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1

Latta, Maureen. Documentary reframed: Process, politics, and aesthetics. Saskatoon, SK: Paved Arts, 2008.

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2

Sharma, Aparna Katara. Documentary films in India: Critical aesthetics at work. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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3

Taiwan ji lu pian mei xue lun tan (2010 Guo li Taiwan mei shu guan). 2010 Taiwan ji lu pian mei xue lun tan: Taiwan Documentary Aesthetics Forum. Taizhong Shi: Guo li Taiwan mei shu guan, 2010.

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4

Indigenous aesthetics: Native art, media, and identity. Austin: University of Texas Press, 1998.

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5

Manufacturing truth: The documentary moment in early Soviet culture. DeKalb: Northern Illinois University Press, 2008.

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6

Evans, Walker. Walker Evans: Lyric documentary. Göttingen: Steidl, 2006.

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7

T, Hill John, ed. Walker Evans: Lyric documentary. Göttingen: Steidl, 2006.

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8

Giorgi, Leoniże. Telepublicʻistikis poetika: Dokumenturi masalis organizacʻiuli strukʻtura satelevizio publicʻistikaši. Tʻbilisi: [s.n.], 2002.

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9

Beyaert-Geslin, Anne. L'image préoccupée. Paris: Hermès science publications, 2009.

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10

Roshalʹ, L. Ėffekt skrytogo izobrazhenii͡a︡: Fakt i avtor v neigrovom kino. Moskva: Materik, 2001.

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11

Critical cinema: Beyond the theory of practice. London: Wallflower Press, 2011.

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12

People's lives, public images: The New Deal documentary aesthetic. Tübingen: Gunter Narr, 2001.

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13

Kulturfilm im "Dritten Reich". Wien: Synema, 2006.

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14

Pollacchi, Elena. Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837.

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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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15

Heike, Friauf, and Richter Thomas J. 1955-, eds. Ästhetik der Unterwerfung: Das Beispiel Documenta. Hamburg: Laika-Verlag, 2013.

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16

Documenta 1955: Eine Ausstellung im Spannungsfeld der Auseinandersetzungen um die Kunst der Avantgarde 1945-1960. Frankfurt am Main: P. Lang, 1994.

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17

Kimpel, Harald. 4. Documenta: Internationale Ausstellung : eine fotografische Rekonstruktion. Bremen: Edition Temmen, 2007.

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18

Kimpel, Harald. Documenta III: Internationale Ausstellung : eine fotografische Rekonstruktion. Bremen: Edition Temmen, 2005.

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19

La rappresentazione del paesaggio: Funzione documentaria e riproducibilità tecnica. Milano: CUEM, 2000.

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20

Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
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21

Kimpel, Harald. Documenta 1955: Erste Internationale Kunstausstellung, eine fotografische Rekonstruktion. Bremen: Edition Temmen, 1995.

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22

Musique et document sonore: Enquête sur la phonographie documentaire dans les pratiques musicales contemporaines. Dijon: Presses du réel, 2012.

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23

Kimpel, Harald. II. documenta '59: Kunst nach 1945 : internationale Ausstellung ; eine fotografische Rekonstruktion. Bremen: Edition Temmen, 2000.

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24

Moderno i sŭvremenno: Za izkustvoto i negovite istorii. Sofii︠a︡: Nov bŭlgarski universitet, 2010.

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25

Evans, Walker. Walker Evans. New York: Thames & Hudson, 2007.

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26

Evans, Walker. Walker Evans. London: Thames & Hudson, 2007.

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27

Andrei, Codrescu, ed. Walker Evans: Signs. London: Thames and Hudson, 1998.

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28

Robert, Plunket, ed. Walker Evans: Florida. Los Angeles: J. Paul Getty Museum, 2000.

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29

1946-, Codrescu Andrei, and J. Paul Getty Museum, eds. Walker Evans: Signs. Los Angeles: J. Paul Getty Museum, 1998.

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30

T, Hill John, ed. Walker Evans: Argento e carbone = carbon and silver. Firenze: Alinari, 2005.

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31

Belinda, Rathbone, and Worswick Clark, eds. Walker Evans: The lost work. Santa Fe, N.M: Arena Editions, 2000.

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32

Evans, Walker. Walker Evans. Denville, N.J: Aperture Foundation and Konemann, 1997.

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33

Evans, Walker. Walker Evans: An Alabama record. [S.l.]: J. Paul Getty Museum, 1992.

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34

Morris, Hambourg Maria, Metropolitan Museum of Art (New York, N.Y.), San Francisco Museum of Modern Art., and Museum of Fine Arts, Houston., eds. Walker Evans. New York: Metropolitan Museum of Art in association with Princeton University Press, Princeton, 2000.

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35

1945-, Mora Gilles, ed. Walker Evans: Havana 1933. New York: Pantheon Books, 1989.

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36

Branly, Musée du quai, and Museum of Modern Art (New York, N.Y.), eds. Walker Evans: Photographies. Paris: Musée du quai Branly, 2007.

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37

Evans, Walker. Walker Evans. New York: Thames & Hudson, 2007.

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38

1946-, Codrescu Andrei, and J. Paul Getty Museum, eds. Walker Evans: Cuba. Los Angeles: J. Paul Getty Museum, 2001.

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39

Odorico, Stefano. Interactive Documentary Form: Aesthetics, Practice, and Research. Transcript Verlag, 2018.

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40

Rogers, Anna Backman, and Boel Ulfsdotter. Female Authorship and the Documentary Image: Theory, Practice and Aesthetics. Edinburgh University Press, 2019.

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41

Female Authorship and the Documentary Image: Theory, Practice and Aesthetics. Edinburgh University Press, 2018.

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42

1948-, Waugh Thomas, ed. "Show us life": Toward a history and aesthetics ofthe committed documentary. Metuchen, N.J: Scarecrow, 1989.

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43

Rascaroli, Laura. How the Essay Film Thinks. Oxford University Press, Incorporated, 2017.

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44

How the Essay Film Thinks. Oxford University Press, Incorporated, 2017.

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45

Documenting Spain: Artists, Exhibition Culture, And The Modern Nation, 1929-1939 (Refiguring Modernism). Pennsylvania State University Press, 2005.

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46

Lindsey, Rachel McBride. Documentary Photography and the Visual Politics of Race and Religion. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.5.

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The photographs of twentieth-century photographer Roy DeCarava are a rich case study for mapping the visual theater of race and religion in twentieth-century America. Despite visual similarities in his photographs to contemporary documentary photographers, DeCarava contended that claims to document race in fact worked to invest power in the “madness” of “skin color.” Such a statement echoes the teachings of prophets of black urban religion who incorporated critiques of racial classification into their theological visions. Such visual regimes of race and religion were not limited to persons of African descent. Lewis Hine’s photographs of European immigrants arriving on Ellis Island and Dorothea Lange’s photographs of Japanese American internees were also part of the visual politics of race and religion. By structuring the twentieth century’s ascendant visual regimes around DeCarava, this chapter explores how the technologies, aesthetics, and politics of photography shaped the moral theater of race and religion.
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47

Curtis, Scott. Shape of Spectatorship: Art, Science, and Early Cinema in Germany. Columbia University Press, 2015.

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48

The Migrant Image: The Art and Politics of Documentary during Global Crisis. Duke University Press Books, 2013.

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49

G, Dolmatovskai͡a︡, Kopalina G. I, and Nauchno-issledovatelʹskiĭ institut kinoiskusstva (Russia), eds. Dokumentalʹnoe kino ėpokhi reformatorstva. Moskva: "Materik", 2001.

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50

Cómo se lee una fotografía: Interpretaciones de la mirada. 5th ed. Madrid, Spain: Cátedra, 2015.

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