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Titlebook: Documentary Screens; Nonfiction Film and Keith Beattie Textbook 2004Latest edition The Editor(s) (if applicable) and The Author(s) 2004 ex

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发表于 2025-3-21 19:17:25 | 显示全部楼层 |阅读模式
书目名称Documentary Screens
副标题Nonfiction Film and
编辑Keith Beattie
视频video
概述Offers a clear and comprehensive analysis of documentary film and television. Initiates a ‘documentary studies‘ approach in which nonfictional work is situated within historical, economic and discipli
图书封面Titlebook: Documentary Screens; Nonfiction Film and  Keith Beattie Textbook 2004Latest edition The Editor(s) (if applicable) and The Author(s) 2004 ex
描述Documentary productions encompass remarkable representations of surprising realities. How do documentaries achieve their ends? What types of documentaries are there? What factors are implicated in their production? Such questions animate this engaging study. .Documentary Screens. is a comprehensive and critical study of the formal features and histories of central categories of documentary film and television. Among the categories examined are autobiographical, indigenous and ethnographic documentary, compilation films, direct cinema and cinema verite and television documentary journalism. The book also considers recent so-called popular factual entertainment and the future of documentary film, television and new media. This provocative and accessible analysis situates wide-ranging examples from each category within the larger material forces which impact on documentary form and content. The important connection between form, content and context explored in the book constitutes a new and lively ‘documentary studies‘ approach to documentary representation.
出版日期Textbook 2004Latest edition
关键词exceptionalfilm; cinema; film; media; New Media; television
版次1
doihttps://doi.org/10.1007/978-0-230-62803-8
copyrightThe Editor(s) (if applicable) and The Author(s) 2004
The information of publication is updating

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,‘Believe Me, I’m of the World’: Documentary Representation, documentarian draws on past and present actuality — the world of social and historical experience — to construct an account of lives and events. Embedded within the account of physical reality is a claim or assertion at the centre of all non-fictional representation, namely, that a documentary depi
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Men with Movie Cameras: Flaherty and Grierson,pment of documentary practices — is a varied one. Dziga Vertov, Walther Ruttmann, Joris Ivens, Pare Lorentz and Leni Riefenstahl are prominent in accounts of world documentary cinema, while two figures, Robert Flaherty (1884–1951) and John Grierson (1898–1972), are generally considered to be the fou
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Constructing and Contesting Otherness: Ethnographic Film, anatomy and physical movement of people he referred to as ‘savages’: ‘All savage peoples make recourse to gesture to express themselves; their language is so poor it does not suffice to make them understood … With primitive man, gesture precedes speech’ (quoted in Rony, 1996: 3). By the time he pub
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The Camera I: Autobiographical Documentary,ression of the self — through use of the first person ‘I’ — characterizes a written form which reflects and focuses various ‘personal’ or subjective issues and agendas. A move from written autobiography to filmed self-representation has extended the possibilities for the depiction of ‘first person’
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The Evening Report: Television Documentary Journalism,ort current events and notable personalities are news bulletins and current affairs programmes. Television news reports typically feature one or more news presenters or readers in a studio whose scripted to-camera comments are complemented by video footage of selected news items. Current affairs pro
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