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New History of Documentary Film 3rd edition [Pehme köide]

(Independent Scholar, USA)
  • Formaat: Paperback / softback, 464 pages, kõrgus x laius x paksus: 224x147x25 mm, kaal: 700 g, 110 bw illus and 14 color illus
  • Ilmumisaeg: 26-Jan-2023
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 1501385151
  • ISBN-13: 9781501385155
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  • Formaat: Paperback / softback, 464 pages, kõrgus x laius x paksus: 224x147x25 mm, kaal: 700 g, 110 bw illus and 14 color illus
  • Ilmumisaeg: 26-Jan-2023
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 1501385151
  • ISBN-13: 9781501385155

A New History of Documentary Film includes new research that offers a fresh way to understand how the field began and grew. Retaining the original edition's core structure, there is added emphasis of the interplay among various approaches to documentaries and the people who made them. This edition also clearly explains the ways that interactions among the shifting forces of economics, technology, and artistry shape the form.

New to this edition:
- An additional chapter that brings the story of English language documentary to the present day
- Increased coverage of women and people of color in documentary production
- Streaming
- Black Lives Matter
- Animated documentaries
- List of documentary filmmakers, organized chronologically by the years of their activity in the field

Arvustused

A New History ofDocumentary Film is a well-written and compelling overview of nonfiction filmmakings rich past, present, and future. * Film Matters * Clearly written, rich with well-researched, historical details, and contemporary critical insights, Betsy A. McLanes A New History of Documentary Film, 3rd ed., informs and analyzes (primarily) English language, nonfiction film, including recent works by women and non-white documentarians. Enhancing understanding and increasing enjoyment, McLane expands our knowledge, placing works within social and cultural, political and personal contexts, illuminating technical and aesthetic elements alike with well-chosen examples. This book is a joy to read with ample illustrations, text, and film recommendations and a useful index. * Diane Carson, Professor Emerita and Past President, St. Louis Community College and University Film and Video Association, USA * Documentary film is all around us. Cinema was born non-fictional but the history of film for too long did not devote to documentary the due attention. It was a global shortsightness, not restricted to the anglophile world. Fortunately those days are gone. Building from the groundbreaking work of Erik Barnouw and her own partnership with Jack S. Ellis for the first version of A New History of Documentary Film (2005), Betsy A. McLane regales us with a third, brand new edition, reviewing and updating a book that was already unique and prodigious when last appeared one decade ago. In a single volume here is the evolution of the documentary cinema, introducing the pioneer production of Robert Flaherty and Western European and Soviet documentarists and focusing especially on the USA, UK and Canada experiences, from its first steps to our 21st Century in all its diversity of voices and formats. Elegantly written and full of insights about an ever changing landscape, it is an essential guide for moviegoers, film students, filmmakers and any reader interested in a better understanding of one of the fundamental artistic expressions of an increasingly complex world. * Amir Labaki, Founder and director, É Tudo Verdade/Its All True International Documentary Film Festival, Brazil, and author of A Verdade de Cada Um - O Documentário na Visão de Seus Principais Realizadores (2015) and Introdução ao Documentário Brasileiro (2006) *

Muu info

An up-to-date historical overview of documentary history, the role of women in documentary history, and consideration of newest trends and global filmmaking.
List of Illustrations
ix
Preface xvi
Introduction 1(4)
How to Study Documentary
1(2)
How to Use This Book
3(2)
1 Ways to Think About Documentary
5(12)
Description
5(4)
Definition
9(2)
Intellectual Contexts
11(6)
2 Origins
17(16)
Early War and Propaganda Films
22(3)
Propaganda
25(8)
3 Exploration and Establishment
33(26)
Exploration
34(4)
Early Visual Anthropology
38(3)
Frances and Robert Flaherty
41(18)
4 The Soviets
59(16)
Reportage/Newsreel
61(3)
Theory
64(2)
Compilation
66(2)
Epic
68(2)
Fiction and Documentary
70(5)
5 Avant-Garde Expressions
75(14)
Avant-Garde and Documentary
76(2)
City Symphonies
78(3)
Three Classic European City Symphonies
81(5)
Changes in the Avant-Garde
86(3)
6 Institutionalization: Great Britain, 1929-39
89(22)
Background
91(2)
The System
93(4)
The Films
97(6)
Women Filmmakers
103(3)
Griersons Lasting Contribution
106(5)
7 Institutionalization: United States
111(22)
The March of Time
112(2)
Government Sponsorship
114(8)
Nongovernment Documentaries
122(5)
Comparisons: The United Kingdom and The United States
127(2)
Canada
129(1)
An Aside
129(4)
8 The Second World War
133(44)
Part A Great Britain
133(12)
Part B Canada
145(7)
Part C United States
152(17)
Conclusions
169(8)
9 The Postwar Era, 1945--60
177(26)
Personnel and Leadership
180(3)
Sponsorship
183(1)
Marshall Plan Films
184(6)
Canadian Independents
190(1)
USIA Films
191(4)
Subjects
195(2)
Approaches and Techniques
197(6)
10 A New Channel: Documentary for Television, 1951--71
203(16)
A Technical Note
203(1)
Historical Background
204(2)
Documentary Series
206(7)
Characteristics of Broadcast Television Documentary
213(6)
11 Free Cinema/New American Cinema, 1953--69
219(14)
Britain
219(1)
Critical Background
220(1)
The Films
221(3)
Meaning
224(2)
United States
226(1)
New York School Films
227(2)
New American Cinema
229(4)
12 Cinema Verite/Direct Cinema
233(28)
Historical Background
234(1)
New Technologies
235(2)
Canada
237(1)
United States
238(3)
The Films
241(7)
France
248(2)
Direct Cinema versus Cinema Verite
250(1)
Effects on Subjects and Styles
251(4)
Opposite Directions
255(6)
13 Power to the People: The 1970s
261(26)
Some Established Filmmakers
262(4)
New Directions in CV/Direct
266(5)
Political Emphases
271(4)
The Feminist Surge
275(1)
Women's Institutions
276(2)
Challenge for Change
278(1)
Public Access Television
279(1)
Other Emerging Organizations
280(3)
Conclusions
283(4)
14 Video Arrives and Conquers: The 1980s
287(30)
Film to Video
287(3)
Cable and Satellite Technology
290(3)
The Personal Essay Film
293(1)
Historical Compilation
294(3)
Strictly Political
297(1)
Ongoing Activism
297(1)
Racial and Ethnic Voices
298(8)
Canada
306(1)
England
307(1)
Representing Gay and Lesbian Culture
308(9)
15 100 Years of Documentary
317(28)
Business and Technology: The Bad and the Good
318(3)
American Public Television
321(2)
Archival Storytelling
323(5)
The Ken Burns Phenomenon
328(2)
Canada Soldiers On
330(2)
Developments in the UK
332(5)
American Independents
337(8)
16 Documentary Traditions in the Twenty-first Century
345(22)
United States
345(3)
Six Noted Filmmakers
348(12)
Animation
360(2)
Experimental Film
362(5)
17 Academic and Theoretical Approaches
367(14)
Finance
369(2)
Money and Ethics
371(5)
Film Festivals
376(5)
18 Now and When
381(26)
Globalization
382(2)
Aesthetics and Content
384(2)
Intimate Doings of Reality
386(2)
Technologies
388(4)
Social Media and Documentary
392(2)
Commitment to History
394(3)
Effectiveness
397(4)
Conclusions
401(6)
Documentaries About Documentaries
407(13)
Filmmakers
409(1)
Introduction to Lists
409(2)
First-generation Documentary Makers
411(2)
Second-generation Documentary Makers
413(2)
Third-generation Documentary Makers
415(5)
Author Index 420(12)
Film Tides 432
Betsy A. McLane, Ph.D. is the author of A New History of Documentary Film. She was Executive Director of the International Documentary Association for 8 years. Dr. McLane was a member of the faculties of Loyola Marymount University, Emerson College, The University of Vermont, and Southern Oregon University, USA. She is a member of the Documentary Branch of The Academy of Motion Picture Arts and Sciences, and was the first woman President of the University Film and Video Association.