The Documentary Impulse

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Author: Stuart Franklin

Publisher: Phaidon Press

ISBN: 9780714870670

Category: Photography

Page: 216

View: 6794

Award-winning photographer Stuart Franklin's exploration of how we, as humans, are driven to visually document our experiences and the world around us. Stuart Franklin took one of the most powerful photographs of the twentieth century - the 'tank man' in Tiananmen Square, Beijing, 1989. From his insightful position as a photographer, Franklin explores why we are driven to visually document our experiences and the world around us. He focuses on photography but traces this universal need through art, literature and science. Looking at photojournalism, war photography and work recording our culture, Franklin identifies some of its driving impulses: curiosity, outrage, reform and ritual; the search for evidence, for beauty, for therapy; and the immortalization of memory. As our understanding of 'documentary' continues to expand, Franklin considers photographic staging - where, perhaps, the future of the genre may lie: in search of truth over fact. "This book traces what I shall call the documentary impulse. Here I mean the passion to record, with fidelity, the moments we experience and wish to preserve, the things we witness and might want to reform; or simply the people, places or things we find remarkable... Photography (and journalism) practised respectfully has the power to educate us all towards a greater understanding and empathy towards others." —Stuart Franklin

Immediations

The Humanitarian Impulse in Documentary

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Author: Pooja Rangan

Publisher: Duke University Press

ISBN: 0822373106

Category: Performing Arts

Page: 272

View: 8782

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to “give a voice to the voiceless,” an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations—tropes that reinforce their status as the “other” and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other.

Documentary Expression and Thirties America

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Author: William Stott

Publisher: University of Chicago Press

ISBN: 9780226775593

Category: History

Page: 369

View: 4391

Views the merits of the documentary and examines its use in America during the thirties and early forties

Doing Documentary Work

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Author: Robert Coles

Publisher: New York Public Library

ISBN: 9780195124958

Category: Performing Arts

Page: 278

View: 8048

Demonstrates how documentary work is a narrative constructed by the observer and meant not only to represent reality but to interpret it, and provokes consideration of how fine a line exists between fact and perception.

Documenting the World

Film, Photography, and the Scientific Record

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Author: Gregg Mitman,Kelley Wilder

Publisher: University of Chicago Press

ISBN: 022612925X

Category: Science

Page: 304

View: 5719

Imagine the twentieth century without photography and film. Its history would be absent of images that define historical moments and generations: the death camps of Auschwitz, the assassination of John F. Kennedy, the Apollo lunar landing. It would be a history, in other words, of just artists’ renderings and the spoken and written word. To inhabitants of the twenty-first century, deeply immersed in visual culture, such a history seems insubstantial, imprecise, and even, perhaps, unscientific. Documenting the World is about the material and social life of photographs and film made in the scientific quest to document the world. Drawing on scholars from the fields of art history, visual anthropology, and science and technology studies, the chapters in this book explore how this documentation—from the initial recording of images, to their acquisition and storage, to their circulation—has altered our lives, our ways of knowing, our social and economic relationships, and even our surroundings. Far beyond mere illustration, photography and film have become an integral, transformative part of the world they seek to show us.

Documentary Across Disciplines

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Author: Erika Balsom,Hila Peleg

Publisher: Mit Press

ISBN: 9780262529068

Category: Art

Page: 320

View: 2482

Contemporary engagements with documentary are multifaceted and complex, reaching across disciplines to explore the intersections of politics and aesthetics, representation and reality, truth and illusion. Discarding the old notions of "fly on the wall" immediacy or quasi-scientific aspirations to objectivity, critics now understand documentary not as the neutral picturing of reality but as a way of coming to terms with reality through images and narrative. This book collects writings by artists, filmmakers, art historians, poets, literary critics, anthropologists, theorists, and others, to investigate one of the most vital areas of cultural practice: documentary. Their investigations take many forms -- essays, personal memoirs, interviews, poetry. Contemporary art turned away from the medium and toward the world, using photography and the moving image to take up global perspectives. Documentary filmmakers, meanwhile, began to work in the gallery context. The contributors consider the hybridization of art and film, and the "documentary turn" of contemporary art. They discuss digital technology and the "crisis of faith" caused by manipulation and generation of images, and the fading of the progressive social mandate that has historically characterized documentary. They consider invisible data and visible evidence; problems of archiving; and surveillance and biometric control, forms of documentation that call for "informatic opacity" as a means of evasion. ContributorsAriella Azoulay, Zach Blas, Christa BluÌ^mlinger, Stella Bruzzi, Lucien Castaing-Taylor, Kris Fallon, Evgenia Giannouri, Ben Lerner, SylveÌre Lotringer, Antonia Majaca, Sohrab Mohebbi, Volker Pantenburg, Veìreìna Paravel, Christopher Pinney, Ben Rivers, and Eyal Sivan Copublished with the Haus der Kulturen der Welt (HKW), Berlin

Documentary photography

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Author: Arthur Rothstein

Publisher: Focal Pr

ISBN: N.A

Category: Photography

Page: 172

View: 8968

From Matthew Brady's Civil War photographs to the present, this account describes documentary photography and its techniques with many examples.

Collecting Visible Evidence

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Author: Jane Gaines,Michael Renov

Publisher: U of Minnesota Press

ISBN: 9780816631353

Category: Performing Arts

Page: 339

View: 6058

In documentary studies, the old distinctions between fiction and nonfiction no longer apply, as contemporary film and video artists produce works that defy classification. Coming together to make sense of these developments, the contributors to this book effectively redefine documentary studies. They trace the documentary impulse in the early detective camera, in the reenactment of battle scenes from World War I, and in the telecast of the Nevada A-Bomb test in 1949. Other topics include experiments in virtual reality; the crisis of representation in anthropology; and video art and documentary work that challenges the asymmetry of the postcolonial Us/Them divide.

Trauma and Documentary Photography of the FSA

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Author: Sara Blair,Eric Rosenberg

Publisher: Univ of California Press

ISBN: 0520265653

Category: Photography

Page: 115

View: 2597

"Coauthored by the literary scholar Sara Blair and the art historian Eric Rosenberg, this volume of the Defining Moments in American Photography series offers new ways to understand the work of the famous Farm Security Administration photographers by exploring an expanded and much more variable idea of the documentary than what New Dealers proposed. The coauthors follow in the line of scholars who have, on the one hand, looked critically at the FSA photography project and identified its goals, biases, contradictions, and ambivalences and, on the other hand, discerned strikingly independent directions among its photographers. But what distinguishes their work from that of others is their wrestling with a specific term often applied to the Depression era: trauma. If it was the case that documentary, as a genre, and FSA photographs, as an umbrella project, came to prominence during a time of trauma and in the hands of socially minded photographers was meant to address and publicize trauma, the coauthors of this volume seek to understand how trauma and photography mixed and how, in the volatility of that mixture, the competing ideas for documentary took shape. Among the key figures they study are some of the most beloved in American photography, including Walker Evans, Ben Shahn, and Aaron Siskind"--Provided by publisher.

The Urban Generation

Chinese Cinema and Society at the Turn of the Twenty-First Century

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Author: Zhen Zhang

Publisher: Duke University Press

ISBN: 9780822340744

Category: Performing Arts

Page: 447

View: 8238

DIVAn anthology that explores film works by the "urban generation,"--filmmakers who operate outside of "mainstream" (officially sanctioned) Chinese cinema -- whose impact has been enormous./div

Remaking Reality

U.S. Documentary Culture after 1945

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Author: Sara Blair,Joseph B. Entin,Franny Nudelman

Publisher: UNC Press Books

ISBN: 1469638703

Category: History

Page: 264

View: 4200

After World War II, U.S. documentarians engaged in a rigorous rethinking of established documentary practices and histories. Responding to the tumultuous transformations of the postwar era--the atomic age, the civil rights movement, the Vietnam War, the emergence of the environmental movement, immigration and refugee crises, student activism, the globalization of labor, and the financial collapse of 2008--documentary makers increasingly reconceived reality as the site of social conflict and saw their work as instrumental to struggles for justice. Examining a wide range of forms and media, including sound recording, narrative journalism, drawing, photography, film, and video, this book is a daring interdisciplinary study of documentary culture and practice from 1945 to the present. Essays by leading scholars across disciplines collectively explore the activist impulse of documentarians who not only record reality but also challenge their audiences to take part in reality's remaking. In addition to the editors, the volume's contributors include Michael Mark Cohen, Grace Elizabeth Hale, Matthew Frye Jacobson, Jonathan Kahana, Leigh Raiford, Rebecca M. Schreiber, Noah Tsika, Laura Wexler, and Daniel Worden.

Animated Documentary

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Author: Annabelle Honess Roe

Publisher: Springer

ISBN: 1137017465

Category: Performing Arts

Page: 194

View: 1567

Animated Documentary, the first book to be published on this fascinating topic, considers how animation is used as a representational strategy in nonfiction film and television and explores the ways animation expands the range and depth of what documentary can show us about the world. On behalf of the Society for Animation Studies(SAS), the Chair of the Jury announced the book as the winner of the delayed 2015 SAS McLaren-Lambart Award with the following words: 'Animated Documentary is a vital addition to both animation scholarship and film studies scholarship more broadly, expertly achieving the tricky challenge of synthesising these two scholarly traditions to provide a compelling and brilliantly coherent account of the animated documentary form. At the heart of Roe’s book is the conviction that animated documentary “has the capacity to represent temporally, geographically, and psychologically distal aspects of life beyond the reach of live action” (p. 22). As a representational strategy, Roe details how animated documentary can be seen to adopt techniques of “mimetic substitution, non-mimetic substitution and evocation” in response to the limitations of live action material (p. 26). Animated Documentary will without doubt become an essential resource for many years to come for anyone interested in the intersection of animation and documentary.'

Encyclopedia of the Documentary Film 3-Volume Set

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Author: Ian Aitken

Publisher: Routledge

ISBN: 1135206201

Category: Performing Arts

Page: 1968

View: 845

The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.

Manufacturing Truth

The Documentary Moment in Early Soviet Culture

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Author: Elizabeth Astrid Papazian

Publisher: N.A

ISBN: 9780875803890

Category: History

Page: 282

View: 2056

The Bolshevik Revolution uprooted not only the social and political systems of the Russian Empire, but existing artistic institutions and traditions as well. Following the revolution, Soviet artists working in all different media had to respond to the urgent problem of how to make art relevant, even essential, to the revolutionary project undertaken by the Bolshevik Party. Focusing on the years 1921–1934, Manufacturing Truth explores the great upsurge in documentary methods and approaches in the arts and reveals how the documentary impulse influenced the development of Stalinist culture. Documentary approaches in literature and film became a central means for redefining the role of the artist, of art itself, and of the institution of art in the new post-revolutionary Soviet society. The documentary impulse offered theorists and practitioners from a wide variety of artistic factions an opportunity to make their art relevant to the revolutionary project. Participation in this trend was supported not only by the avant-garde, which initiated it, but by representatives of artistic movements across the political and stylistic spectrum, in a variety of media. In using documents and documentary methods, writers and filmmakers of the era imparted to their artistic work a kind of authenticity, conveying a sense that they were producing an objective record of a reality that was being rapidly and radically transformed. At the same time, through the act of recording the building of socialism they became participants in the process, thus responding to a perceived historical imperative. As Soviet artists struggled toward the objectivity of historical processes, however, the tension between the two competing aspects of the documentary impulse—its evidentiary quality (“fact”) and its discursive quality (“artifact”)—grew into a contradiction. The anxiety of Soviet authors to be relevant to the revolution led them to the near effacement of authorship itself. Papazian analyzes the works of Sergei Tretiakov, Dziga Vertov, Maxim Gorky, and Mikhail Zoshchenko to reveal how the documentary impulse defined each author's individual artistic trajectory and led him inexorably to the socialist realist aesthetic.

The Druggist of Auschwitz

A Documentary Novel

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Author: Dieter Schlesak

Publisher: Farrar, Straus and Giroux

ISBN: 9781429958929

Category: Fiction

Page: 384

View: 4860

Dieter Schlesak's haunting novel The Druggist of Auschwitz—beautifully translated from the German by John Hargraves—is a frighteningly vivid portrayal of the Holocaust as seen through the eyes of criminal and victim alike. Adam, known as "the last Jew of Schäßburg," recounts with disturbing clarity his imprisonment at the infamous Auschwitz concentration camp. Through Adam's fictional narrative and excerpts of actual testimony from the Frankfurt Auschwitz Trial of 1963–65, we come to learn of the true-life story of Dr. Victor Capesius, who, despite strong friendships with Jews before the war, quickly aided in and profited from their tragedy once the Nazis came to power. Interspersed with historical research and the author's face-to-face interviews with survivors, the novel follows Capesius from his assignment as the "sorter" of new arrivals at Auschwitz—deciding who will go directly to the gas chamber and who will be used for labor—through his life of lavish wealth after the war to his arrest and eventual trial. Schlesak's seamless incorporation of factual data and testimony—woven into Adam's dreamlike remembrance of a world turned upside down—makes The Druggist of Auschwitz a vital and unique addition to our understanding of the Holocaust.

American Documentary Film: Projecting the Nation

Projecting the Nation

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Author: Jeffrey Geiger

Publisher: Edinburgh University Press

ISBN: 0748629467

Category: Performing Arts

Page: 288

View: 6454

Richard Wall Memorial Award 2012 - Finalist. What key concerns are reflected in documentaries produced in and about the United States? How have documentaries engaged with competing visions of US history, culture, politics, and national identity? This book examines how documentary films have contributed to the American public sphere - creating a kind of public space, serving as sites for community-building, public expression, and social innovation. Geiger focuses on how documentaries have been significant in forming ideas of the nation, both as an imagined space and a real place. Moving from the dawn of cinema to the present day, this is the first full-length study to focus on the extensive range and history of American non-fiction filmmaking. Combining comprehensive overviews with in-depth case studies, Geiger maps American documentary's intricate histories, examining the impact of pre- and early cinema, travelogues, the avant-garde, 1930s social documentary, propaganda, direct cinema, postmodernism, and 'new' documentary. Offering detailed close analyses and fresh insights, this book provides students and scholars with a stimulating guide to American documentary, reminding us of its important place in cinema history.