Читать книгу A Companion to Documentary Film History - Группа авторов - Страница 16

The third section of this volume focuses on how scholars of nonfiction film work with both individual films and bodies of films as a way of understanding cinema’s relationship to the past. Like the other categories, a “movement” is one of the most enduring frameworks scholars have for classifying bodies of films—both nonfiction and fiction. However, the connective tissue that links films within a movement is not always self‐evident. The essays in this section interrogate those connections by addressing films that have been classified as part of film movements but do so in a way that establishes new, unanticipated connections with other films—those thought to be part of that movement as well as those outside of it—and cultural currents. As such, they urge us to reconsider the dominant associations of film movements with European cinema and with fiction film. Moreover, the term movement in scholarship on documentary film often takes on multiple meanings, referring to both the body of films and, frequently, the political movement with which they are aligned. The essays in this section explore in depth the implications of thinking of these films in relation to the movements with which they are associated. Sometimes this requires rigorous attention and sensitivity to the politics of the moment (Waugh), at others it requires reimagining what constitutes the movement itself (Gaines), and still at others it requires subverting the accepted genealogies of one of the most prominent movements in film history (Caminati).