This second book in the Routledge Docalogue series continues to model a new form for the discussion of documentary film, focusing on a new film and a different set of critical questions.
Dokumentarische Filme aller Genres in TV, Kino und Netz entfalten ihre informative Kraft erst dann, wenn sie dramaturgisch als Erzählungen strukturiert sind, nicht als Aufzählungen.
Adventurous Film Making (1980) looks at some more ambitious and interesting techniques and shows how these serve film makers in expressing their ideas.
Cinema and the Wealth of Nations explores how media, principally in the form of cinema, was used during the interwar years by elite institutions to establish and sustain forms of liberal political economy beneficial to their interests.
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.
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.
This book illustrates a distinctive lineage of critical interventions in moving image culture and in the public sphere through the trajectories of a small number of film and video organizations established between the 1970s and the early 1980s in Western Europe and North America mainly by women and still operative today.
This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos.
This book studies how the increase of visual representation of mixed-race Koreans formulates a particular racial project in contemporary South Korean media.
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.
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.
Alongside the upsurge in violence that came with the downfall of the Oslo era in the early 2000s, a new wave of documentaries emerged that centered on Palestinians' and Mizrahim's (Jews of Middle Eastern origins) historical and lived experiences of pain and oppression across Israel-Palestine and beyond.
Jurgen Bottcher and Documentary Film introduces the reader to this east-German filmmaker who, despite having made 40 films from the east side of the Berlin Wall, is practically unknown.
Environmental ethics presents and defends a systematic and comprehensive account of the moral relation between human beings and their natural environment and assumes that human behaviour toward the natural world can and is governed by moral norms.
Bringing together an expansive range of writing by scholars, critics, historians, and filmmakers, The Documentary Film Reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary.
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 investigates representations of Palestinian refugees in Gaza in colonial, humanitarian and Palestinian documentary films, spanning until the 1993 Oslo Agreement.
Dokumentarische Filme aller Genres in TV, Kino und Netz entfalten ihre informative Kraft erst dann, wenn sie dramaturgisch als Erzählungen strukturiert sind, nicht als Aufzählungen.
New media and digital technologies open up numerous possibilities to document different versions of reality, which makes it essential to examine how they transform the logic behind the creation and production of documentaries in digital cultures.
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 People's Front in Defense of Land of Atenco (the "e;Frente"e;) is an emblematic force in contemporary Mexican politics and in anti-capitalist, anti-neoliberal activist networks throughout the world.
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.
This groundbreaking edited collection is the first major study to explore the intersection between cognitive theory and documentary film studies, focusing on a variety of formats, such as first-person, wildlife, animated and slow TV documentary, as well as docudrama and web videos.
Staging West German Democracy examines how political "e;founding discourses"e; of the nascent Federal Republic (FRG) were reflected, reinforced, and actively manufactured by the Federal government in conjunction with the West German, state-controlled newsreel system, the Deutsche Wochenschau.
During the last two decades Spain has undergone an unprecedented transformation from being a country of emigrants to receiving a significant number of migrants from all around the world.
Largely forgotten during the last 20 years of his life, the Soviet filmmaker Dziga Vertov (1896-1954) has occupied a singular and often controversial position over the past sixty years as a founding figure of documentary, avant-garde, and political-propaganda film practice.
American Documentary Filmmaking in the Digital Age examines the recent challenges to the conventions of realist documentary through the lens of war documentary films by Ken Burns, Michael Moore, and Errol Morris.
Forced to contend with unprecedented levels of psychological trauma during World War II, the United States military began sponsoring a series of nontheatrical films designed to educate and even rehabilitate soldiers and civilians alike.
