Documentary films Books

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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 SynopsisThe 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.

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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 SynopsisIn 2016 Professor Stephen Hawking delivered the BBC Reith Lectures on a subject that has fascinated him for decades - black holes. In these flagship lectures the legendary physicist argues that if we could only understand black holes and how they challenge the very nature of space and time, we could unlock the secrets of the universe.Trade ReviewMaster of the Universe... One scientist's courageous voyage to the frontiers of the Cosmos * Newsweek *He can explain the complexities of cosmological physics with an engaging combination of clarity and wit... His is a brain of extraordinary power * Observer *One of the most brilliant scientific minds since Einstein * Daily Express *To follow such a fine mind as it exposes such great problems is an exciting experience * Sunday Times *The most brilliant British scientist of his generation * New Statesman *

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Book Synopsis'Twelve men have walked on the moon. But how many have spent an entire season with the Emperors in Antarctica? Maybe more, likely less. Lindsay McCrae has - and this is his wonderful and frank story.' - Chris PackhamWhen the BBC asked BAFTA-winning cameraman Lindsay McCrae to go to Antarctica to film emperor penguins he was thrilled. After discussing it with his wife Becky they agreed that, although it would mean him being away for 11 months, he should do it. But then she became pregnant and it seemed like the worst idea in the world - not just to miss the birth of his first child, but the first 7 months of his life. Weeks of anguished discussions followed before they decided he should go because it was his dream project and the chance might never come again.My Penguin Year recounts Lindsay's adventure to the end of the Earth, filming the most resilient creatures in nature, while coping with being over 15,000km away from Becky and all the comforts of home - something which almost proved too much. Out of that experience he has written an unprecedented portrait of Antarctica's most extraordinary residents, the emperor penguins. They march up to 100 miles over solid ice to reach their breeding grounds. They choose to breed in the depths of the worst winter on the planet; and in an unusual role reversal, the males incubate the eggs, fasting for over 100 days to ensure they introduce their chicks safely into their new frozen world. And they are uniquely vulnerable to the unprecedented melting of the polar ice cap.In weaving their story with his epic journey, Lindsay has created a masterpiece of natural observation - and a deeply moving tale of human endeavour in the harshest environment on the planet.Trade Review'[McCrae's] remarkable memoir is rich in the technological and logistical challenges of filming in extreme conditions. But most gripping are his fine-tuned observations of these beautiful metre-high birds, which must survive and raise their young in temperatures as low as -60?°C' * Nature *'My Penguin Year is an immersive insight into the life of a wildlife filmmaker and the challenges of surviving in the harshest, most unforgiving environment on Earth.' * The Herald *With heart-stopping accounts of human and penguin jeopardy - including the moment when the team had to decide whether to dig an ice ramp to save a trapped penguin colony from certain death - this is a candid and moving memoir of the reality behind the making of a stunning documentary. * Daily Mail *

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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 SynopsisThe Whale in the Living Room follows the thrilling adventures of film-maker, John Ruthven, as he travels the globe, dives into our oceans and passionately recounts his life-affirming experiences.What creatures could remain undiscovered in the 95 per cent of the seas that have not been thoroughly explored? How vast, really, are our oceans? The surface of Mars and Venus are better known to us than Earth''s seabed. Yet to map the world''s ocean to even 100-metre blocks of accuracy, something that environmentalists say is essential for its protection, could take another 300 years. Even creatures that are known to us, like the giant squid, have proved too difficult to accurately capture on film. Quite literally immersed in his subject, John can help readers understand the magnitude of our planet''s oceans and why it is so important for us to protect our seas and the creatures that inhabit them. He is the only producer to have worked full-time o

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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 SynopsisThis collection analyses the audio-visual representations of several heightened events in Mexican history.

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Book SynopsisCome round to Louis Theroux’s house where the much-loved TV documentary-maker, podcaster and bestselling author of Gotta Get Theroux This finds himself in unexpected danger . . . Like millions of others, Louis’ plans were mothballed by the onset of Covid. Unable to escape to the porn sets, prisons and maximum-security psychiatric units that are his usual journalistic beat, he began reporting on a location even more full of pitfalls and hostile objects of inquiry: his own home during a pandemic.Theroux the Keyhole is an honest, hilarious and ultimately heartwarming diary of the weirdness of family life in Covid World. A wife intolerant of his obsession with Joe Wicks’ daily workouts. Two teenage sons, inseparable from their videogames, for whom he is increasingly 'cringe'. A five-year-old happily spamming out videos on his own new TikTok account while on holiday with his oblivious family. Louis also describes how he launches his podcast, Grounded, finally gets to the US to film a new Joe Exotic documentary and aims his sights on the latest incarnation of the far right in a world becoming radicalized by social media. Theroux the Keyhole is Louis at his insightful best, as he faces unforeseen new challenges and wonders why it took a pandemic for him to learn that what really matters in life is right in front of him.Trade ReviewHe just has a sincere desire to understand people. * The Independent *Even against the horrific backdrop of Covid, [this] book is all the more charming, and blackly amusing, for it. * Belfast Telegraph (Review) *

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Book SynopsisCome round to Louis Theroux’s house, where the much-loved documentary-maker finds himself in unexpected danger . . .Louis’s latest TV series about weirdness – the one involving the American far right, home-grown jihadis, and SoundCloud rappers – has been unexpectedly derailed by the onset of a global pandemic. Now he finds himself locked down in a location even more full of pitfalls, surprises and hostile objects of inquiry: his own home.Theroux the Keyhole is the candidly honest and hilarious diary of a man attempting to navigate the perils of work and family life, locked down in Covid World with his wife, two teenagers and a Youtube-addict fiver year-old. Why is his wife so intolerant of his obsession with Joe Wicks’s daily workouts? Can he reinvent himself as a podcast host? Why has the internet gone nuts for his old journalistic compadre Joe Exotic? And will his teenage sons ever see him as anything other than ‘cringe’?This is Louis at his insightful best, as month-by-month he documents his year of unforeseen new challenges - and wonders why it took a pandemic for him to learn that what really matters in life is right in front of him.Trade ReviewHe just has a sincere desire to understand people * The Independent *Even against the horrific backdrop of Covid, [this] book is all the more charming, and blackly amusing, for it. * Belfast Telegraph (Review) *

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Book SynopsisThe art of the observer is a personal guide to documentary filmmaking, based on the author’s years of pioneering work in the fields of ethnographic and documentary cinema. It stands in sharp contrast to books of academic film criticism and handbooks on visual research methods, being based extensively on concrete examples from the author’s own filmmaking experience. The book places particular emphasis on observational filmmaking and the ways in which this approach is distinct from other forms of documentary. It offers both practical insights and reflections on what it means, in both emotional and intellectual terms, to attempt to represent the lives of others. The book makes clear that documentary cinema is not simply a matter of recording reality, but of artfully organising the filmmaker’s observations in ways that reveal the complex patterns of social life.Trade Review'Particularly gratifying are the author's explorations of the work of his amateur collaborators, as in the chapter on films children in his video workshops made between 2011 and 2016. He respects their work and points of view and seems to have genuinely meditated on their insights without being patronizing. Mixing memory and analysis, this engaging book helps readers see the filmmaker and his craft anew.'ChoiceReprinted with permission from Choice Reviews. All rights reserved. Copyright by the American Library Association. -- .Table of ContentsPart I1: The practice of documentary 2: How the visual makes sense 3: Observational Cinema: A Unique Practice4: Ethnographic film: evolution of a conceptPart II5: Structuring nonfiction films6: Filming in a closed community7: Seven types of collaboration8: Microstructures of film editingPart III9: Films and feelings10: The life of others11: The strangers within us12: How children seePart IV13: An encounter with Robert Gardner 14: The percentage of disaster15: Clearing customsFilmography BibliographyIndex

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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 SynopsisFeaturing a foreword from legendary director Martin Scorcese,Woodstock: Interviews and Recollections combines stories, anecdotes, and perspectives from dozens of musicians and filmmakers about the making of the Academy Award-winning documentary Woodstock. Assembled by associate producer Dale Bell, the oral history takes readers behind the scenes—and behind the camera—at the decade-defining event.

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Book SynopsisThe changing nature of African landscapes, from rural to urbanized spaces, has been a pre-occupation of African media producers since the beginnings of the African film industry in the 1960s. In the six chapters in the book, the authors bring together several examples of African documentary and fiction screen media that present, evaluate and criticize urban and rural landscapes, and the rural and urban dynamic of development, in relation to contemporary issues, from biodiversity, sustainability and deforestation, to inequity, women's rights, political instability, to climate change-related themes of water and food supply, security and sovereignty. These works, comprising multi-platform cinema, streamed moving images and especially documentaries, depict the situations and open the door to rethinking and eventually to the possibilities of proposals responding to the situations portrayed. Screen media convey important visual information regarding the urban and rural built environments in Africa, relative to numerous geographic zones projected for major change and development over the next 30 years. Rapid spontaneous urban development will characterize the landscape of the African continent up until 2050, and urbanization has taken many forms, primarily unplanned. Yet, urban centres and cities have an important cultural weight since they often represent both a remnant of colonization (as colonial metropoles) and an opportunity for cultural place-making and belonging. Furthermore, African cities also serve as sites of negotiation because they are cultural melting pots offering the possibility to navigate and create identities that could not be created in rural areas.A main goal of this book is to contribute to critical discourse and to knowledge resources to assess, critique and propose directions in contemporary urban and settlement development, in the face of rapid spontaneous urbanization of landscapes in a context of climate change and housing need. The book aims to study, track, set out and present options for landscapes and cities in Africa that are intrinsic to African culture via documentary and narrative cinema, incorporating diverse platforms of screen media. We use the term African screen media'''' to denote media presentation on various formats and platforms. This is also born out of our recognition of the fact that the term African cinema assumes a certain homogeneity throughout a continent of 53 countries, and that the idea of an African cinema has evolved with many critics to African Cinemas and even to the now widely used term that many scholars of African media prefer, African screen media (Dovey 2009, 2). This term also addresses the multiple platforms and formats representing the atomization and fracturing of distribution in contemporary streaming.This work brings together theories and practices from the disciplines of urbanism, architecture and African cinema studies to examine some examples of how African artists are bringing attention to issues of urban precarity, climate change, survival and growth, and creativity on the continent. Theoretical references include Felwine Sarr''s theory of Afrotopias' or Afrotopos' whereby the continent is a site of creative potential. Another theoretical influence with significant impact is the term Black urbanism as used by AbdouMaliq Simone for contemporary African cities. An alternative to modernist Western urbanism, this concept is structured around informality, creativity and improvisation.

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Book SynopsisDesigned for researchers seeking new ways to explore their field and media professionals aiming to extend their practice, this filmmaking handbook shows you how to plug in to issues at the intersection of documentary cinema and ethnography. Exploring the unique potential for filmmaking to describe lifeworlds and the role of video editing in generating new ideas about human experience, it offers practical and theoretical advice for those making their first films.Based on over twenty years of teaching and industry experience, Filmmaking for fieldwork aims to inspire the development of core skills in camera use, sound recording and editing that can be applied to sensory, observational, participatory, reflexive and immersive modes of storytelling. Written for a multi-disciplinary audience, this book covers all stages necessary to produce a documentary film, from conception through to preparation, production, editing and distribution.Trade Review'Through Lawrence's articulate and comprehensive presentation, Filmmaking for Fieldwork is a sophisticated handbook that underscores the purpose, power, and techniques of ethnographic film - a timely and important contribution to visual anthropology and documentary film.'Paul Stoller, author of Adventures in Blogging: Public Anthropology and Popular Media'Ethnographic documentary is long overdue for a contemporary guide to the field that takes into account the changes since the 1997 publication of Cross-Cultural Filmmaking by Lucien Castaing-Taylor and Ilise Barbash. This thoughtful and beautifully produced book provides a comprehensive overview that is both philosophical and practical, addressing questions that range from ethics and collaboration to shooting in field settings to digital technology, to foundational questions about the value of such work. The author is a talented and accomplished anthropologist and filmmaker, who even provides the ten commandments (for observational film!) to inspire ethnographic filmmakers - whether aspiring or accomplished - to reach the promised land of field-based documentary work, from pre-production to distribution.'Faye Ginsburg, David B. Kriser Professor of Anthropology, Director, Graduate Program in Culture & Media -- .Table of ContentsSection 1: Why make a documentary film? TechniqueApproachEthicsSection 2: Preparation Writing a film proposal Selecting equipmentEstablishing controlLightingSection 3: Recording Fieldwork relationshipsImage SoundOperating in key situations ArchiveSection 4: Editing Preparation for an editDesigning your filmBeginning an edit Rough cutting to find a story Technique and styleFeedbackTitles and credits Fine cuttingEditing and mixing soundMasteringSection 5: Distribution Sharing your work Writing about your workFilm festivals and screening events Publication Afterword: The journey continuesIndex

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Book SynopsisThis edited textbook explores the 17 UN SDGs through 12 works from the humanities, including films, novels, and photographic collections. It provides students with the knowledge and understanding of how the humanities engage in broader social, political, economic, and environmental dialogue, offering a global perspective that crosses national and continental borders.The book takes students through the UN SDGs from a theoretical perspective through to practical applications, first through specific global humanities examples and then through students' own final projects and reflections. Centered around three major themes of planet, people, and prosperity, the textbook encourages students to explore and apply the Goals using a place-based, culturally rooted approach while simultaneously acknowledging and understanding their global importance. The text's examples range from documentary and feature film to photography and literature, including Wang Jiuliang's Plastic China,Trade Review"This engaging collection reveals the vital links between the humanities and the SDG framework. An integrative humanities perspective calls attention to the work of global artists, writers, and texts underrepresented in studies of environment, climate, and sustainability. Foregrounding the 2030 Agenda, the book centers on the themes of Planet, People, and Prosperity. Through an exploration of science fiction, photography, documentary film, and other genres, this highly accessible collection brings the global humanities into generative dialogue with education for sustainable development."John C. Ryan, Adjunct Associate Professor at Southern Cross University, Australia, and Adjunct Senior Research Fellow at the Nulungu Institute, Notre Dame University, AustraliaTable of ContentsIntroduction: A Global Humanities Approach to the United Nations’ Sustainable Development Goals (SDGs) and Education for Sustainable Development (ESD) Part 1: Planet: Relating Global Humanities Texts to UN SDGs 6, 7, 12, 13, 14, and 15 1. Aya Hanabusa’s Holy Island: Nuclear Power and Political Resistance in Iwaishima, Japan 2. Barbara Dombrowski’s Photographs and Art Installations of People and Landscapes: Tropic Ice: Dialog Between Places Affected by Climate Change 3. Fabrice Monteiro’s The Prophecy: Trash Art Photography Protests Trashing the Planet 4. Kip Andersen and Keegan Kuhn’s Cowspiracy: Animal Agriculture and the “Sustainability Secret” Part 2: People: Relating Global Humanities Texts to UN SDGs 1, 2, 3, 4, and 5 5. Fernando Contreras Castro’s Única Looking at the Sea: Marginalization, Community, and Politics from a Garbage Dump 6. Agnès Varda’s The Gleaners and I: From Waste to Wonder—A Cinematic Odyssey on Food Loss and Gleaning 7. Agustina Bazterrica’s Tender is the Flesh: Devouring Each Other in Consumerist Society 8. Kief Davidson and Pedro Kos’s Bending the Arc: Public Health Pioneers Fight for Universal Health Equity Part 3: Prosperity: Relating Global Humanities Texts to UN SDGs 8, 9, 10, 11, and 16 9. Arvind Adiga’s The White Tiger: Stagnation or Social Mobility in Modern India 10. Ivan Sanjinés, Nicolás Ipamo and Alejandro Noza’s Cry of the Forest: Sustainable Development and the Indigenous Communities of Bolivia 11. Hao Jingfang’s “Folding Beijing”: Unequal Time and Space in a Dystopian City 12. Wang Jiuliang’s Plastic China: Unveiling the Façade of Prosperity Conclusion: Think Global, Act Local: Partnerships and Projects (SDG 17)

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Book SynopsisThis book is a collection of personal essays that address critical elements involved in the production of nonfiction films. Written by an experienced documentary filmmaker and cinematographer, the book draws upon practical wisdom to explore the nuances and challenges faced by filmmakers and viewers alike.Included in the text are rarely discussed ethical issues, best practices in the field, filmmaker etiquette, and a detailed analysis of interview techniques. The book also provides a candid view of how decisions are made in production that are consequential to a finished filmâs meaning and fidelity. Drawing on a wide range of subject matter, it will enhance the reader's understanding of the tremendous power and potential of the documentary medium.The book offers an invaluable insight into documentary filmmaking for professionals who work in the medium and students who are learning the trade and honing their skills.

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Book SynopsisHybrid Documentary and Non-Binary Cinema offers an expansive exploration of the contemporary documentary cinema form, aesthetics, and ethics.Beginning with an exploration of the parameters and definitions of documentary cinema this book will focus on recent and presentâday examples of work that blur the lines between fiction and nonâfiction. This book will also take a series of case studies to question the vision and motives of filmmakers working between documentary and fictional films. It will consider the aesthetic and ethical challenges of these works and look toward the future of non-fiction filmmaking after the internet, and in the realm of the metaverse. This book will offer both an entry point to discover new tendencies and a deeper understanding for those readers who are more familiar with the field.Given its interdisciplinary subject nature, this book will appeal to audiences across a spectrum of interests such as film, fine art, anthropology, documentary, sociology, and drama.

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Book SynopsisUsing examples and hard-earned experiences from the Author's courses and lectures at the esteemed MFA in Documentary Film Program at Stanford University, A Guide to (Short) Documentary Filmmaking: Creating Artful Short Documentary Films explores what is unique about the short-form documentary and guides the reader through the process â from ideation to completion and distribution.This accessible and practical textbook guides readers through the steps of creating powerful and artful documentaries. Interviews with filmmakers and case studies of innovative and successful recent documentary shorts are included throughout to provide experienced insights and complement the chapters on Research, Pre-production, Production, Editing, and Distribution.The first and most definitive of its kind, this is the only resource to explore the short documentary as a distinct art form. It will therefore be essential for all students and professionals involved in producing thi

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Book SynopsisAs we approach the end of the era of the witness', given the passing on of the generation of Holocaust survivors, Claude Lanzmann's archive of 220 hours of footage excluded from his ground-breaking documentary Shoah (1985) offers a remarkable opportunity to encounter previously unseen interviews with survivors and other witnesses, recorded in the late 1970s. Although the archive is all available freely to view online and includes extra footage of those who appear in Shoah, this book focuses on the interviews from which no extracts appear in the finished film or in any subsequent release. The material analysed features interviews with such significant figures as the former partisan Abba Kovner, wartime activist Hansi Brand, Kovno Ghetto leader Leib Garfunkel, rescuer Tadeusz Pankiewicz and members of Roosevelt's War Refugee Board, and focuses throughout on the efforts at rescue and resistance by those within and outside occupied Europe. Sue Vice contends that watching and Trade ReviewClaude Lanzmann’s Shoah is notorious not only for its length but for the huge quantity of its outtakes. Vice’s book not only demonstrates that the daunting outtake material demands to be viewed, but also provides a model of how to read it. -- Dominic Williams, Northumbria University, UKTable of ContentsIntroduction: Reacting to Genocide 1. Abba Kovner: ‘Like Sheep to the Slaughter’ 2. Hansi Brand: ‘Selling One’s Soul’ 3. Indirect Testimony: Rabbi Michael Weissmandl 4. Ghetto Rescue and Resistance: Tadeusz Pankiewicz, Hersh Smolar and Leib Garfunkel 5. Communal Testimony and the War Refugee Board: Peter Bergson, Roswell McClelland, John Pehle and Robert Reams 6. Leadership, Responsibility and Resistance: Yehuda Bauer, Richard Rubenstein, Ya’akov Arnon 7. Allied Responses: Henry Feingold in New York, Shmuel Zygielboim in London Conclusion Bibliography Index

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Book SynopsisRichard Wallace is Assistant Professor in Film and Television Studies at the University of Warwick, UK. His research focuses on documentary, comedy and British film and television history. He is the author of Mockumentary Comedy: Performing Authenticity (2018).

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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 SynopsisThe first academic book to approach mountain film culture from transgeneric, transnational, ecotritical, and transmedial perspectives.

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Book SynopsisShows how aesthetic, ethical, and political questions intersect in a range of art forms as found in traditional media.

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Book SynopsisDuring the first decades of the 21st century, a critical re-assessment of the reenactment as a form of historical representation has taken place in the disciplines of history, art history and performance studies. Engagement with the reenactment in film and media studies has come almost entirely from the field of documentary studies and has focused almost exclusively on non-fiction, even though reenactments are being employed across fiction and non-fiction film and television genres. Working with an eclectic collection of case studies from Milk, Monster, Boys Don't Cry, and The Battle of Orgreave to CSI and the video of police assaulting Rodney King, this book examines the relationship between the status of theatricality in the reenactment and the ways in which its relationships to reference are performed. Carrigy shows that while the practice of reenactment predates technically reproducible media, and continues to exist in both live and mediated forms, it has been Trade ReviewCarrigy offers a brilliant look at how reenactments work as “meta-historical” representations that re-embody the past but also comment on it in surprisingly complex ways. Her book is an invaluable addition to the literature. Replaying the past promises to illuminate its mysteries but it also reshapes our grasp of what has happened in a remarkably wide variety of ways as Carrigy vividly demonstrates in this wide-ranging, insightful work. * Bill Nichols, Professor Emeritus of Cinema, San Francisco State University, USA *Historical recreation, biographical film performance, television crime drama, and movie remakes – moving image reenactments are everywhere. And they befuddle us as they simultaneously seem to be accurate and inaccurate, authentic and inauthentic, and trustworthy and false documents of the past. Megan Carrigy takes us on an illuminating tour of such materials, showing how this indeterminacy operates to interrogate the aesthetic, evidentiary, and ontological status of the moving image. She powerfully demonstrates how the reanimated performance oscillates between theatricality, repetition, and documentation. As a result, The Reenactment in Contemporary Screen Culture, more than a study of a particular representation mode, is an insightful inquiry into the complexity of what we so easily push aside as fake. * Charles R. Acland, Distinguished University Research Professor, Concordia University, Canada *Table of ContentsList of Figures Acknowledgements Introduction 1. ‘To Do; To Perform’: In-Person Reenactment, Remediation and Documentary Performance 2. Between Document and Diegesis: Reenactment and Researched Detail in the Biopic 3. Dramatizing Forensic Crime Reconstruction: Investigation, Trace and Deixis in Police Procedural Television 4. Re-staging the Cinema: Reproducibility and the Shot-for-Shot Remake 5. Trial by Media: Fugitive Testimony, Demonstrative Evidence and Computer Animation in the Courtroom Conclusion References Index

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Book SynopsisThis new collection of essays presents the latest thoughts of one of the world’s leading ethnographic filmmakers and writers on cinema. It will provide essential reading for students in cinema studies, filmmaking, and visual anthropology. The dozen wide-ranging essays give unique insights into the history of documentary, how films evoke space, time and physical sensations, and the intellectual and emotional links between filmmakers and their subjects. In an era of reality television, historical re-enactments, and designer packaging, MacDougall defends the principles that inspired the earliest practitioners of documentary cinema. He urges us to consider how the form can more accurately reflect the realities of our everyday lives. Building on his own practice in filmmaking, he argues that this means resisting the pressures for self-censorship and the inherent ethnocentrism of our own society and those we film.Trade Review'MacDougall is masterful in writing succinctly about how audiences and their bodies connect to the films that they are watching. The Looking Machine is a must read for those interested in the history and humanity of movies.'Choice'This book is a tour de force, tracing the formation of the field of visual anthropology in dialogue with those documentary-makers and early photographers, whom MacDougall commends for rejecting ‘sanitized or highly edited accounts of what we witness’, and instead portraying ‘the particularities of everyday life – painful, awkward or pleasurable’. What I cherish most about this book is the insistent thread of ‘looking’ and what the camera affords: An embodied, sensuous cinema where the camera figures as an extension of the body and consciousness, allowing us to see differently. There is something for readers well acquainted with MacDougall’s writing in this book, as well as for newcomers to his oeuvre; for students and practitioners within film (studies), anthropology, and related disciplines. The many examples and references are a rich resource, and the reader should set aside time for watching film clips alongside reading this book. The Looking Machine inaugurates the Manchester University Press’ Series in Anthropology, Creative Practice and Ethnography, and beautifully sets the scene for the books to come.' Ethnos -- .Table of ContentsIntroductionPart I: Filmmaking as practice1 Looking with a camera 2 Dislocation as method 3 Camera, mind, and eye 4 Environments of childhoodPart II: Film and the senses5 The third tendency in cinema 6 Sensational cinema 7 The experience of colour 8 Notes on cinematic spacePart III: Film, anthropology and the documentary tradition9 Observation in the cinema 10 Anthropology and the cinematic imagination 11 Anthropological filmmaking: an empirical art12 Documentary and its doublesBibliographyFilmographyIndex

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Book SynopsisDowntown Film and TV Culture 1975–2001 brings together essays by filmmakers, exhibitors, cultural critics and scholars from multiple generations of the New York Downtown scene to illuminate individual films and filmmakers and explore the creation of a Downtown Canon, the impact of AIDS on younger filmmakers, community access to cable television broadcasts, and the impact of the historic downtown scene on contemporary experimental culture. The book includes J. Hoberman’s essay ‘No Wavelength: The Parapunk Underground’, as well as historical essays by Tony Conrad and Lynne Tillman, interviews with filmmakers Bette Gordon and Beth B, and essays by Ivan Kral and Nick Zedd.Table of ContentsDowntown Cinema Revisited - Joan Hawkins Acknowledgements Downtown Body - Ward Shelley Part I: Moments Chapter 1: In the Movie-Viewing Machine: Essential Cinema and the 1970s - David Sterritt Chapter 2: No Wavelength: The Para-Punk Underground - J. Hoberman Chapter 3: At Last Real Movies: Super 8 Cinema from New York - Tony Conrad Chapter 4: Downtown’s Room in Hotel History - Lynne Tillman Part II: Scenes Chapter 5: The Blank Generation and Punk/Downtown History - Mark Benedetti Chapter 6: Birth of the Blank Generation - Ivan and Cindy Kral Chapter 7: Downtown Godard - Jonathan Everett Haynes Chapter 8: ‘A Crack in the Veneer’: A Conversation with Beth B - Beth B and Joan Hawkins Chapter 9: Lydia Lunch, The Right Side of My Brain - Chuck Kleinhans Chapter 10: Pleasure and Danger: Bette Gordon’s Variety - Joan Hawkins Chapter 11: Interview with Bette Gordon - Bette Gordon and Joan Hawkins Chapter 12: The Time of His Life: Spalding Gray - Laurie Stone Chapter 13: Mixing Blag Flag, DIY, Lo-Fi, and Oulipo: Jon Moritsugu’s Mommy Mommy Where’s My Brain - Jack Sargeant Chapter 14: Cast Iron TV and Friends: Artists’ Public Access in Manhattan - Terese Svoboda Chapter 15: TV Party: A Cocktail Party That Could Also be a Political Party - Benjamin Olin Chapter 16: The Case of Electra Elf: Towards New Possibilities of Underground Counterculture in the Twenty-First Century - Nick Zedd and David Sjöberg Chapter 17: Cock Worship: Todd Haynes, Fassbinder, and Queer Praxis - Chris Dumas Chapter 18: Downtown’s Queer Asides - Lucas Hilderbrand, Alexandra Juhasz, Debra Levine, and Ricardo Montez Part III: Memorials Chapter 19: Canonization and No Wave Cinema History - Mark Benedetti Chapter 20: The Downtown Scene in the Digital Era - Laurel Westrup Chapter 21: You Had to be There: The Downtown Archive and the Future of an Impossible Past - Richard Toon and Laurie Stone Chapter 22: The Centre Cannot Hold: Blank City (2010) and the Problems of Historicizing New York’s Independent Cinema of the Late 1970s and Early 1980s - Juan Carlos Kase Chapter 23: Experimental Film - Chris Kraus Filmography and Videography - Mark Benedetti

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Book SynopsisThis long-awaited autobiography is a must-read for classical musical enthusiasts and those fascinated by some of the twentieth century's star performers. It also offers unique insights into the history of music, the BBC and arts broadcasting in twentieth-century Britain. Sir Humphrey Burton is one of Britain's most influential post-war music and arts broadcasters. Witty, humorous and full of humanity, Burton's account presents us with never before recorded perspectives on the world of British cultural broadcasting and classical music. Burton worked with such outstanding directing talents as Ken Russell and John Schlesinger, before becoming the BBC's Head of Music and the Arts. Already in the 1960s, in conversations with Glenn Gould for instance, Burton helped to create innovative ways of presenting music to new audiences. Following Sir David Frost's call to LWT/ITV, Burton rose to prominence with presenting the award-winning arts series Aquarius (1970-1975). The early 1970s saw the beginning of Burton's long association with Leonard Bernstein. Burton was at hand filming the maestro's educational programs, as well as concerts with the Vienna Philharmonic. Unforgettable are his chronicles of Bernstein's last years, culminating in a worldwide broadcast of the conductor's Berlin Freedom Concert after the fall of the Berlin Wall. Burton's gift for communicating music turned him into a celebrated Bernstein biographer. With multi award-winning television programmes to his name, such as the BBC's Young Musician of the Year, Burton left an indelible mark on Britain's music and arts broadcasting history. Sir Humphrey Burton offers us many encounters with twentieth century classical music's superstars and former broadcasting colleagues. What transpires is a creative mind at work that never lost sight of the demand that the appropriate presentation of music can only go hand-in-hand with a deep understanding of music itself. This long-awaited autobiography is a must-read for classical musical enthusiasts and those fascinated by some of the twentieth century's star performers. It also offers unique insights into the history of music, the BBC and arts broadcasting in twentieth-century Britain.Trade ReviewBurton can certainly tell a story, and in his memoir, In My Own Time, we see a portrait not just of a changing arts scene but of a man who, behind the smooth wheeler dealership needed for a career in TV management, has a few insecurities and one or two secrets. . . . The memoir is littered with anecdotes about the great and the good whom he met in his everyday life. . . . His friendships and connections are various, with Leonard Bernstein a consistent presence. "I was Boswell to his Johnson," he [says]. -- Ben Lawrence * THE TELEGRAPH *[In My Own Time] is a fantastic read. . . . Everything is in this, every chapter of [Burton's] life -- and it is a very eventful life. At a time when there was a lot of output to arts programmes. . . [Burton's programmes] gave the viewer the respect to sit and watch something play out. -- Jo Good * BBC RADIO LONDON *Anyone who was anyone in the arts world in the twentieth century doesn't begin to describe the life of Sir Humphrey Burton. In My Own Time [is] a chronicle of music making and the people who made a difference in the late twentieth century. What an extraordinary recall he has. What a magnum opus it is! -- Sean Rafferty * BBC RADIO 3 - IN TUNE *[In My Own Time] tells the story of [Burton's] rise from humble beginnings to becoming one of the industry's most admired broadcasters, bringing the joy of classical music to the general public through collaborations with stars such as Leonard Bernstein and Yehudi Menuhin. -- Dalya Alberge * THE GUARDIAN *In his new book, Burton offers readers many encounters with the superstars of twentieth-century classical music, as well as tales from former broadcasting colleagues. We witness a creative mind at work that never loses sight of how the presentation of music must go hand-in-hand with a deep understanding of music itself. * PRELUDE, FUGUE & RIFFS, Newsletter of the Leonard Bernstein Office *Table of ContentsPreface Childhood A Progressive Education Boyhood Turns Sour National Service Cambridge L'Année Française The BBC's New Recruit Lime Grove: The Promised Land Moving Up the Ladder New Programmes and Foreign Fields Head of Music and Arts (HMAP Tel) Wooing the Giants LWT: Not Such a Brave New World The Age of Aquarius, 1970-1975 1970: Bernstein's Annus mirabilis In Make-Up or Munich Discovering My Métier Hooray for Hollywood On the Musical Merry-go-round Hitting My Stride Bernstein's Endgame, 1989-1990 A Writer in New York, 1990-1994 Return to Europe End of the Century: More Bangs than Whimpers 'The Virgin Maestro': Conducting Verdi's Requiem at the Royal Albert Hall A Life on the Ocean Wave Index

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Book SynopsisVivre Ici invites the reader on a journey through the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films explored are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and lesser-known, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.Trade Review'This is an excellent study of issues of space and place in recent French documentary, offering rich and evocative readings of individual films and detailed engagement with the material specificities of documentary production in France. It will be of major interest to researchers and students.'Laura McMahon, Cambridge'Vivre Ici marks a major advance in thinking about contemporary documentary in France and about documentary in general. It does this by mobilizing aesthetic, cultural, and institutional approaches.'Steven Ungar, University of Iowa'Vivre Ici represents a useful curation of French documentary and a worthy addition to an expanding subfield of Film Studies that will be of much interest to film scholars, researchers, and students of French documentary.'Matthew Gibson, Modern Language Review‘One of the impressive strengths of Levine’s study is the further comparative aesthetic and ethical questioning the analysis triggers. Her attention to the extra-textual context surrounding each film, with a focus on audience response, combined with her meticulous attention to the multisensory experience of film space, brilliantly underlines the impossibility of separating the social and political role (and responsibility) of documentary film, from its equally important status as an art form that affects and moves the spectator in more ways than one…Scholars and students of French history, cinema and cultural studies, and of documentary film studies more generally, will find the book an inspiring and informative pedagogical resource to draw on.'Albertine Fox, H-France Review‘Alison J. Murray Levine’s latest book Vivre Ici is a refreshing, accessible read that invites readers to appreciate the unique ability documentary, and more specifically French documentary, has to connect us to the world around us.’ Audrey Evrard, Modern & Contemporary France'The balance between theory and its application in Levine’s book makes for a very accessible and pleasing read [...] It will be of appeal to academics and students alike, particularly those working in French studies, and film and media studies.' Oliver Brett, French History'Levine’s book fills in an important gap in French film studies in that it moves away from the topic of a small set of films to focus on what matters the most—that documentaries can transmit a sensual experience to the audience. Levine examines films produced over the last twenty years in metropolitan France. However, her analysis can apply to general documentaries, past or future, French or not.' Martine Guyot-Bender, French ReviewReviews 'This monograph is pertinent for scholars of film or contemporary French history. Furthermore, its readability lends it to being a useful addition to bibliographies for film and culture studies courses as well as an enjoyable book for cinephiles or Francophiles outside of academia.' Tessa Ashlin Nunn, Studies in 20th & 21st Century Literature

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Book SynopsisWerner Herzog came to fame in the 1970s as the European new wave explored new cinematic ideas. With films like Signs of Life (1968), Aguirre, the Wrath of God (1972), The Enigma of Kaspar Hauser (1974) and Fitzcarraldo (1982), Herzog became the subject of public debate, particularly due to his larger-than-life characters, often played by the mad Klaus Kinski. After the success of his documentary Grizzly Man (2005), Herzog began to lead a new form of hybrid documentary, and his tough attitude towards life and film made him a director’s director for a new generation. Kristoffer Hegnsvad’s award-winning book guides the reader through films depicting gangster priests, bear whisperers, shoe eating, revolutionary filmmakers. . . and a penguin. It is full of rare insights from Herzog’s otherwise secret Rogue film school, and features interviews with Herzog.Trade Review“Hegnsvad’s book about the German filmmaker Werner Herzog is not a journalistic examination of cinema, but a philosophical journey into the creative workshop of a remarkable artist. Through conversational partners like Benjamin, Adorno, Nietzsche, and Deleuze, the book deals with questions like: What is cinema? What is the relationship between imagery and truth? Different concepts of the movie director—as philosopher, ethnologist, explorer, and scientist—are also discussed. It’s a study about what it requires to be curious about the world, about life, and about pushing the limits when it comes to how this curiosity is pursued.” * Modern Times Review *“Hegnsvad has written an insightful and well-communicated book, which provides independent and new insights into Werner Herzog’s films.” * Danish Arts Foundation, "Ten Best Books of 2018," on the Danish edition *"Solitary searcher and skillful self-promoter Werner Herzog is an artist whose cinematic visions, fictional or not, are invariably documentaries about himself. Curious and awed, his erudite sometime student Hegnsvad reveals a recondite Herzog personality no less fascinating than his films." -- J. Hoberman, author of "Film After Film""Hegnsvad’s book is a breathtaking and beautifully illustrated journey through Herzog’s many conquests. It is meant for anyone who wants to know what goes on at the Rogue Film School or acquire insight into the director’s exploits without having to drag a ship over a mountain, walk from Vienna to Munich, or eat their own shoes. If you've ever found yourself longing to become a member of Herzog’s guerrilla band of gangster priests, you will probably enjoy this book." -- Brad Prager, professor of German and film studies, University of Missouri"In this lively and perceptive book, Hegnsvad stages a wonderful encounter between the work of cinema's most peripatetic master, and the nomadic thinking that can deepen our appreciation and solicit our participation in Werner Herzog's marvelous life journey." -- James Schamus

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Book SynopsisIn Music Films, Neil Fox considers a broad range of music documentaries, delving into their cinematic style, political undertones, racial dynamics, and gender representations, in order to assess their role in the cultivation of myth.Combining historical and critical analyses, and drawing on film and music criticism, Fox examines renowned music films such as A Hard Day''s Night (1964), Dig! (2004), and Amazing Grace (2006), critically lauded works like Milford Graves Full Mantis (2018) and Mistaken for Strangers (2013), and lesser-studied films including Jazz on a Summer's Day (1959) and Ornette: Made in America (1985). In doing so, he offers a comprehensive overview of the genre, situating these films within their wider cultural contexts and highlighting their formal and thematic innovations.Discussions in the book span topics from concert filmmaking to music production, the music industry, touring, and f

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Book Synopsis‘The foreigner is within me, hence we’re all foreigners. If we’re all foreigners, there are no foreigners.’ – Julia KristevaStrangers Within is an anthology exploring the idea of documentary as encounter through essays, stories, interviews and other creative responses by filmmakers, artists, and writers. The texts engage with the risks of encounter, unsettling assumptions about the distinctions between host and guest; stranger and friend; self and other; documentarian and protagonist. Opening up a series of questions about the mystery of another person, whose difference and unknowability is already a part of one’s self, the anthology offers a multidisciplinary approach to understanding the convergences between encounter, hospitality and autobiography.With contributions by Khalik Allah, Ruth Beckermann, Jon Bang Carlsen, Adam Christensen, Annie Ernaux, Gareth Evans, Jane Fawcett, Xiaolu Guo, Umama Hamido, Therese Henningsen, Marc Isaacs, Mary Jiménez Freeman-Morris, Juliette Joffé, Andrew and Eden Kötting, David MacDougall, Trinh T. Minh-ha, Toni Morrison, Bruno de Wachter and Andrea Luka Zimmerman.

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Book SynopsisThis book introduces a new form of documentary film: the Geo-Doc, designed to maximize the influential power of the documentary film as an agent of social change. By combining the proven methods and approaches as evidenced through historical, theoretical, digital, and ecocritical investigations with the unique affordances of Geographic Information System technology, a dynamic new documentary form emerges, one tested in the field with the United Nations. This book begins with an overview of the history of the documentary film with attention given to how it evolved as an instrument of social change. It examines theories surrounding mobilizing the documentary film as a communication tool between filmmakers and policymakers. Ecocinema and its semiotic storytelling techniques are also explored for their unique approaches in audience engagement. The proven methods identified throughout the book are combined with the spatial and temporal affordances provided by GIS technology to create the Geo-Doc, a new tool for the activist documentarian.Table of Contents1. Introduction.- 2. Farming the Tools of Persuasion.-3. Methods and Approaches to Documentary Influence.- 4. Ecocinema and Semiotic Storytelling.- 5. The Documentary’s Digital Turn.- 6. Visible Volume: The Multilinear and Database Documentary.- 7. The Geo-Doc: A Locative Approach to Remediating the Genre.- 8. Conclusion.

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Book SynopsisMatthew Solomon's study of Chaplin's The Gold Rush (1925) provides an in-depth discussion of the film's production and reception history, placing it in the context of the turn-of-the-century Alaska Klondike gold rush, and analyses the film's narrative and formal features, particularly its references to music-hall performance styles and tropes.Table of ContentsAcknowledgments.- 1. A Film in Flux.- 2. An Unstable Text.- 3. The Total Film-Maker.- 4. Origins and Originality.- 5. The Work of the Artist and His Lawyers in an Age of Technological Reproducibility.- 6. 'The Lucky Strike'.- 7. A Northern Comedy.- 8. Historical Referents.- 9. Making by Halves; Two Premieres.- 10. Revising and Reviving.- 11. Second-Best Ever.- 12. Un/Authorised Versions.- 13. Memorable Sequences.- 14. Outtakes, Parallel Takes and a Triple Take.- Notes.- Credits.- Select Bibliography.

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Book SynopsisThis book investigates representations of Palestinian refugees in Gaza in colonial, humanitarian and Palestinian documentary films, spanning until the 1993 Oslo Agreement. Chapters examine various film sources throughout this period including British Pathé, newsreels, Quaker and UNRWA documentaries, and Palestinian opposition cinema. British Pathé is considered as a window into the wider colonial depiction of indigenous Palestinians in the British Mandate period; newsreels are examined as representations of the plight of Palestinian refugees in Gaza after Israel's proclamation and Gaza-focused humanitarian documentaries shot by the Quakers and UNRWA are compared. The final chapters trace the evolution of oppositional documentary filmmaking, from the cinema of revolution (1968-1982) to the peace deal of 1993. Through a close audio-visual and textual analysis, rooted in a historical-contextual approach, Shahd Abusalama explores the techniques used to project emancipator

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Book SynopsisThis book explores contemporary American true crime narratives across various media formats. It dissects the popularity of true crime and the effects, both positive and negative, this popularity has on perceptions of crime and the justice system in contemporary America. As a collection of new scholarship on the development, scope, and character of true crime in twenty-first century American media, analyses stretch across film, streaming/broadcast TV, podcasts, and novels to explore the variety of ways true crime pervades modern culture. The reader is guided through a series of interconnected topics, starting with an examination of the contemporary success of true crime, the platforms involved, the narrative structures and engagement with audiences, moving on to debates on representation and the ethics involved in portraying both victims and perpetrators of crime within the genre. This collection provides new critical work on American true crime media for Table of ContentsNotes on ContributorsAcknowledgementsIntroduction1. Beyond Entertainment: Podcasting and the Criminal Justice Reform "Niche"2. Chasing the Truth: Making a Murderer, Historical Narrativity and the Global Netflix Event3. True Crime Adaptations and the Many Faces of the Atlanta Monster4. True Crime, True Representation? Race and Injustice Narratives in Wrongful Conviction Podcasts5. Unresolved - Narrative Strategies in an Unsolved True Crime: Depictions of the JonBenét Ramsey Killing6. Breaking Silences, or Perpetuating Myths: Images of Mafia Violence in True Crime Documentary7. 'Exquisitely Criminal Production Music’: Television, Ethics and the Sound of True Crime8. Barthes's "Grand Project" and the Negative Capability of Contemporary True Crime: On Errol Morris’s A Wilderness of Error9. My Friend Dahmer: A Graphic‐Narrative Search for the Origins of Evil10. Forensic Fandom: True Crime, Citizen Investigation and Social Media11. "What Else Can I Add?": Inverting the Narrative through Female Perspectives in Falling for A Killer, My Favorite Murder, and Murder, Mystery & MakeUp.

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Book SynopsisThis book explores the continued development and practice of experimental documentary films with evolving trends in still photography, visual arts, journalism, interactive media and literature âespecially poetry and creative non-fiction. Through sets of observations, analyses, and exercises, readers will gain an understanding of both the traditional principles of documentary and simultaneously challenge its conventions in practice.While exploring the responsibilities of a documentary director to be fair and objective, the book weaves through arguments around truth and propaganda and offers practical lessons about how to create hybrid forms of documentary films. Written by a documentary filmmaker with decades of experience, the text provides a comprehensive overview of how documentary narratives are written and created in the research, pre-production, production and post-production phases. This is supplemented with an exploration of the relationships among documentary filmmaki

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