As we approach the end of the 'era of the witness', given the passing on of the generation of Holocaust survivors, Claude Lanzmann's archive of 220 hours of footage excluded from his ground-breaking documentary Shoah (1985) offers a remarkable opportunity to encounter previously unseen interviews with survivors and other witnesses, recorded in the late 1970s.
New Nonfiction Film: Art, Poetics and Documentary Theory is the first book to offer a lengthy examination of the relationship between fiction and documentary from the perspective of art and poetics.
Drawing together 18 contributions from leading international scholars, this book conceptualizes the history and theory of cinema's century-long relationship to modes of exploration in its many forms, from colonialist expeditions to decolonial radical cinemas to the perceptual voyage of the senses made possible by the cinematic apparatus.
Comprising essays from some of the leading scholars and practitioners in the field, this is the first book to investigate twenty-first century radical film practices across production, distribution and exhibition at a global level.
Audiovisual Healing and Reparation gathers a collection of scholarly and creative voices that explore how audiovisual media can serve as a catalyst for healing, reparation, resilience, care and hope.
This book, first published in 1983, brings together leading world experts on film and radio propaganda in a study which deals with each of the major powers as well as several under occupation.
In this revised and updated edition of the StoryCenter's popular guide to digital storytelling, StoryCenter founder Joe Lambert offers budding storytellers the skills and tools they need to craft compelling digital stories.
With contributions from noted critics and film historians from both countries, this book, first published in 1994, examines some of the most innovative and disturbing propaganda ever created.
This book is the first critical anthology to examine the controversial history of the zoo by focusing on its close relationship with screen media histories and technologies.
Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness.
This book, first published in 1983, brings together leading world experts on film and radio propaganda in a study which deals with each of the major powers as well as several under occupation.
This collection of fourteen essays provides a rich and detailed history of the relationship between and music and image in documentary films, exploring the often overlooked role of music in the genre and its subsequent impact on an audience's perception of reality and fiction.
Producer's Playbook: Real People on Camera is a no-nonsense guide for producers looking to get the best performances from "e;real people"e; to tell powerful stories on video.
The Archive Effect: Found Footage and the Audiovisual Experience of History examines the problems of representation inherent in the appropriation of archival film and video footage for historical purposes.
From Afghanistan to Zimbabwe, priceless documentary heritage records the diversity of languages, peoples and knowledge that has influenced humanity from the early days of human history to the present.
In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience.
Border Crossings and Mobilities on Screen explores the movement, fluidity and change characterizing contemporary life, as represented on screen media, from mobile devices, to television, film, computers, video art and advertising displays.
In a digital moment where both the democratizing and totalitarian possibilities of media are unprecedented, the need for complex, ethical, and imaginative documentary media-for you, the reader of this book to think, question, and create-is vital.
As we approach the end of the 'era of the witness', given the passing on of the generation of Holocaust survivors, Claude Lanzmann's archive of 220 hours of footage excluded from his ground-breaking documentary Shoah (1985) offers a remarkable opportunity to encounter previously unseen interviews with survivors and other witnesses, recorded in the late 1970s.
Downtown Film and TV Culture, 1975-2001 brings together essays by filmmakers, exhibitors, cultural critics, and scholars from multiple generations of the New York Downtown scene to illuminate individual films and filmmakers and explore the creation of a Downtown Canon, the impact of AIDS on younger filmmakers, community access cable television broadcasts, and the impact of the historic downtown scene on contemporary experimental culture.
Mapping out a diverse journey through documentary distribution, this book is a comprehensive global how-to reference guide, providing insights into the landscape of documentary distribution; targeting the right audiences to expand the reach of your documentary; and building a sustainable career.
Dont Look Back, a documentary film of Bob Dylan's 1965 England tour, is recognised as a landmark work in the field of documentary film-making, contributing to the cultural life of an era.
Open Space New Media Documentary examines an emerging and significant area of documentary practice in the twenty-first century: community-based new media documentary projects that move across platforms and utilize participatory modalities.
The Music Documentary offers a wide-range of approaches, across key moments in the history of popular music, in order to define and interrogate this prominent genre of film-making.
Despite the prominence of "e;awkwardness"e; as cultural buzzword and descriptor of a sub-genre of contemporary film and television comedy, it has yet to be adequately theorized in academic film and media studies.
Ever since John Grierson popularized the term 'documentary,' British non-fiction film has been renowned, sometimes reviled, but seldom properly appreciated.
For nearly two decades, Documentary Storytelling has reached filmmakers and filmgoers worldwide with its unique focus on the key ingredient for success in the global documentary marketplace: storytelling.
How are climate change, weather-related disasters, food and water insecurity, and energetic and infrastructural collapse narrated audiovisually in the most environmentally vulnerable areas of the Planet?
The portrayal of historical atrocity in fiction, film, and popular culture can reveal much about the function of individual memory and the shifting status of national identity.
