harun Farocki and Jill Godmilow with Jennifer Horne and Jonathan Kahana, "A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow" (1998) ; Rachel Gabara, "Mixing Impossible Genres: David Achkar and African Autobiographical Documentary" (2003/2013) ; Jean-Marie Teno, "Writing on Walls: The Future of African Documentary Cinema" (2010) ; Chris Berry, "Getting Real: Chinese Documentary, Chinese Postsocialism" (2007) ; Wu Wenguang, "DV: Individual Filmmaking" (2006) ; Richard Porton, "Weapon of Mass Instruction: Michael Moore's Fahrenheit 9/11" (2004) ; Scott MacDonald, "Up Close and Political: Three Short Ruminations on Ideology in the Nature Film" (2006) ; Amy Villarejo, "Bus 174 and the Living Present" (2006) ; Barbara Klinger, "Cave of Forgotten Dreams: Meditations on 3D" (2012) ; Index

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Book SynopsisIs it true that film in the twentieth century experimented with vision more than any other art form? And what visions did it privilege? This book situates the cinematic experience within discourses of twentieth-century modernity. It examines film's nature as a medium in an age obsessed with immediacy, nearness, and accessibility.Trade Review"Casetti's writing is erudite, elegant, insightful, and with its repeated direct address to the reader, seductively dialogic and alluringly didactic." -- Sabine Hake, H-GermanTable of ContentsAcknowledgments A Hundred Years, A Century 1. The Gaze of Its Age 2. Framing The World 3. Double Vision 4. The Glass Eye 5. Strong Sensations 6. Glosses, Exymorons, And Discipline Remains of the Day Notes Bibliography

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Book SynopsisTrade ReviewIndie makes a significant contribution to the literature on American independent cinema, one that is likely to reshape debates and discussions for several years to come. By broadening the definition of independent cinema beyond simple industrial formulations, Newman charts the contours of 'indie' as a particular taste culture involving particular structures of distribution, consumption, and critical reception. By showing how companies built a niche audience of upscale consumers by targeting their "indie" sensibilities, Newman's book beautifully captures the multidimensional quality of American independent cinema in the nineties and 'naughts': its formal play, multicultural appeal, and 'branding' as off-Hollywood product. -- Jeff Smith, University of Wisconsin, author of The Sounds of Commerce: Marketing Popular Film Music Quirky, 'outside the zombie mainstream,' authentic, alternative, playful, self-conscious: these are terms used to define 'indie' cinema. In this insightful and cogent book, Michael Z. Newman gathers together a set of American films produced since the mid-1980s and considers them as a social art world: films created in a network of festivals and critical praise that collectively make particular viewing requests to elite movie-goers. As an intelligent approach to grappling with this complex phenomenon, Newman's argument is highly successful. -- Janet Staiger, University of Texas, Austin, and author of Media Reception Studies Michael Z. Newman captures the very essence of American independent cinema during the 'Miramax-Sundance' years. Through an emphasis on the viewing strategies that independent films invite their audiences to utilize, his study delves into the core of what makes this type of cinema distinct while also revealing the connective tissue behind the culture that produces and consumes it. Thorough and extremely engaging, Indie is a most welcome addition to the study of American independent film. -- Yannis Tzioumakis, author of American Independent Cinema: An Introduction ...this concrete, objective study makes an important contribution to the ongoing coversation. Highly recommended. ChoiceTable of ContentsAcknowledgments Introduction Part I: Context 1. Indie Cinema Viewing Strategies 2. Home Is Where the Art Is: Indie Film Institutions Part II: Character 3. Indie Realism: Character-Centered Narrative and Social Engagement Part III: Formal Play 4. Pastiche as Play: The Coen Brothers 5. Games of Narrative Form: Pulp Fiction and Beyond Part IV: Against Hollywood 6. Indie Opposition: Happiness vs. Juno Notes Bibliography Index

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Book SynopsisTable of ContentsHitchcock in 1928: The Auteur as Autocrat An Autocrat of the Film Studio, by Alfred Hitchcock A Perfect Place to Die? The Theatre in Hitchcock Revisited Reflections on the Making of To Catch a Thief: Andre Bazin, Sylvette Baudrot, Grace Kelly, Charles Vanel, and Brigitte Auber What We Don't See, and What We Think It Means: Ellipsis and Occlusion in Rear Window The Destruction That Wasteth at Noonday: Hitchcock's Atheology Gus Van Sant's Mirror-Image of Hitchcock: Reading Psycho Backwards Hitchcock, Unreliable Narration, and the Stalker Film

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Book SynopsisTrade ReviewTheodore Hughes's ambitious new study shows us how Korea's colonial past persisted beyond its 'liberation.' Taking up literature, film, and art, he traces a modern history of the senses, mapping the production, reproduction, and contestation of a new culture of visibility (and invisibility) in the decades before and after 1945. Sophisticated and engaging, Literature and Film in Cold War South Korea is a milestone in the study of East Asian modernity. -- Michael K. Bourdaghs, University of Chicago, author of Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop Step by step Theodore Hughes will convince you the visual/verbal relationship that developed in the Korean colonial period has everything to do with the very foundations and logics of the postcolonial, Cold War South Korean developmental state, regime, and aesthetic. In so doing, he profoundly disrupts received histories of 'Korean' literature and received approaches to canonical literary and film texts. It is not an exaggeration to say that with Hughes, you will simply 'see' Korea differently. This is a must read for all those interested in the Koreas, the Cold War, and non-Western modernities at large. -- Nancy Abelmann, University of Illinois Theodore Hughes's book breaks new ground in the study of postliberation South Korean literary and visual culture. His insightful and nuanced readings of the inextricable links between 'the colonial modern' and South Korea's Cold War modernity are essential contributions to Korean studies scholarship in any language. -- Kyeong-Hee Choi, University of Chicago Literature and Film in Cold War South Korea deftly navigates various transitional historical moments, such as Korea's liberation, the outbreak of the Korean War, and the rise of a feverish anticommunist campaign in South Korea, while addressing the works of both canonical and often overlooked writers in Korean literature from the 1920s to 1970s. All in all, this is a masterful survey and analysis of twentieth-century Korean literary and visual culture that will bring an exciting new perspective to the field. -- Suk-Young Kim, University of California, Santa Barbara Head and shoulders above its competition. -- Kyu Hyun Kim Cross Currents Hughes delivers a postcolonial study of Korea's modern literary and cinematic history that no East Asian collection can be without... Highly recommended. Choice ...this work opens new doors for interpreting the subtle,and often overlooked, ways in which the Cold War was fought within the cultural field in East Asia. -- Christopher Grieve H-War Riveting... [Hughes's book] is a sophisticated, rich, and tantalizing study that should appeal not only to literature and film scholars, but to historians in general... This book should be compulsory reading not only for those with an interest in Korean culture studies, but also for Korean history majors. Journal of Asian Studies A welcome and thoughtful study. Journal of Cold War Studies A welcome contribution to the understanding of South Korea's Cold War culture. -- Seijin Chang The Review of Korean StudiesTable of ContentsList of Illustrations Introduction 1. Visuality and the Colonial Modern: The Technics of Proletarian Culture 2. Visible and Invisible States: Liberation 3. Ambivalent Anticommunism: The Politics of Despair and the Erotics of Language 4. Development as Devolution: Overcoming Communism and the "Land of Excrement" Incident 5. Return to the Colonial Present: Translation Postscript Notes Selected Bibliography Index

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Book SynopsisThe formal techniques two classic French filmmakers developed to explore cinema’s philosophical potential.Trade ReviewVaughan's brilliant book places him on the cutting edge of contemporary studies that blend film and philosophy. Reconstructing and clarifying how film-philosophy renders fresh insight into the revolutionary potential of the moving film image, Vaughan opens a new dimension to thought and action. -- Sam B. Girgus, Vanderbilt University Where Film Meets Philosophy begs us to think about what we are seeing on the screen and why. Hunter Vaughan compels us to look afresh at Resnais and Godard for the sake of leading film theory in new directions. This book is a rewarding study that brings postwar philosophy into a shared legacy of cinema. -- Tom Conley, Harvard UniversityTable of ContentsList of Illustrations Acknowledgments Introduction: Where Film Meets Philosophy 1. Phenomenology and the Viewing Subject 2. Film Connotation and the Signified Subject 3. Sound, Image, and the Order of Meaning 4. Alain Resnais and the Code of Subjectivity 5. Jean-Luc Godard and the Code of Objectivity Conclusion: Where Film and Philosophy May Lead Notes Bibliography Index

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Book SynopsisWhen a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play - the matter and the maker-thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.Trade ReviewGlobal in its reach, sensitive to the political valences of self-inscription, ground-breaking in its attention to new formats and technologies, The Cinema of Me offers unmistakable proof that the first person film is a vital strand of contemporary media production. Once thought to be the refuge of the privileged, self-absorbed Western-man, autobiography exists today as a ubiquitous act of self-expression and political agency. Spanning a breadth of modalities-including the essay film, i-movie, cinematic self-portrait, home movie remix, blog-The Cinema of Me testifies to the power of media practices that can transform private lives into social subjectivities. -- Michael Renov, University of Southern CaliforniaTable of ContentsAcknowledgments Contributors Introduction, by Alisa Lebow Part 1. First Person Singular The Role of History in the Individual: Working Notes for a Film, by Michael Chanan The Curious Incident of the Dog in the Nighttime, by Andres Di Tella Impersonations of Glauber Rocha by Glauber Rocha, by Jose Gatti The Self-portrait Film: Michelangelo's Last Gaze, by Laura Rascaroli Cycles of Life: El cielo gira and Spanish Autobiographical Documentary, by Efren Cuevas From the Interior: Space, Time and Queer Discursivity in Kamal Aljafari's The Roof, by Peter Limbrick Part 2. First Person Plural Jennifer Fox's Transcultural Talking Cure: Flying: Confessions of a Free Woman, by Angelica Fenner Secrets and Inner Voices: The Self and Subjectivity in Contemporary Indian Documentary, by Sabeena Gadihoke In the Eye of the Storm: The Political Stake of Israeli i-Movies, by Linda Dittmar Part 3. Diasporic Subjectivity Looking for Home in Home Movies: The Home Mode in Caribbean Diaspora First Person Film and Video Practice, by Elspeth Kydd 'If I Am (Not) for Myself': Michelle Citron's Diasporic First Person(s), by Sophie Mayer The Camera as Peripatetic Migration Machine, by Alisa Lebow Part 4. Virtual Subjectivity Blogging Identity.com, by Peter Hughes The ME and the WE: A First Person Meditation on Media Translation in Three Acts, by Alexandra Juhasz Filmography Index

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Book SynopsisTrade ReviewMuch of the available commentary on the films of Bela Tarr is often confused and confusing. Andras Balint Kovacs cuts through this Gordian Knot with a comprehensive but detailed and precise analysis; this is film-writing at its very best. -- John Cunningham, author of Hungarian Cinema: From Coffee House to MultiplexTable of ContentsAcknowledgements Introduction 1. The Persona 2. Style in the Early Years 3. The Tarr style 4. The Tarr style in Evolution 5. Narration in the Tarr Films 6. The Characters Conclusion Filmography Select Bibliography Index of Names

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Book SynopsisTrade ReviewMuch of the available commentary on the films of Bela Tarr is often confused and confusing. Andras Balint Kovacs cuts through this Gordian Knot with a comprehensive but detailed and precise analysis; this is film-writing at its very best. -- John Cunningham, author of Hungarian Cinema: From Coffee House to MultiplexTable of ContentsAcknowledgements Introduction 1. The Persona 2. Style in the Early Years 3. The Tarr style 4. The Tarr style in Evolution 5. Narration in the Tarr Films 6. The Characters Conclusion Filmography Select Bibliography Index of Names

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Book SynopsisTrade ReviewA wonderfully rich collection of essays; thought-provoking, insightful, and poetic in equal measure. Gilliam emerges as an auteur of magic and melancholy, a trickster of the night, a genius of the moving image. It is a must-read for anyone interested in the power of the directorial vision. -- Sean Redmond, Deakin University A lively set of informed and informative essays that offers an array of new perspectives. This collection adds materially to the critical understanding of one of modern cinema's most intriguing and challenging directors -- Peter Marks, University of Sydney A superb examination of a maverick artist... Highly recommended. ChoiceTable of ContentsAcknowledgements Notes on Contributors Introduction, by Jeff Birkenstein, Anna Froula, and Karen Randell Terry Gilliam Interview, by Karen Randell 1. Steampunked: The Animated Aesthetics of Terry Gilliam in Jabberwocky and Beyond, by Anna Froula 2. Grail Tales: The Preoccupations of Terry Gilliam, by Tony Hood 3. 'And Now for Something Completely Different': Pythonic Arthuriana and the Matter of Britain, by Jim Holte 4. The Baron, the King and Terry Gilliam's Approach to 'the Fantastic', by Keith James Hamel 5. The Subversion of Happy Endings in Terry Gilliam's Brazil, by Jeffrey Melton and Eric Sterling 6. The Fissure King: Terry Gilliam's Psychotic Fantasy Worlds, by Jacqueline Furby 7. 'You can't change anything': Freedom and Control in Twelve Monkeys, by Gerry Canavan 8. 'It shall be a nation': Terry Gilliam's Exploration of National Identity, Between Rationalism and Imagination, by Ofir Haivry 9. 'Won't somebody please think of the children?': The Case for Terry Gilliam's Tidelands, by Kathryn A. Laity 10. Divorced from Reality: Time Bandits in Search of Fulfilment, by Jeff Birkenstein 11. Celebrity Trauma: The Death of Heath Ledger and The Imaginarium of Doctor Parnassus, by Karen Randell Filmography Bibliography Index

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Book SynopsisTable of ContentsForeword Introduction Ego Love and Melodrama Categories of Film Love Making Sense The Ontology of Love Eros in History The Social Paradigm American Cinema of Choice French Cinema of Place Hitchcock and Lang Love in the World Conclusion: On Method Filmography Bibliography Index

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Book SynopsisThe epic narratives of modern Chinese fiction feature graphic depictions of sex and violence and dark, raunchy comedy, and these novels deeply reflect China’s turbulent recent historyTrade ReviewA lucid, thought-provoking, and substantial study of several of China's most important creative writers: one that poses crucial questions about the links between fiction, history, and politics in the contemporary People's Republic. -- Julia Lovell, University of London Kinkley's study offers a refreshing comparative perspective on recent works of Chinese historical fiction by classifying them as global dystopian novels with 'Chinese characteristics.' -- Robin Visser, University of North Carolina From his masterful literary biography of Shen Congwen to more recent studies of Chinese political fiction and legal fiction, the interrelation between history and literature has always been an important subtext of Jeffery Kinkley's work. With Visions of Dystopia in China's New Historical Novels, Kinkley dives directly into the complex and sometimes murky intersection between history and literature in contemporary China. Along the way, we are introduced to the leading voices in Chinese literature today, including Mo Yan, Su Tong, Yu Hua, and Wang Anyi, and offered nuanced readings of the dystopian undercurrent in their major works. For those interested in delving deeper into the most important Chinese novels of the past quarter century, this is where to start. -- Michael Berry, author of History of Pain and Speaking in Images Following on from his path-breaking studies of contemporary Chinese legal fiction and political novels, Jeffrey Kinkley in his new book. Visions of Dystopia once again displays impressive mastery of a body of Chinese writing that provides us with a unique perspective on the country's turbulent recent history. Engaging with dystopian traditions in literature from South America and elsewhere, Kinkley expertly brings out the uniqueness of the Chinese authors' handling of the past to comment on the present and the future. Identifying himself as a historian, Kinkley at the same time has been and continues to be one of the world's leading scholars of Chinese literataure. -- Michel Hockx, SOAS, University of London In yet another impressive work with impeccable research, Kinkley displays his nuanced understanding of modern and contemporary China through highly readable prose and broad reference to similar works in world literature. A must-read! -- Sylvia Lin, author of Representing Atrocity in Taiwan Jeffrey C. Kinkley has done magnificent work in rethinking the meaning and function of historical dynamics and spatial imaginary in the context of dystopia. He looks into sources drawn from PRC fiction since the New Era, identifies generic and conceptual contestations, and teases out the radical elements in the debate about civil society. Both historically engaged and theoretically provocative, Kinkley's book is a most important source for anyone interested in Chinese and comparative literature and cultural studies. -- David Der-wei Wang, Harvard University This is the best treatment yet of the contemporary PRC historical novel... Highly recommended. Choice An original and penetrating book... [Visions of Dystopia in China's New Historical Novels] is an excellent resource for both students and advanced scholars of modern Chinese literature and history. -- Nathaniel Isaacson H-Asia [Visions of Dystopia in China's New Historical Novels] is an articulate, thought-provoking, and important contribution to the study of contemporary PRC literature, useful for research and classroom teaching. -- Christopher N. Payne The China Quarterly This is a masterful study of a major genre in recent Chinese literature; it is erudite but readable, strongly comparative, and with both historical and literary perspective. -- Richard King Pacific Affairs By virtue of his knowledge, keen comparative insights, and detailed close readings, Kinkley delivers more than his modest title promises... China scholars in other disciplines will find much of value in this far-reaching magnum opus. Scholars of contemporary Chinese literature will find it indispensable. -- Sabina Knight The China JournalTable of ContentsPreface 1. Introduction: Chinese Visions of History and Dystopia 2. Discomforts of Temporal Anomie 3. Projections of Historical Repetition 4. Alienation from the Group 5. Anarchy: Social, Moral, and Cosmic 6. Conclusion: The End of History, Dystopia, and "New" Historical Novels? List of Chinese Characters Notes Bibliography Index

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Book SynopsisExamines late modernism’s decisive turn toward everyday life, locating in the heightened scrutiny of details, textures, and experiences an intimate attempt to conceptualize geopolitical disorder.Trade ReviewThe Extinct Scene encourages us to see how British intellectuals, metropolitan and colonial, registered the impact of world-historical events-especially the Second World War and the collapse of the British Empire-through depictions of the everyday. With fresh readings of canonical writers and suggestive interpretations of less widely studied figures, this book offers a smart and timely contribution to the ongoing reevaluation of midcentury modernism. -- Peter Kalliney, University of Kentucky The Extinct Scene is a superb conceptual and historical contribution to twentieth-century literary studies, treating the period of geopolitical crisis between World War I and World War II. Thomas S. Davis rethinks the legacies of avant-gardism and modernism in Britain in the wake of World War I, tracing an 'outward turn' that enfolds modernist techniques into realist forms. With astute readings of texts and films that focus on everyday scenes and objects-amid bombed landscapes and under the specter of another war-Davis also considers how these aesthetics reflect authors' investments in state-rebuilding projects or in nationalist sentiment. Drawing deftly on critical theory, The Extinct Scene also develops an exemplary method for interpreting literature and authorship in its geopolitical context. -- Laura Doyle, University of Massachusetts The Extinct Scene opens up a new trove of modernist genres that gave literary form to the world-systemic transitions of the mid-twentieth century. Davis's insistence on the geopolitical rather than the global as the frame of reference for experimental writing makes this book more conceptually rigorous and politically current than other works in transnational modernisms. An entirely convincing account of the period, as deft in its fine-grained readings as it is inspiring in its theoretical ambition. -- Jed Esty, author of Unseasonable Youth: Modernism, Colonialism, and the Fiction of Development [An] impressive study... [Davis] provides fresh insights into a period already intensely studied, offering new and wide-ranging interpretations... Recommended. Choice A brilliant and timely book... [The Extinct Scene] combines theoretical sophistication with historical detail to produce finely grained readings. -- Allan Hepburn Modernism / modernity [A] brilliant book... Davis brings a new level of archival density and diversity - from Mass-Observation to the Windrush generation - to bear on conversations about Modernism and the way we relate global events to the developing variety and social agility of aesthetic form throughout this convulsive era. -- David James Times Literary SupplementTable of ContentsAcknowledgments Introduction: Late Modernism and the Outward Turn 1. The Last Snapshot of the British Intelligentsia: Documentary, Mass-Observation, and the Fate of the Liberal Avant-Garde 2. The Historical Novel at History's End 3. Late Modernism's Geopolitical Imagination: Everyday Life in the Global Hot Zones 4. War Gothic 5. "It is de age of colonial concern": Vernacular Fictions and Political Belonging Epilogue: "Appointments to keep in the past" Notes Bibliography Index

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Book SynopsisThomas S. Davis examines late modernism's decisive turn toward everyday life, locating in the heightened scrutiny of details, textures, and experiences an intimate attempt to conceptualize geopolitical disorder. The Extinct Scene reads a range of mid-century texts, films, and phenomena that reflect the decline of the British Empire.Trade ReviewThe Extinct Scene encourages us to see how British intellectuals, metropolitan and colonial, registered the impact of world-historical events—especially the Second World War and the collapse of the British Empire—through depictions of the everyday. With fresh readings of canonical writers and suggestive interpretations of less widely studied figures, this book offers a smart and timely contribution to the ongoing reevaluation of midcentury modernism. -- Peter Kalliney, University of KentuckyThe Extinct Scene is a superb conceptual and historical contribution to twentieth-century literary studies, treating the period of geopolitical crisis between World War I and World War II. Thomas S. Davis rethinks the legacies of avant-gardism and modernism in Britain in the wake of World War I, tracing an 'outward turn' that enfolds modernist techniques into realist forms. With astute readings of texts and films that focus on everyday scenes and objects—amid bombed landscapes and under the specter of another war—Davis also considers how these aesthetics reflect authors' investments in state-rebuilding projects or in nationalist sentiment. Drawing deftly on critical theory, The Extinct Scene also develops an exemplary method for interpreting literature and authorship in its geopolitical context. -- Laura Doyle, University of MassachusettsThe Extinct Scene opens up a new trove of modernist genres that gave literary form to the world-systemic transitions of the mid-twentieth century. Davis's insistence on the geopolitical rather than the global as the frame of reference for experimental writing makes this book more conceptually rigorous and politically current than other works in transnational modernisms. An entirely convincing account of the period, as deft in its fine-grained readings as it is inspiring in its theoretical ambition. -- Jed Esty, author of Unseasonable Youth: Modernism, Colonialism, and the Fiction of Development[An] impressive study.... [Davis] provides fresh insights into a period already intensely studied, offering new and wide-ranging interpretations.... Recommended. * Choice *A brilliant and timely book.... [The Extinct Scene] combines theoretical sophistication with historical detail to produce finely grained readings. -- Allan Hepburn * Modernism / modernity *[A] brilliant book.... Davis brings a new level of archival density and diversity – from Mass-Observation to the Windrush generation – to bear on conversations about Modernism and the way we relate global events to the developing variety and social agility of aesthetic form throughout this convulsive era. -- David James * Times Literary Supplement *A valuable contribution to the growing scholarship on late modernism, to which it adds a compelling interpretive frame. . . . its theoretical reflections on 'everyday life' will benefit those seeking to develop a better understanding of how art mediates larger world-historical forces. -- Matthew Eatough * Modern Language Quarterly *There's a lot to admire in this wide-ranging study, which will certainly sharpen scholars' understanding of the ways late modernism rings the changes on what are arguably key themes for modernism tout court: the quotidian and the global. -- Len Gutkin * MFS: Modern Fiction Studies *A new and noteworthy account of the complicated aesthetic networks of interwar Britain. * Novel: A Forum on Fiction *Table of ContentsAcknowledgmentsIntroduction: Late Modernism and the Outward Turn1. The Last Snapshot of the British Intelligentsia: Documentary, Mass-Observation, and the Fate of the Liberal Avant-Garde2. The Historical Novel at History's End3. Late Modernism's Geopolitical Imagination: Everyday Life in the Global Hot Zones4. War Gothic5. "It is de age of colonial concern": Vernacular Fictions and Political BelongingEpilogue: "Appointments to keep in the past"NotesBibliographyIndex

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Book SynopsisThe first English-language study of all Szabó's feature films and uses material from interviews with him and his collaboratorsTable of ContentsAcknowledgements Introduction: Beginnings 1. Born into the Storm 2. Growing Up, Film School and 1956 3. The Early Films: The Age of Daydreaming (Almodozasok kora); Father (Apa--egy hit naploja); Lovefilm (Szerelmesfilm) 4. The 'Budapest' Films: Films: Budapest, Why I Love It (Budapest, amiert szeretem); 25 Fireman's Street (Tuzolto utca 25); Budapest Tales (Budapesti mesek); City Map (Varosterkep) and Confidence (Bizalom) 5. Tales from Mitteleuropa: Mephisto; Colonel Redl; Hanussen 6. New Europe, New Hungary, New Problems: Meeting Venus and Sweet Emma, Dear Bobe (Edes Emma, draga Bobe) 7. 'The man who comes from somewhere else is always suspect': Sunshine 8. To Go or Stay? Taking Sides 9. Adaptations: Being Julia; Relatives; and The Door 10. The Controversy Surrounding the Events of 1957 and After 11. Szabo, Hungarian Cinema and the Question of Censorship--a Note 12. Some Conclusions Notes Filmography Bibliography Index

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Book SynopsisDescribes how post-9/11 cinema, from Spike Lee’s 25th Hour (2002) to Kathryn Bigelow’s Zero Dark Thirty (2012), relates to different, and competing, versions of US national identity in the aftermath of the September 11th terrorist attacksTrade ReviewParallel Lines is the definitive statement on American cinema's responses to the September 11, 2001 terrorist attacks. Countless writers have weighed in on the effects of the 9/11 attacks, often reflexively perceiving them as wholly transformative of American culture, including virtually all activity in US screen industries. Guy Westwell does an end-run around the lazy shorthand that accompanies much of the discursive claims about 9/11 and cinema. Parallel Lines shows us how politicians, filmmakers, and cultural commentators perceived the events of September 11 and how screen texts distilled these attitudes into a narrow set of textual articulations involving unity, vengeance and victimisation. Ranging across mainstream Hollywood film, independent cinema, television documentary, and output from the fringes of the ideological spectrum, Westwell's book rigorously investigates the many cycles of films that appeared in the wake of 9/11 and the subsequent Iraq War. With sustained close readings, sure-footed argumentation, and meticulous attention to print news and commentary, Westwell's coverage give us an essential account of how cultural productions respond to monumental disasters and disruptions. -- Mark Gallagher, University of Nottingham, UK; author of Action Figures: Men, Action Films and Contemporary Adventure Narratives Lucid and compelling, Parallel Lines views American cinema of the post-9/11 period as a charged engagement with fundamental issues of national identity. Exploring a wide range of films, Westwell provides the most articulate and textually detailed analysis of this wrenching period that I have read. This important book will shape arguments about the post 9/11 cinema for many years to come. -- Robert Burgoyne, University of St. Andrews, UK; author of The Hollywood Historical Film and Film Nation: Hollywood Looks at US History With thoroughness, clarity and good sense, Westwell's Parallel Lines provides an authoritative route through the jingoism and contradictions characterising post-9/11 US cinema. Delineating the various stages and themes of post-9/11 US film, this highly informative book will prove a godsend to those trying to make sense of the period. In its keen understanding of social-historical events and skilful but nuanced film analyses, the book achieves that rare thing for Film Studies - properly contextualised, and politically astute, work. -- Michele Aaron, University of Birmingham, UK; author of Death and the Moving Image: Ideology, Iconography and I This volume provides a compelling and comprehensive tour d'horizon of the post-9/11 cinematic landscape. It blends thematic analysis with filmic vignette and in so doing will ensure that academic staff, students and the general reader will profit from reading this account. Strongly recommended. -- Klaus Dodds, Royal Holloway, University of London; co-author of International Politics and Film: Space, Vision, Power Anyone wishing to understand the cultural politics of post-9/11 America should read this book. It clearly shows the role that cinema has played in the "national conversation" that has taken place in the United States over the course of the "war on terror", and perhaps more importantly, does so without reducing film to simplistic pro-war/anti-war binaries. This book deserves to be read widely both within and beyond film studies. -- Sean Carter, University of Exeter, UK; co-author of International Politics and Film: Space, Vision, Power Comprehensive in its materials, nuanced in its analysis - the definitive account of American cinema after 9/11. -- Astrid Erll, Goethe-University, Frankfurt am Main [A] cogent examination of post-9/11 American cinema... Recommended. Choice Well written, comprehensive and accessible. ScreenTable of ContentsAcknowledgements Introduction Uncertainty Unity Conspiracy The Return to Ground Zero The End of the World The September 11 Syndrome Torture The Iraq War History Notes Filmography Bibliography Index

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Book SynopsisTraces the lineage of moving-image installation through architecture, painting, sculpture, performance, expanded cinema, film history, and countercultural film and videoTrade Review[A] wild ride of a book... Elwes has made an admirable assault on the field and I am sure this book will influence generations of students. Art Monthly Fascinating. Cinema TechnologyTable of ContentsAcknowledgements Introduction 1. Architecture 2. Painting 3. Sculpture 4. Performance 5. Film History 6. Film as Film 7. Structural Film: Detractions and Revisions 8. The Dialectics of Spectatorship 9. Expanded Cinema 10. Sound 11. Video Installation 12. Closing Thoughts Bibliography Index

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Book SynopsisExplores the way the city has been depicted by nonfiction filmmakers since the late 1970sTable of ContentsAcknowledgements Introduction: Place, Images, and Meanings 1. On City and Cinema 2. Documentary Film at the Turn of the Century Part 1. Landscaping 3. Observational Landscaping 4. Psychogeographical Landscaping 5. Autobiographical Landscaping Part 2. Urban Self-Portraits 6. Self-Portrait as Socio-Political Documentary 7. Self-Portrait as Essay Film 8. Self-Portrait as Self-Fiction Part 3. Metafilmic Strategies 9. Inside Hollywood Film Conclusion: Cinema as Agent of Urban Change Appendix Bibliography Index

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Book SynopsisTaking a broad view of interactive documentary as any work which engages with âthe realâ by employing digital interactive technology, this volume addresses a range of platforms and environments, from web-docs and virtual reality to mobile media and live performance.Trade Reviewi-Docs, web docs, interactive docs, database docs, nonlinear stories, procedural narratives; the sheer variety of neologisms in circulation right now is indicative of an exciting, if turbulent, economy of documentary-oriented new media forms. This timely, original collection captures much of this uncertainty and excitement, with contributions from some of the key thinkers in what we might call 'new documentary studies.' -- Professor Matt Soar, Concordia UniversityTable of ContentsAcknowledgments Notes on Contributors Foreword, by Brian Winston Introduction, by Judith Aston, Sandra Gaudenzi, Mandy Rose Part 1. Co-Creation Preface, by Mandy Rose 1. I-docs and the documentary tradition: exploring questions of engagement, by Kate Nash 2. Co-creation as talkback: using the collaborative and interactive docu-forms to (re)imagine the 'rape-city', by Anandana Kapur 3. Documentary as co-creative practice: From Challenge for Change to Highrise - Kat Cizek in conversation with Mandy Rose, edited by Anna Wiehl 4. Not media about, but media with: co-creation for activism, by Mandy Rose 5. Living collaborations in Los Sures, Brooklyn: 1984 and today, by Christopher Allen 6. Software as co-creator in interactive documentary, by Craig Hight Part 2. Methods Preface, by Sandra Gaudenzi 7. Evaluating users' experiences: a case study approach to improving i-doc UX Design, by Samuel Gantier and Michel Labour 8. User experience versus author experience: lessons learned from the UX Series, by Sandra Gaudenzi 9. Pushing the craft forward: the POV Hackathon as a collaborative approach to making an interactive documentary, by Jess Linington 10. The Learn Do Share design methodology: Lance Weiler in conversation, by Sandra Gaudenzi 11. Testing and evaluating design prototypes: the case study of Avatar Secrets, by Ramona Pringle 12. Look who's watching: what storytellers can learn from privacy and personalisation, by Ben Moskowitz Part 3. Horizons Preface, by Judith Aston 13. Things to come: the possible futures of documentary ... from a historical perspective, by William Uricchio 14. Towards behavioural realism: experiments in immersive journalism, by Nonny de la Pena 15. Interactive documentary and live performance: from embodied to emplaced interaction, by Judith Aston 16. The travelling i-doc: reflections on the meaning of interactive documentary-based image-making practices in contemporary India, by Paolo Favero 17. Interactive documentary aqui y ahora - here & now: themes and directions in South America, by Arnau Gifreu-Castells 18. Who wants to become banal?: the i-doc from experiment to industry, by Jon Dovey Index

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Book SynopsisTaking a broad view of interactive documentary as any work which engages with the real' by employing digital interactive technology, this volume addresses a range of platforms and environments, from web-docs and virtual reality to mobile media and live performance.Trade Reviewi-Docs, web docs, interactive docs, database docs, nonlinear stories, procedural narratives; the sheer variety of neologisms in circulation right now is indicative of an exciting, if turbulent, economy of documentary-oriented new media forms. This timely, original collection captures much of this uncertainty and excitement, with contributions from some of the key thinkers in what we might call 'new documentary studies.' -- Professor Matt Soar, Concordia UniversityTable of ContentsAcknowledgments Notes on Contributors Foreword, by Brian Winston Introduction, by Judith Aston, Sandra Gaudenzi, Mandy Rose Part 1. Co-Creation Preface, by Mandy Rose 1. I-docs and the documentary tradition: exploring questions of engagement, by Kate Nash 2. Co-creation as talkback: using the collaborative and interactive docu-forms to (re)imagine the 'rape-city', by Anandana Kapur 3. Documentary as co-creative practice: From Challenge for Change to Highrise - Kat Cizek in conversation with Mandy Rose, edited by Anna Wiehl 4. Not media about, but media with: co-creation for activism, by Mandy Rose 5. Living collaborations in Los Sures, Brooklyn: 1984 and today, by Christopher Allen 6. Software as co-creator in interactive documentary, by Craig Hight Part 2. Methods Preface, by Sandra Gaudenzi 7. Evaluating users' experiences: a case study approach to improving i-doc UX Design, by Samuel Gantier and Michel Labour 8. User experience versus author experience: lessons learned from the UX Series, by Sandra Gaudenzi 9. Pushing the craft forward: the POV Hackathon as a collaborative approach to making an interactive documentary, by Jess Linington 10. The Learn Do Share design methodology: Lance Weiler in conversation, by Sandra Gaudenzi 11. Testing and evaluating design prototypes: the case study of Avatar Secrets, by Ramona Pringle 12. Look who's watching: what storytellers can learn from privacy and personalisation, by Ben Moskowitz Part 3. Horizons Preface, by Judith Aston 13. Things to come: the possible futures of documentary ... from a historical perspective, by William Uricchio 14. Towards behavioural realism: experiments in immersive journalism, by Nonny de la Pena 15. Interactive documentary and live performance: from embodied to emplaced interaction, by Judith Aston 16. The travelling i-doc: reflections on the meaning of interactive documentary-based image-making practices in contemporary India, by Paolo Favero 17. Interactive documentary aqui y ahora - here & now: themes and directions in South America, by Arnau Gifreu-Castells 18. Who wants to become banal?: the i-doc from experiment to industry, by Jon Dovey Index

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Book SynopsisPerpetrator Cinema explores a new trend in the cinematic depiction of genocide that has emerged in Cambodian documentary in the late twentieth- and early twenty-first centuries. Raya Morag analyzes how Post–Khmer Rouge Cambodian documentarians propose a direct confrontation between the first-generation survivor and the perpetrator of genocide.Trade ReviewThis compelling book will matter as long as mass atrocities persist. Focused on the Cambodian genocide, Morag addresses a new phase in how we confront such events: films where survivors confront perpetrators face-to-face. These confrontations bring the visceral truth borne directly of human encounter to the fore with consequences both intensely personal and profoundly political. -- Bill Nichols, author of Speaking Truths with Film: Evidence, Ethics, Politics in DocumentaryThis book is far more than an illuminating analysis of Cambodian postgenocide cinema, valuable as that is, given the Pol Pot regime’s destruction of the country’s film industry, its artists, and its entire film archive, along with 1.7 million Cambodian lives. Morag ushers us forward to view unique interactions and confrontations between first-generation survivors and top- and lower-level Khmer Rouge perpetrators, made possible by the regime’s overthrow in 1979, its remnants’ defeat and surrender in 1999, and the establishment of the UN-sponsored Khmer Rouge tribunal in 2006. The book offers front-row seats to a new genre of post-Holocaust global documentary film, with innovative approaches to the study of genocide, trauma, and gender. -- Ben Kiernan, author of The Pol Pot Regime: Race, Power and Genocide in Cambodia Under the Khmer Rouge, 1975-79In Perpetrator Cinema, Raya Morag brings her superb intellect and expertise in trauma and Holocaust cinema to this study of groundbreaking films inspired by Cambodia's Year Zero. Morag brilliantly explores why an ethics of moral resentment undergirds the survivor-perpetrator duels in the cinema of Rithy Panh, Thet Sambath and Rob Lemkin, and Guillaume P. Suon, among others, and aptly considers films about sexual violence, among the Khmer Rouge's worst human rights abuses. Documentary scholars and South Asian cinema specialists will find much to praise in this theoretically rich, engrossing work. -- Deirdre Boyle, The New SchoolA must resource for students of documentary film and politics . . . Essential. * Choice *Table of ContentsPrefaceAcknowledgmentsAbbreviations1. Defining Perpetrator Cinema2. Post–Khmer Rouge Cambodian Cinema and the Big Perpetrators: Reconciliation or Resentment?3. Perpetratorhood Paradigms: The Duel and Moral Resentment4. Gendered Genocide: The Female Perpetrator, Forced Marriage, and RapeEpilogue: The Era of Perpetrator EthicsNotesFilmographyBibliographyIndex

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Book SynopsisVoyages of Discovery is the definitive account of Frederick Wiseman’s career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian’s works since the 1990s.Trade ReviewBarry Keith Grant provides an updated version of his own singularly authoritative study of documentarian Frederick Wiseman’s astonishing range of films—from the controversial Titicutt Follies through such diverse examples as Meat, Missile, Model, Deaf, Blind, Public Housing, Ballet, and Belfast, Maine, to name a few. In his deeply informed study, Grant creates his own meticulous, yet accessible, “tapestry” of inquiry worthy of the same approach he credits Wiseman with adopting. Grant’s insightful readings of Wiseman’s carefully wrought compositions—and the happy accidents that sometimes occur—highlight colorful thematic threads woven to create the “reality fictions” Wiseman, in his own words, is producing. At the same time, Grant presents a capacious “mosaic,” placing Wiseman’s films in textured dialogue, not only with each other, but also with works of literature, art, theater, music, and dance, along with other films and Hollywood genres, that inform them. Grant explores Wiseman’s penetrating vision of institutional operations—the human interactions that sustain them and the ideological underpinnings beneath the “rules” that govern them. As Grant compellingly claims, Wiseman avoids providing viewers with easy answers. Voyages of Discovery powerfully uncovers the ambiguities inviting viewers to democratically, actively, and reflexively assess their own participation in, contributions to, and complicity within the cultural conditions Frederick Wiseman so evocatively observes. -- Cynthia Lucia, Rider UniversityVoyages of Discovery is one of the very best books of film analysis and scholarship that I've ever read. It is certainly the essential work about a major film-maker, whose films require special tools and sensitivities to discuss, which Grant possesses in abundance. This is a most useful work both for those just discovering Wiseman and those who think they know him. Great ideas abound on every page, and Grant's organization of the films is original and helpful. Exemplary as well are the carefully selected frame enlargements, which nicely support his close analysis of visual issues. Grant's ability to bring in relevant ideas from both film study and beyond it is the mark of an eminent scholar. That Grant discusses the entirety of Wiseman's prodigious output, in depth and entertainingly, is also quite an accomplishment. -- Stephen Mamber, author of Cinema Verite in America: Studies in Uncontrolled DocumentaryThis is the new edition we have been waiting for. Barry Keith Grant provides an essential companion to Frederick Wiseman, one of the most distinctive and prominent voices in US documentary. Voyages of Discovery offers perceptive and in-depth analyses of Wiseman's vast catalogue, ranging from the 1960s to his most recent work. Grant foregrounds the ways Wiseman's films have not only documented institutions but have challenged their established practices, encouraging audiences to meaningfully engage with and question the hierarchies and fraught political dynamics encountered in everyday life. This study matches the subtlety and resistance to reductive narratives found in Wiseman's own films, revealing why his work remains compelling and necessary viewing that continues to speak to the present day. -- Jeffrey Geiger, author of American Documentary Film: Projecting the NationThis revised edition of Voyages of Discovery is updated and expanded to cover Wiseman’s prodigious output over the decades since the original appeared. Supplemented and supported by a range of secondary sources from diverse fields spanning film studies, sociology, art history, and political science (among so many others), Grant develops a portrait of a working filmmaker that is informed and definitive. -- Michael Baker, Sheridan CollegeThe time is right for a second edition, and this year's 'revised and expanded' version rises to the occasion. * Journal of American Culture *Table of ContentsAcknowledgmentsPrefaceIntroduction1. Man with a Movie Camera2. American Madness: Titicut Follies (1967), High School (1968), Law and Order (1969), Hospital (1970), Juvenile Court (1974), Welfare (1975)3. The Big Parade: Basic Training (1971), Manoeuvre (1979), Missile (1988)4. Blood of the Beasts: Primate (1974), Meat (1976), Racetrack (1985), Zoo (1993)5. When Worlds Collide: Canal Zone (1977), Sinai Field Mission (1978), Model (1980), The Store (1983)6. The Bad and the Beautiful: The Cool World (1963), Seraphita’s Diary (1982)7. You and Me: Essene (1972), Blind (1987), Deaf (1987), Adjustment and Work (1987), Multi-Handicapped (1987), Aspen (1991)8. Love and Death: Near Death (1989)9. The Never-Ending Story: High School II (1994), Public Housing (1997), Domestic Violence (2001), Domestic Violence 2 (2002)10. Playtime: Ballet (1995), La Comédie-Française, ou L’amour joué (1996), The Last Letter (2002), La Danse—Le Ballet de l’Opéra de Paris (2009), Boxing Gym (2010), Crazy Horse (2011), National Gallery (2014), A Couple (2022)11. Our Town: Central Park (1989), Belfast, Maine (1999), State Legislature (2007), At Berkeley (2013), In Jackson Heights (2015), EX-LIBRIS: The New York Public Library (2017), Monrovia, Indiana (2018), City Hall (2020)FilmographyIndividual AwardsRetrospective ScreeningsNotesBibliographyIndex

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Book SynopsisVoyages of Discovery is the definitive account of Frederick Wiseman’s career, offering a comprehensive analysis of the work of the leading documentary filmmaker in the United States. In this updated edition, Barry Keith Grant adds new material exploring the documentarian’s works since the 1990s.Trade ReviewBarry Keith Grant provides an updated version of his own singularly authoritative study of documentarian Frederick Wiseman’s astonishing range of films—from the controversial Titicutt Follies through such diverse examples as Meat, Missile, Model, Deaf, Blind, Public Housing, Ballet, and Belfast, Maine, to name a few. In his deeply informed study, Grant creates his own meticulous, yet accessible, “tapestry” of inquiry worthy of the same approach he credits Wiseman with adopting. Grant’s insightful readings of Wiseman’s carefully wrought compositions—and the happy accidents that sometimes occur—highlight colorful thematic threads woven to create the “reality fictions” Wiseman, in his own words, is producing. At the same time, Grant presents a capacious “mosaic,” placing Wiseman’s films in textured dialogue, not only with each other, but also with works of literature, art, theater, music, and dance, along with other films and Hollywood genres, that inform them. Grant explores Wiseman’s penetrating vision of institutional operations—the human interactions that sustain them and the ideological underpinnings beneath the “rules” that govern them. As Grant compellingly claims, Wiseman avoids providing viewers with easy answers. Voyages of Discovery powerfully uncovers the ambiguities inviting viewers to democratically, actively, and reflexively assess their own participation in, contributions to, and complicity within the cultural conditions Frederick Wiseman so evocatively observes. -- Cynthia Lucia, Rider UniversityVoyages of Discovery is one of the very best books of film analysis and scholarship that I've ever read. It is certainly the essential work about a major film-maker, whose films require special tools and sensitivities to discuss, which Grant possesses in abundance. This is a most useful work both for those just discovering Wiseman and those who think they know him. Great ideas abound on every page, and Grant's organization of the films is original and helpful. Exemplary as well are the carefully selected frame enlargements, which nicely support his close analysis of visual issues. Grant's ability to bring in relevant ideas from both film study and beyond it is the mark of an eminent scholar. That Grant discusses the entirety of Wiseman's prodigious output, in depth and entertainingly, is also quite an accomplishment. -- Stephen Mamber, author of Cinema Verite in America: Studies in Uncontrolled DocumentaryThis is the new edition we have been waiting for. Barry Keith Grant provides an essential companion to Frederick Wiseman, one of the most distinctive and prominent voices in US documentary. Voyages of Discovery offers perceptive and in-depth analyses of Wiseman's vast catalogue, ranging from the 1960s to his most recent work. Grant foregrounds the ways Wiseman's films have not only documented institutions but have challenged their established practices, encouraging audiences to meaningfully engage with and question the hierarchies and fraught political dynamics encountered in everyday life. This study matches the subtlety and resistance to reductive narratives found in Wiseman's own films, revealing why his work remains compelling and necessary viewing that continues to speak to the present day. -- Jeffrey Geiger, author of American Documentary Film: Projecting the NationThis revised edition of Voyages of Discovery is updated and expanded to cover Wiseman’s prodigious output over the decades since the original appeared. Supplemented and supported by a range of secondary sources from diverse fields spanning film studies, sociology, art history, and political science (among so many others), Grant develops a portrait of a working filmmaker that is informed and definitive. -- Michael Baker, Sheridan CollegeThe time is right for a second edition, and this year's 'revised and expanded' version rises to the occasion. * Journal of American Culture *Table of ContentsAcknowledgmentsPrefaceIntroduction1. Man with a Movie Camera2. American Madness: Titicut Follies (1967), High School (1968), Law and Order (1969), Hospital (1970), Juvenile Court (1974), Welfare (1975)3. The Big Parade: Basic Training (1971), Manoeuvre (1979), Missile (1988)4. Blood of the Beasts: Primate (1974), Meat (1976), Racetrack (1985), Zoo (1993)5. When Worlds Collide: Canal Zone (1977), Sinai Field Mission (1978), Model (1980), The Store (1983)6. The Bad and the Beautiful: The Cool World (1963), Seraphita’s Diary (1982)7. You and Me: Essene (1972), Blind (1987), Deaf (1987), Adjustment and Work (1987), Multi-Handicapped (1987), Aspen (1991)8. Love and Death: Near Death (1989)9. The Never-Ending Story: High School II (1994), Public Housing (1997), Domestic Violence (2001), Domestic Violence 2 (2002)10. Playtime: Ballet (1995), La Comédie-Française, ou L’amour joué (1996), The Last Letter (2002), La Danse—Le Ballet de l’Opéra de Paris (2009), Boxing Gym (2010), Crazy Horse (2011), National Gallery (2014), A Couple (2022)11. Our Town: Central Park (1989), Belfast, Maine (1999), State Legislature (2007), At Berkeley (2013), In Jackson Heights (2015), EX-LIBRIS: The New York Public Library (2017), Monrovia, Indiana (2018), City Hall (2020)FilmographyIndividual AwardsRetrospective ScreeningsNotesBibliographyIndex

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Book SynopsisIn Documentary Across Platforms, noted scholar of film and experimental media Patricia R. Zimmermann offers a glimpse into the ever-evolving constellation of practices known as documentary and the way in which they investigate, engage with, and interrogate the world.Trade ReviewZimmermann's anthology envisions documentary as a set of practices that investigate, engage with, and interrogate the world. This collection of essays, a culmination of her scholarship over the past twenty years, is a testament to her groundbreaking work and contribution to the field of documentary studies. -- The 2019-2020 Park School Faculty Writing AwardPatricia Zimmermannn's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics casts a wide net, capturing media ecologies as varied as museum installations, film festival showings, photography, and multiple varieties of internet sharing. . . . Her book is bound to create new paths for exploration and to open up a new awareness of the richness and complexity of the global media landscape. -- Inez Hedges * Jump Cut *Exploring a wonderfully diverse range of documentary projects that includes installation pieces, archives, still photography, community-based collaborative media, experimental shorts and video art, the essays analyze how work is done, by whom, for whom, to what end, and why these questions matter. -- Richard Shpuntoff * Documentary *Patricia Zimmermann's book Documentary Across Platforms provides a knowledgeable insight into the ever-evolving practices beyond conventional non-fiction cinema. It is an important contribution to contemporary documentary studies and also a must-read for all filmmakers and audiences who consider the genre a conceptual practice to think about themselves and the world – how it is and how it might be. -- Melita Zajc * Modern Times Review *Zimmermann's invitations to reassess and engage in her own work have taken several forms over the past twenty-five years. They include essays for journals or exhibition catalogs, books, magazine articles, public presentations, handouts for public screenings, and postulates to arouse further conversation. They incorporate personal accounts, deep dives into the archival record, theoretical musings, and the occasional call to arms. Now one can read a thematically arranged selection of this remarkable career in a new collection. -- Melissa Dollman * The Moving Image *Patricia R. Zimmerman's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics is a rich and diverse compendium of texts spanning decades and covering a myriad of topics related to the expanded nature of documentary platforms. . . . Documentary Across Platforms: Reverse Engineering, Media, Place and Politics is a vital textual resource for confronting the many changes that have taken place in writing about documentary and practicing documentary that has evolved into such new areas of scholarship in recent years. To remain abreast of these advances is important. It means keeping in touch with an ever-evolving world, something that Zimmerman is well able to do. Here's hoping she can keep doing it well into the future. -- Dara Waldron * Alphaville *Patricia R. Zimmerman's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics is a rich and diverse compendium of texts spanning decades and covering a myriad of topics related to the expanded nature of documentary platforms. Zimmerman, best known for her pioneering scholarship in the area of home movies (considered as a subset of the documentary film), demonstrates a real intellectual zest when moving across the terrain of documentary film practices and their extension into certain areas of contemporary art. -- Dara Waldron * alphaville / Journal of Film and Media *Table of ContentsForeword / Gina MarchettiIntroduction: Documentary Across PlatformsPart I: Platforms1. Reverse Engineering: Taking Things Apart for the New Global Media Ecology2. Ardent Spaces, Formidable Environments3. Precious Places, Scribe Video Center, Philadelphia4. The Hand That Holds Up All This Falling: The Works of Daniel Reeves5. Cartographies of Impossible and Possible Worlds: The Photography of Michael Kienitz6. Black Soil: Chernozem and Tusit in UkrainePart II: Reversals7. Matrices of War8. Blasting War9. Digital Deployments10. Public Domains: Engaging Iraq through Experimental Digitalities11. Cambodian Digital Imaginary Archive: Genocide, Lara Croft, and CraftsPart III: Histories12. The Home Movie Archive Live13. Throbs and Pulsations: Les LeVeque and the Digitizing of Desire14. Just Say No: Negativland's No Business15. Remixed and Revisited Black Cinema: Oscar Micheaux's Within Our Gates Live Project16. Live!: Reconnecting the Histories of Live Multimedia Performance17. Toward a Theory of Participatory New Media DocumentaryPart IV: Speculative Engineering18. Home Movie Axioms19. Speculations on Environmental Sensualities and Eco-Documentaries20. Speculations on Reverse Engineering: Algorithms for Recombinant Documentaries Across PlatformsAcknowledgementsNotesIndex

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Book SynopsisIn Documentary Across Platforms, noted scholar of film and experimental media Patricia R. Zimmermann offers a glimpse into the ever-evolving constellation of practices known as "documentary" and the way in which they investigate, engage with, and interrogate the world. Trade ReviewZimmermann's anthology envisions documentary as a set of practices that investigate, engage with, and interrogate the world. This collection of essays, a culmination of her scholarship over the past twenty years, is a testament to her groundbreaking work and contribution to the field of documentary studies. -- The 2019-2020 Park School Faculty Writing AwardPatricia Zimmermannn's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics casts a wide net, capturing media ecologies as varied as museum installations, film festival showings, photography, and multiple varieties of internet sharing. . . . Her book is bound to create new paths for exploration and to open up a new awareness of the richness and complexity of the global media landscape. -- Inez Hedges * Jump Cut *Exploring a wonderfully diverse range of documentary projects that includes installation pieces, archives, still photography, community-based collaborative media, experimental shorts and video art, the essays analyze how work is done, by whom, for whom, to what end, and why these questions matter. -- Richard Shpuntoff * Documentary *Patricia Zimmermann's book Documentary Across Platforms provides a knowledgeable insight into the ever-evolving practices beyond conventional non-fiction cinema. It is an important contribution to contemporary documentary studies and also a must-read for all filmmakers and audiences who consider the genre a conceptual practice to think about themselves and the world – how it is and how it might be. -- Melita Zajc * Modern Times Review *Zimmermann's invitations to reassess and engage in her own work have taken several forms over the past twenty-five years. They include essays for journals or exhibition catalogs, books, magazine articles, public presentations, handouts for public screenings, and postulates to arouse further conversation. They incorporate personal accounts, deep dives into the archival record, theoretical musings, and the occasional call to arms. Now one can read a thematically arranged selection of this remarkable career in a new collection. -- Melissa Dollman * The Moving Image *Patricia R. Zimmerman's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics is a rich and diverse compendium of texts spanning decades and covering a myriad of topics related to the expanded nature of documentary platforms. . . . Documentary Across Platforms: Reverse Engineering, Media, Place and Politics is a vital textual resource for confronting the many changes that have taken place in writing about documentary and practicing documentary that has evolved into such new areas of scholarship in recent years. To remain abreast of these advances is important. It means keeping in touch with an ever-evolving world, something that Zimmerman is well able to do. Here's hoping she can keep doing it well into the future. -- Dara Waldron * Alphaville *Patricia R. Zimmerman's Documentary Across Platforms: Reverse Engineering Media, Place, and Politics is a rich and diverse compendium of texts spanning decades and covering a myriad of topics related to the expanded nature of documentary platforms. Zimmerman, best known for her pioneering scholarship in the area of home movies (considered as a subset of the documentary film), demonstrates a real intellectual zest when moving across the terrain of documentary film practices and their extension into certain areas of contemporary art. -- Dara Waldron * alphaville / Journal of Film and Media *Table of ContentsForeword / Gina MarchettiIntroduction: Documentary Across PlatformsPart I: Platforms1. Reverse Engineering: Taking Things Apart for the New Global Media Ecology2. Ardent Spaces, Formidable Environments3. Precious Places, Scribe Video Center, Philadelphia4. The Hand That Holds Up All This Falling: The Works of Daniel Reeves5. Cartographies of Impossible and Possible Worlds: The Photography of Michael Kienitz6. Black Soil: Chernozem and Tusit in UkrainePart II: Reversals7. Matrices of War8. Blasting War9. Digital Deployments10. Public Domains: Engaging Iraq through Experimental Digitalities11. Cambodian Digital Imaginary Archive: Genocide, Lara Croft, and CraftsPart III: Histories12. The Home Movie Archive Live13. Throbs and Pulsations: Les LeVeque and the Digitizing of Desire14. Just Say No: Negativland's No Business15. Remixed and Revisited Black Cinema: Oscar Micheaux's Within Our Gates Live Project16. Live!: Reconnecting the Histories of Live Multimedia Performance17. Toward a Theory of Participatory New Media DocumentaryPart IV: Speculative Engineering18. Home Movie Axioms19. Speculations on Environmental Sensualities and Eco-Documentaries20. Speculations on Reverse Engineering: Algorithms for Recombinant Documentaries Across PlatformsAcknowledgementsNotesIndex

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Book SynopsisTrade ReviewAnderson and Milliken's book is no less than a groundbreaking study. Its exclusive focus on popular documentaries digs an alternative route next to the lane of popular fiction. -- Ohad Landesman, Tel Aviv UniversityMilliken and Anderson's excellent volume on "popular" documentary is both a long time coming and absolutely rooted in this moment in the history of documentary media. The volume fills an almost shocking gap in scholarly writing on popular documentary—especially given the value documentary studies places on its connection with the political—and it does so as the stakes of shared knowledge of the world have never been higher. Together, the chapters in this volume compellingly explore a range of documentary media forms while always interrogating what the "popular" actually entails. -- Josh Malitsky, author of A Companion to Documentary Film HistoryMore and more often I encounter first-year students who arrive at college and tell me right away that they love documentaries—thanks, I believe, to the rising popularity of the form on streaming sites like Netflix. . . . They and many, many viewers are consuming just the kinds of popular documentary texts that this collection addresses. -- Jennifer Malkowski, author of Dying in Full Detail: Morality and Digital DocumentaryTable of ContentsAcknowledgmentsPart I: Popular Documentary Today1. Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts, by Christie Milliken and Steve F. Anderson2. Reclaiming the Popular for Public Interest Documentary, by Ezra WintonPart II: Documentary Ecologies3. Public Television's Role in the U.S. Documentary Ecology, by Patricia Aufderheide4. On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre, by Zoë Druick5. Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography, by Devon CouttsPart III: Short Forms and Web Practices6. From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries, by Sabiha Ahmad Khan7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex

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Book SynopsisTrade ReviewAnderson and Milliken's book is no less than a groundbreaking study. Its exclusive focus on popular documentaries digs an alternative route next to the lane of popular fiction. -- Ohad Landesman, Tel Aviv UniversityMilliken and Anderson's excellent volume on "popular" documentary is both a long time coming and absolutely rooted in this moment in the history of documentary media. The volume fills an almost shocking gap in scholarly writing on popular documentary—especially given the value documentary studies places on its connection with the political—and it does so as the stakes of shared knowledge of the world have never been higher. Together, the chapters in this volume compellingly explore a range of documentary media forms while always interrogating what the "popular" actually entails. -- Josh Malitsky, author of A Companion to Documentary Film HistoryMore and more often I encounter first-year students who arrive at college and tell me right away that they love documentaries—thanks, I believe, to the rising popularity of the form on streaming sites like Netflix. . . . They and many, many viewers are consuming just the kinds of popular documentary texts that this collection addresses. -- Jennifer Malkowski, author of Dying in Full Detail: Morality and Digital DocumentaryTable of ContentsAcknowledgmentsPart I: Popular Documentary Today1. Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts, by Christie Milliken and Steve F. Anderson2. Reclaiming the Popular for Public Interest Documentary, by Ezra WintonPart II: Documentary Ecologies3. Public Television's Role in the U.S. Documentary Ecology, by Patricia Aufderheide4. On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre, by Zoë Druick5. Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography, by Devon CouttsPart III: Short Forms and Web Practices6. From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries, by Sabiha Ahmad Khan7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex

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Book SynopsisTrade ReviewAn innovative contribution to media studies that explores the embodied experiences of both performers and camerapersons filming war reenactments, military training simulations, and an annual lynching reenactment. -- Wendy Kozol, author of Distant Wars Visible: The Ambivalence of WitnessingTable of ContentsIntroduction: Reflecting on "Moments of Truth"1. Being There Again: Reenacting Camerawork in In Country (2014)2. Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations During the Iraq War3. 'Do You Want to Play a Klansman?': Lynching Photography, Civil Rights Camerawork, and the Moore's Ford Lynching Reenactment in Georgia4. Establishing a Black Affective Infrastructure: From Lynching Performance in the Hollywood of the South to Always in Season (2019)Conclusion: Toward an Embodied Social Cinema, or From Point of View to Social SenseFilmographyBibliographyIndex

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Book SynopsisTrade ReviewAn innovative contribution to media studies that explores the embodied experiences of both performers and camerapersons filming war reenactments, military training simulations, and an annual lynching reenactment. -- Wendy Kozol, author of Distant Wars Visible: The Ambivalence of WitnessingTable of ContentsIntroduction: Reflecting on "Moments of Truth"1. Being There Again: Reenacting Camerawork in In Country (2014)2. Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations During the Iraq War3. 'Do You Want to Play a Klansman?': Lynching Photography, Civil Rights Camerawork, and the Moore's Ford Lynching Reenactment in Georgia4. Establishing a Black Affective Infrastructure: From Lynching Performance in the Hollywood of the South to Always in Season (2019)Conclusion: Toward an Embodied Social Cinema, or From Point of View to Social SenseFilmographyBibliographyIndex

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Book Synopsis

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Book SynopsisShannon Winnubst is Professor of Philosophy at Southwestern University and author of Queering Freedom (IUP, 2006).

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Book SynopsisFrom the breakout star of Netflix''s Cheer, a motivational and inspiring guide to becoming a champion in all areas of life.In Full Out, Coach Monica Aldama shares how she built one of the most successful and beloved cheerleading programs in America. Her uncompromising brand of discipline and consistency goes far beyond the mat - showing how the principles of building a winning team apply to personal goals, the corporate world, parenting and all aspects of life.There''s a lot of talk these days about short cuts and life hacks, but what really counts is commitment and integrity, helping your friends, and improving with your teammates. Coach Monica shares deeply personal stories of triumph and tragedy from divorce and remarriage to her husband, her challenges as a young mother working more than full time, and her strenuous weeks on Dancing with the Stars. She shares surprising behind-the-scenes moments from the Cheer docuseries, and insights Trade ReviewGet excited Cheer fans! Coach Monica gives us everything we want and more in Full Out: not only do we get all the behind-the-scenes stories about the Navarro College cheer empire, but Monica breaks down her secret sauce for coaching students to absolute excellence for over two decades. Her mix of tenacity and consistency has something to teach all of us building anything meaningful including our families, our careers, and our communities. You'll love every single word. -- Jen Hatmaker, New York Times bestselling author and host of the For the Love Podcast

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