Читать книгу A Companion to Documentary Film History - Группа авторов - Страница 2

1  Cover

2  Title Page

3  Copyright Page

4  List of Contributors

5  Introduction: Expanding Documentary Histories Documentary Film and the Documentary Tradition Writing Documentary History Thematic Strands References Acknowledgments

6  Part I: Documentary Borders and Geographies Introduction References 1 A Distant Local View Introduction Domestic Films for Overseas Consumption Motion Pictures for Occupied Territories Small‐Town Films Small‐Town Films as Local Films References 2 The Work of Displacement in Colonial Documentary Introduction Displacing Outrage and Mobilization to French West Africa: René Vautier and the Making of Afrique 50 The Work of Displacement in the Metropole: Afrique sur Seine, Paulin Vieyra, and the Groupe Africain du Cinéma References 3 Negation of the Negation Rotha, Japan, and Documentary Theory Reality and Actuality: Tsumura Hideo Cinema of Facts: Imamura Taihei Sur‐documentary: Hanada Kiyoteru Conclusion References

7  Part II: Authors, Authorship, and Authoring Agencies Introduction References 4 The Topographical Aesthetic in Late Stalinist Soviet Documentary Film Introduction Institutions and Genre Definitions Films and the “Topographical Aesthetic” Soviet Patriotism Survival Strategy Conclusion References 5 Documentality Introduction Governmentality and Modernity The Psy‐disciplines and Citizenship Mental Mechanisms and Mental Symptoms Conclusion References 6 Unmanned Capture Introduction Death of the Camera Unmanning + Capture Scene 1: Double Hit Scene 2: Racialized Capture and the Politics of Nonrecognition Coda References 7 Corporate Authorship Introduction Making a Corporate Film in the 1950s Corporate Film Conflict and the Discourse of Authorial Control Corporate Authorship in a New Authorial Context Corporate Personhood, or, Authors upon Authors in a World Without Authors References 8 A Skillful Isis Introduction Editing as Re‐editing: Revision and Preservation Editing as Collective Labor: Found Footage and Women’s Work Editing as Caretaking References 9 Now and Then 1 2 3 4 5 References

8  Part III: Films and Film Movements Introduction Films and Film Movements Connective Tissue Classification and Terminology References 10 Documentary Dreams of Activism and the “Arab Spring” The Soviet Socialist Legacy Two Media Activist Moments 80 Years Apart “That Google Guy”: Wael Ghonim The Critique of Realism and the Crisis of Historicism 1917 Coda References 11 A Culture of Reality Introduction The Neorealist Imperative Rossellini's Animals Rossellini as a Narrative Documentary Filmmaker Rouch and Rossellini Rouch and the Ethnographic Discourse Voyage to India Conclusion References 12 The Romantic Becomes Dialectic? Introduction Cold War Phase‐In 1947–1954: Reinventing Socialist Realism Lied der Ströme: Cold War Watershed? Conclusion References

9  Part IV: Media Archaeologies Introduction References 13 A Concise History and Theory of Documentaries on the Visual Arts Introduction Origins and Prewar Developments “The Golden Age,” Europe 1940–1960 and FIFA Major Figures: Emmer, Storck, and Resnais Education and Research Versus Artistic Autonomy Artists and Acts of Creation Art Book and Museum Television: Standardization and Deconstruction From the Neo‐Avant‐Garde to Post‐Cinema References 14 Documentary in the Age of Mass Mobility Introduction The Age of Documentary The Dream of Mass Mobility: Wireless Propaganda Minzu wansui (Long Live the Nation): Diary of an Artist Filmmaker The Gesture of Filming: Medium, Form, Meaning The Epic Gesture of Documentary References 15 Documentary Plasticity Introduction “The Unique Impression of Continuity” Hans Elias and Educational Embryological Cinema Plasticity, the Avant Garde, and Digital Technics References 16 Hans Richter and the Filmessay Introduction Documentary Film, Useful Cinema and the Filmessay The Filmessay in Practice and the “Problem” with Die Börse The Transatlantic Trajectory of the Filmessay Instead of a Conclusion: The Aftermath of The Filmessay References

10  Part V: Audiences and Circulation Introduction References 17 Nonfiction Film in and out of the Moving Picture Theater Introduction Nonfiction and Multipurpose Cinema Illustrated Lectures and Lecturettes Conclusion References 18 The Marginal Spectator Introduction Template: The UK to 1939 Case: The USA to 1941 Case: France to 1939 Case: Germany to 1933 The Return of the Suppressed? References 19 “Every Spectator Is Either a Coward or a Traitor” Introduction Militant Cinema and the “Film‐Act” in the Writings of the Cine Liberación Group The Rosario Mobile Film Unit Militant Screening Audiences Factory Occupations Debates References 20 From Media Effects to the Empathy Machine Introduction The Pliable Audience: Mass and Media Effects The Active and Engaged Audience The Productive Audience Looking Ahead References

11  Index

12  End User License Agreement