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
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).
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
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wiki: Myron is the identify of a 1974 novel via Gore Vidal. It was once written as a sequel to his 1968 bestseller Myra Breckinridge. the radical was once released almost immediately after an anti-pornography ruling by means of the splendid court docket; Vidal answered by means of exchanging the profanity in his novel with the names of the Justices concerned (e. g. , "He thrust his huge, immense Rehnquist deep inside of her Whizzer White", and so on. ).
During this booklet the Indian poet Salma and filmmaker Kim Longinotto come jointly to painting Salma’s amazing existence and the demanding situations of shooting it in a documentary film.
When Salma, a tender Muslim lady becoming up in a South Indian village, used to be thirteen years previous, her kin close her away for 8 years, forbidding her to check and forcing her into marriage. After her marriage ceremony her husband insisted she remain interior. Salma used to be not able to enterprise outdoors for almost and a part a long time. in the course of that point, phrases grew to become her salvation. She started covertly composing poems on scraps of paper, and, via an tricky process, smuggled them to the surface world.
The poems, a lot of that are incorporated right here, describe the hardships Salma and numerous ladies like her undergo of their secluded lives. ultimately they reached an area writer who revealed them. opposed to all odds, and in a right away problem to the stultifying traditions of her village, Salma has long past directly to develop into a popular Tamil poet and influential human rights activist.
In examining the Figural, or, Philosophy after the recent Media D. N. Rodowick applies the idea that of “the figural” to numerous philosophical and aesthetic matters. encouraged by way of the cultured philosophy of Jean-François Lyotard, the figural defines a semiotic regime the place the excellence among linguistic and plastic illustration breaks down.
With overdue Godard and the probabilities of Cinema, Daniel Morgan makes an important contribution to scholarship on Jean-Luc Godard, particularly his movies and movies because the overdue Eighties, essentially the most notoriously tricky works in modern cinema. via precise analyses of prolonged sequences, technical options, and formal experiments, Morgan offers an unique interpretation of a sequence of a number of internally comparable films—Soigne ta droite (Keep Your correct Up, 1987), Nouvelle obscure (New Wave, 1990), and Allemagne ninety neuf zéro (Germany ninety 9 0, 1991)—and the huge overdue video paintings, Histoire(s) du cinéma (1988-1998).
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Additional info for The Concise Routledge Encyclopedia of the Documentary Film
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.