Download PDF by Ian Aitken: The Concise Routledge Encyclopedia of the Documentary Film

Download PDF by Ian Aitken: The Concise Routledge Encyclopedia of the Documentary Film

By Ian Aitken

Publish 12 months note: First released as The Encyclopedia of the Documentary Film in 2006. this is often the concise edition released 2013
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The Concise Routledge Encyclopedia of the Documentary movie is a completely foreign reference paintings at the background of the documentary movie from the Lumière brothers' employees Leaving the manufacturing facility (1885) to Michael Moore's Fahrenheit 911 (2004).

Contents
List of stills vi
Board of advisers vii
List of members viii
List of entries A–Z xiii
Thematic record of entries xix
Documentary movie: an advent 1
Encyclopedia entries A–Z 17
Index 1036

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Both Abel Gance: Yesterday and Tomorrow and Abel Gance: The Charm of Dynamite capture a 1960s cineaste’s excitement in recognizing the art of a neglected major silent filmmaker. W. Griffith, Erich von Stroheim, Sergei Eisenstein, and Orson Welles. Lauded today for his innovative cinematic achievements, Gance ultimately was denied the freedom to make motion pictures the way he wished, as his iconoclastic vision could not be supported by the film industry. FRANK SCHEIDE Abel Gance, hier et demain/Abel Gance: Yesterday and Tomorrow (France, 1962, 30 mins).

However, the phrase ‘formalistmodernism’ is a contentious one, and modernism has both supporters and detractors. For the former an absolute engagement with the aesthetic could, as Theodor Adorno and others before him have argued, constitute a standpoint of rejection against the instrumentality and degradation of contemporary human existence. Even though Ruttmann (a former painter) himself may have had only or mainly formalist aesthetic intentions when making Berlin, this does not mean that other forms of meaning and significance cannot be attributed to the film, which, it could be argued, stands today as an example of Adorno’s ‘autonomous art’: art that stands against the ‘machine world’.

So, the documentary film is a necessarily and inherently problematical medium in that what lies at its essential centre—the representation of perceptual reality—loses its primacy once such representation become inserted into mechanistic narrative configurations drawn from other sources, whether those sources lie in the arts or the social and natural sciences. There is, therefore, ground present for a potential antithetical conflict here between the deployment of empirical sequences that preserve the continuum of human perceptual experience and a concomitant deployment of intermediary and abstract structures that negate that continuum; this antithesis between an unadulterated, unmediated model of the documentary film, and one that employs mediation to a greater or lesser extent, has driven many of the debates and controversies that have arisen around the development of the medium.

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