Documentary films Books

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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Book SynopsisAn overview of the American documentary filmTrade ReviewIn American Documentary Film, Jeffrey Geiger examines the role of documentary film in mobilizing, promoting, and even suppressing central myths of U.S. national identity. His brilliant close readings illuminate the relationship between the rhetorical, technical and stylistic elements of specific films and a broader set of contexts and concerns. Rigorous yet accessible, this elegantly-written book will be of great value to the general reader and the specialist alike, and it will transform the way we consider the history, theory, and practice of documentary filmmaking. -- Valerie Smith, Princeton University In American Documentary Film, Jeffrey Geiger examines the role of documentary film in mobilizing, promoting, and even suppressing central myths of U.S. national identity. His brilliant close readings illuminate the relationship between the rhetorical, technical and stylistic elements of specific films and a broader set of contexts and concerns. Rigorous yet accessible, this elegantly-written book will be of great value to the general reader and the specialist alike, and it will transform the way we consider the history, theory, and practice of documentary filmmaking.Table of Contents1. Novelties, Spectacles, and the Documentary Impulse - Case Studies: Blacksmithing Scene (1893), Buffalo Dance (1894), and Mess Call (1896); 2. Virtual Travels and the Tourist Gaze - Case Study: Nanook of the North (1922); 3. Serious Play: Documentary and the Early Avant-garde - Case Study: Manhatta (1921); 4. Activism and Advocacy: The Depression Era - Case Study: The Plow that Broke the Plains (1936); 5. Idea-Weapons: Documentary Propaganda - Case Study: The Memphis Belle (1944); 6. 'Uncontrolled' Situations: Direct Cinema - Case Study: Grey Gardens (1975); 7. Relative Truths: Documentary and Postmodernity - Case Study: Tongues Untied (1989); 8. Media Wars: Documentary Dispersion - Case Study: Fahrenheit 9/11 (2004)

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Book SynopsisAnalyses how independent documentaries are forging a new public sphere in today's China. This book offers a detailed account of one of the world's active and challenging contemporary documentary sectors. It draws extensively on first hand interviews with filmmakers.

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Book SynopsisRemember a time when all of Hollywood-with the expressed encouragement and investment of the government-joined forces to defend the American way of life? It was World War II and the gravest threat faced the nation, and the world at large. Hollywood answered the call to action.This is the riveting tale of how the film industry enlisted in the Allied effort during the second World War-a story that started with staunch isolationism as studios sought to maintain the European market and eventually erupted into impassioned support in countless ways. Industry output included war films depicting battles and reminding moviegoers what they were fighting for, home-front stories designed to boost the morale of troops overseas, and even musicals and comedies that did their bit by promoting the Good Neighbor Policy with American allies to the south. Stars like Carole Lombard-who lost her life returning from a war bond-selling tour-Bob Hope, and Marlene Dietrich enthusiastically joined USO

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Book SynopsisThe camera''s capacity to organize space within a frame produces the fundamental unit of movie making: the shot. Dramatic Effects with a Movie Camera is a practical guide to the visual storytelling potential of different camera techniques, demonstrating how they can produce compelling shots and sequences. By exploring how a close-up shot of a character's face can help the viewer share their fear or joy, or how a moving camera can reveal plot points, connect objects and characters in space or give clues to their state of mind, Gail Segal and Sheril Antonio show how choice of shot can dramatically affect your narrative.With detailed analysis of clips from 45 films, from 30 countries, this is a unique window into how movie-making masters have made the most of their cameras and how you can too.Trade ReviewThis book is filled with the same love and knowledge of cinema that I experienced as a graduate student at NYU. I’m so excited that others can now share this knowledge. Drawing from important references both classic and new, Segal and Antonio guide us through the seemingly infinite possibilities of our craft, whilst beautifully illustrating its traditions. It is a wonderful resource for both experienced filmmakers and students. A treasure. * Joshua James Richards, Director of Photography of Nomadland (2020) *I really appreciate how a book like this introduces language and thinking that reflects a broader cultural perspective on the arts into the aesthetics of film form (i.e. referencing Seamus Heaney not because of his stature as a poet, but because of this insight as an artist and the way in which poetic and aesthetic insight is so relevant and so inspirational). Segal and Antonio weave their elegant prose with analytic insight; the writing is warm, passionate and precise. * Rick Litvin, Arts Professor, Tisch School of the Arts, New York University, USA *Table of Contents1. The Camera 2. The Static Camera 3. Camera Work and Formal Properties 4. Camera Work and the Close-Up 5. The Moving Camera 6. Camera Work and Mise En Scene 7. Camera Work and The Long Take 8. The Hand-held Camera 9. Creating Visual Dynamics Glossary Bibliography Online Resources Index

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Book SynopsisOffers a comprehensive study of the lost genre of Hong Kong documentary film. This book introduces students and scholars in Film Studies to this unexplored cinematic tradition. It is based on original archival research.

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Book SynopsisBased on rare archival documents and films, this anthology is the first to focus primarily on the use of official and colonial documentary films in the South and South-East Asian regions.

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Book SynopsisOffering a variety of case studies in which films have been remade across national borders, Transnational Film Remakes provides an analysis of cinematic remaking that moves beyond Hollywood to address the truly global nature of this phenomenon.Table of ContentsIntroduction; Transnational Film Remakes, lain Robert Smith and Constantine Verevis PART I: GENRES AND TRADITIONS; 1. Disrupting the Remake: The Girl with the Dragon Tattoo, Lucy Mazdon; 2. Fritz Lang Remakes Jean Renoir for Hollywood; Film Noir in Three National Voices, R. Barton Palmer; 3. The Cultural Politics of Re-making Spanish Horror films in the Twenty-First Century: Quarantine and Come Out and Play, Andy Willis; 4. For the Dead Travel Fast: The Transnational Afterlives of Dracula, lain Robert Smith PART II: GENDER AND PERFORMANCE; 5. The Chinese Cinematic Remake as Transnational Appeal: Zhang Yimou's A Woman, a Gun and a Noodle Shop, Kenneth Chan; 6. Transformation and Glamour in the Cross-Cultural Makeover: Return to Eden, Khoon Bhari Maang and the Avenging Woman in Popular Hindi Cinema, Michael Lawrence; 7. Translating Cool: Cinematic Exchange between Hong Kong, Hollywood, and Bollywood, Rashna Wadia Richards; 8. Trading Places: Das doppelte Lottchen and The ParentTrap, Constantine Verevis PART III: AUTEURS AND CRITICS; 9. A Tale of Two Balloons: Intercultural Cinema and Transnational Nostalgia in Le voyage du ballon rouge, David Scott Diffrient and Carl R. Burgchardt; 10. Crazed Heat: Nakahira Ko and theTransnational Self-Remake, David Desser; 11. Remaking Funny Games: Michael Haneke's Cross-Cultural Experiment, Kathleen Loock; 12. Reinterpreting Revenge: Authorship, Excess, and the Critical Reception of Spike Lee's Oldboy, Daniel Martin; 13. TheTransnational Film Remake in the American Press, Daniel Herbert; Contributors; Notes.

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Book SynopsisAddressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars explore the pressing issues in relation to female authorship in contemporary documentary practices.

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Book SynopsisFemale Agency and Documentary Strategies' centres on how self-portraiture and contemporary documentary manifestations such as blogging and the prevalent usage of social media shape and inform female subjectivities and claims to truth.

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Book SynopsisFemale Agency and Documentary Strategies centres on how self-portraiture and contemporary documentary manifestations such as blogging and the prevalent usage of social media shape and inform female subjectivities and claims to truth.

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Book SynopsisAddressing the politics of representation and authorship both behind and in front of the camera, a range of international scholars explore the pressing issues in relation to female authorship in contemporary documentary practices.

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Book SynopsisBased on rare archival documents and films, this anthology is the first to focus primarily on the use of official and colonial documentary films in the South and South-East Asian regions.

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Book SynopsisBased on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a 'tactical practice', contesting the normative definitions and functions assigned to culture, cultural production and producers in a neoliberal economic system.

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Book SynopsisTraces the very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 2000s in Morocco and Syria.

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Book SynopsisThe first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s.

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Book SynopsisThis book problematises how the sense of self and subjectivities are understood in contemporary China, and provides illuminating new insights on the changing notion of the individual through cinema.

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Book SynopsisThe study of amateur filmmaking and media history is a rapidly-growing specialist field, and this ground-breaking book is the first to address the subject in the context of British women's amateur practice.

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Book SynopsisAmerica's food system is broken, harming family farmers, workers, the environment, and our health. But it doesn't have to be this way. Here, brilliant innovators, scientists, journalists and activists explain how we can create a hopeful new future for food, if we have the courage to seize the moment.In 2008, the award-winning documentary Food, Inc. shook up our perceptions of what we ate. Now, the movie's timely sequel and this new companion book will address the remarkable developments in the world of food-from lab-grown meat to the burgeoning food sovereignty movement-that have unfolded since then.Featuring thought-provoking original essays from:Michael Pollan Eric Schlosser David E. Kelley and Andrew Zimmern Senator Cory Booker Sarah E. Lloyd Carlos A. Monteiro and Geoffrey Cannon Lisa Elaine Held Larissa Zimberoff Saru Jayaraman Christiana Musk Nancy Easton Leah Penniman David LeZaks and Lauren Manning The Coalition of Immokalee Workers Michiel Bakker Danielle NierenbergThis book is the perfect roadmap to understanding not only our current dysfunctional food system, but also what each of us can do to help reform it.

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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 SynopsisAndy Glynne subjects the whole documentary process to scrutiny with advice on: Developing your concept Funding Writing pitches and treatments Interview technique Narrative Writing commentary Dealing with ethical issues Camera technique Sound Lighting Post-production, editing and grading Marketing and distribution Film festivals The history of documentary With additional interviews with industry insiders and award-winning filmmakers who contribute their tips,tricks and advice, as well as layouts for budget spreadsheets, release forms, contracts and more...Trade ReviewEverything you ever wanted to know about the nuts-and-bolts, from idea development to screening, is here -- Quentin Falk * Academy Magazine *Essential reading... Endlessly fascinating... Five Stars * Empire Magazine *the books speak the international language of film and can be enjoyably read straight through but are priceless as sources of reference - all the while funny, insightful, and realistic...They're like filmmaking courses bound and at a fraction of the cost -- Ben Malczewski * Library Journal - Starred Review *

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Book SynopsisSUE VICE is Professor of English Literature at the University of Sheffield, UK. She is the author of Introducing Bakhtin (1997), Holocaust Fiction (2000), Children Writing the Holocaust (2004) and Jack Rosenthal (2009), and the editor of Representing the Holocaust: Essays in Honour of Bryan Burns (2003).

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Book SynopsisJ.M. TYREE is a Writer-at-Large for Film Quarterly and the co-author (with Ben Walters) of the BFI Film Classic on The Big Lebowski. He has taught at Stanford University, spoken at the BFI's National Film Theatre, and contributed to Sight & Sound magazine.

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Book SynopsisZoë Druick is Associate Professor in the School of Communication at Simon Fraser University, Canada. She is author of Projecting Canada and Allan King's A Married Couple, and co-editor of Programming Reality: Perspectives on English-Canadian Television and Cinephemera: Archives, Ephemeral Cinema and New Screen Histories in Canada. Deane Williams is Associate Professor in Film and Television Studies, Monash University, Australia. He is the author of Australian Post-War Documentary Films, co-author of Michael Winterbottom, co-editor of Australian Film Theory and Criticism, and editor of the journal Studies in Documentary Film.

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Book SynopsisDont Look Back, a documentary film of Bob Dylan's 1965 England tour, is recognised as a landmark work in the field of documentary film-making, contributing to the cultural life of an era. This text examines the aesthetic, thematic and social dynamics of the film in order to elucidate how and why it was a groundbreaking piece of documentary cinema.

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Book SynopsisIt's time to set the record straight about Steven Avery.The Netflix series Making a Murderer was a runaway hit, with over 19 million US viewers in the first 35 days. The series left many with the opinion that Steven Avery, a man falsely imprisoned for almost 20 years on a previous, unrelated assault charge, had been framed by a corrupt police force and district attorney's office for the murder of a young photographer. Viewers were outraged, and hundreds of thousands demanded a pardon for Avery. The chief villain of the series? Ken Kratz, the special prosecutor who headed the investigation and trial. Kratz's later misdeeds—prescription drug abuse and sexual harassment—only cemented belief in his corruption.This book tells you what Making a Murderer didn't.While indignation at the injustice of his first imprisonment makes it tempting to believe in his innocence, Avery: The Case Against Steven Avery and What Making a Murderer Gets Wrong and the evidence shared inside—examined thoroughly and dispassionately—prove that, in this case, the criminal justice system worked just as it should.With Avery, Ken Kratz puts doubts about Steven Avery's guilt to rest. In this exclu- sive insider's look into the controversial case, Kratz lets the evidence tell the story, sharing details and insights unknown to the public. He reveals the facts Making a Murderer conveniently left out and then candidly addresses the aftermath—openly discussing, for the first time, his own struggle with addiction that led him to lose everything.Avery systematically erases the uncertainties introduced by the Netflix series, confirming, once and for all, that Steven Avery is guilty of the murder of Teresa Halbach.Table of ContentsForewordChapter One True Crime TodayChapter Two The DisappearanceChapter Three The VictimChapter Four The PerpetratorChapter Five The BloodChapter Six The KeyChapter Seven The BonesChapter Eight The BulletChapter Nine The AccompliceChapter Ten The DecisionChapter Eleven The VillainsChapter Twelve The “Prize”Chapter Thirteen The Vast, Fantastical Police ConspiracyChapter Fourteen The AftermathAcknowledgments

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Book SynopsisThe theme of this book is the documentarian—what the documentarian is and how we can understand it as a concept. Working from the premise that the documentarian is a special—extended—sign, the book develops a model of a quadruple sign structure for-and-of the documentarian, growing out of enduring traditions in philosophy, semiotics, psychoanalysis, and documentary theory. Dan Geva investigates the intellectual premise that allows the documentarian to show itself as an extremely sophisticated, creative, and purposeful being-in-the-world—one that is both embedded in its own history and able to manifest itself throughout its entire documentary life project, as a stand-alone conceptual phase in the history of ideas. Table of Contents1. Introduction 2. Documentarian-Abstractness (DA) 3. Documentarian-Sensoriality (DS) 4. 4. Documentarian Práxis (DP) 5. 5. Documentarian-Invisibility (DI)

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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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