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Books on the topic 'Documentary film maker'
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1
The documentary film makers handbook. New York, NY: Continuum International Publishing Group Inc., 2007.
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2
Rutherford, Anne. What makes a film tick?: Cinematic affect, materiality and mimetic innervation. Bern: Peter Lang, 2011.
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3
C, Brock David, ed. Makers of the microchip: A documentary history of Fairchild Semiconductor. Cambridge, Mass: MIT Press, 2010.
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5
Jolliffe, Genevieve, and Andrew Zinnes. The Documentary Film Makers Handbook: A Guerilla Guide. Continuum International Publishing Group, 2006.
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6
Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.
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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together philosophy, film theory, literary scholarship, and cognitive psychology with an international range of films from beyond the mainstream, Sarah Cooper charts the key processes that serve the imagining of images in the light of the mind. Through its navigation of a labile and vivid mental terrain, this innovative work makes a profound contribution to the study of spectatorship.
7
Mitchell, Richard G. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0026.
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As a practitioner of film music composition, I make music that is shaped by its relationship with a moving picture. Music’s role in most commercial films, whether documentary or drama, is to help direct the audience’s emotional response in synchronization with the action. In this sense music shapes the audience’s feelings every bit as much as the action....
8
Lécuyer, Christophe, David C. Brock, and Jay Last. Makers of the Microchip: A Documentary History of Fairchild Semiconductor. MIT Press, 2018.
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9
Documentary Makers: Interviews with 15 of the Best in the Business. Rotovision, 2003.
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10
Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.
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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
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Blair, Sara, Joseph B. Entin, and Franny Nudelman, eds. Remaking Reality. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638690.001.0001.
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After World War II, U.S. documentarians engaged in a rigorous rethinking of established documentary practices and histories. Responding to the tumultuous transformations of the postwar era--the atomic age, the civil rights movement, the Vietnam War, the emergence of the environmental movement, immigration and refugee crises, student activism, the globalization of labor, and the financial collapse of 2008--documentary makers increasingly reconceived reality as the site of social conflict and saw their work as instrumental to struggles for justice. Examining a wide range of forms and media, including sound recording, narrative journalism, drawing, photography, film, and video, this book is a daring interdisciplinary study of documentary culture and practice from 1945 to the present. Essays by leading scholars across disciplines collectively explore the practices of documentarians who not only record reality but also challenge their audiences to take part in reality's remaking.
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Rony, Fatimah Tobing. How Do We Look? Duke University Press, 2022. http://dx.doi.org/10.1215/9781478021902.
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In How Do We Look? Fatimah Tobing Rony draws on transnational images of Indonesian women as a way to theorize what she calls visual biopolitics—the ways visual representation determines which lives are made to matter more than others. Rony outlines the mechanisms of visual biopolitics by examining Paul Gauguin’s 1893 portrait of Annah la Javanaise—a trafficked thirteen-year-old girl found wandering the streets of Paris—as well as US ethnographic and documentary films. In each instance, the figure of the Indonesian woman is inextricably tied to discourses of primitivism, savagery, colonialism, exoticism, and genocide. Rony also focuses on acts of resistance to visual biopolitics in film, writing, and photography. These works, such as Rachmi Diyah Larasati’s The Dance that Makes You Vanish, Vincent Monnikendam’s Mother Dao (1995), and the collaborative films of Nia Dinata, challenge the naturalized methods of seeing that justify exploitation, dehumanization, and early death of people of color. By theorizing the mechanisms of visual biopolitics, Rony elucidates both its violence and its vulnerability.
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Krzych, Scott. Beyond Bias. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551219.001.0001.
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“Bias” is a term that circulates frequently in the contemporary landscape of political media, a term intended to diagnose a failure when media outlets fail to maintain journalistic objectivity. Beyond Bias interrogates what would seem, at first glance, to be examples of utterly biased political media—contemporary conservative documentary films. However, rather than dismiss such cases of political representation as exemplars of ideological nonsense, reactionary propaganda, and so on, Beyond Bias locates in conservative media a mode of discourse central to contemporary democratic debate in the United States. Specifically, this book identifies conservative media as a mode of hysterical discourse. As the book makes clear, hysterical political discourse occurs when debate is simulated as a means to avoid a more substantive exchange. Drawing from psychoanalytic theories of hysteria and aesthetic politics, and likewise by placing conservative documentaries in the context of many concerns central to Documentary Studies (participation, observation, representation, the archive, etc.), Beyond Bias views conservative documentary, and conservative media and politics more generally, not as the biased excesses of the contemporary political landscape but rather as texts central to understanding the implicit, though sometimes affectively traumatic, antagonisms inevitable in democracy and constitutive of democratic debate.
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Iheka, Cajetan. African Ecomedia. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478022046.
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In African Ecomedia, Cajetan Iheka examines the ecological footprint of media in Africa alongside the representation of environmental issues in visual culture. Iheka shows how, through visual media such as film, photography, and sculpture, African artists deliver a unique perspective on the socioecological costs of media production, from mineral and oil extraction to the politics of animal conservation. Among other works, he examines Pieter Hugo's photography of electronic waste recycling in Ghana and Idrissou Mora-Kpai's documentary on the deleterious consequences of uranium mining in Niger. These works highlight not only the exploitation of African workers and the vast scope of environmental degradation but also the resourcefulness and creativity of African media makers. They point to the unsustainability of current practices while acknowledging our planet's finite natural resources. In foregrounding Africa's centrality to the production and disposal of media technology, Iheka shows the important place visual media has in raising awareness of and documenting ecological disaster even as it remains complicit in it.
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Isaac, Allan Punzalan. Filipino Time. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823298525.001.0001.
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Filipino Time examines how a variety of immaterial labor performed by Filipinos in the Philippines and around the world, while producing bodily and affective disciplines and dislocations, also generate and explore vital affects, multiple networks, and other worlds. Whether in representations of death in a musical or keeping work time at bay in a call center, these forms of living emerge from and even work alongside capitalist exploitation of affective labor. Affective labor involves human intersubjective interaction and creative capacities. Thus, through creative labor, subjects make communal worlds out of one colonized by capital time. In reading these cultural productions, the book traces concurrent chronicities, ways of sensing and making sense of time alongside capital’s dominant narrative. From the hostile but habitable textures of labor-time, migratory subjects live and weave narratives of place and belonging, produce new modes of connections and ways to feel time with others.The book explores how these chronicities are re-articulated in a capacious archive of storytelling about the Filipino labor diaspora in fiction, in a musical, in an ethnography, and in a documentary film. Each of the genres demonstrates how time and space are manifest in deformations by narrative and genre. These cultural expressions capture life-making capacities within the capitalist world of disruptions and circulations of bodies and time. Thus, they index how selves go out of bounds beyond the economic contract to transform, even momentarily, self, others, time, and their surroundings.
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Langellotti, Micaela, and D. W. Rathbone. Village Institutions in Egypt in the Roman to Early Arab Periods. British Academy, 2020. http://dx.doi.org/10.5871/bacad/9780197266779.001.0001.
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This volume is the first to survey village institutions in Egypt during the first eight centuries AD, from the beginning of Roman rule to the early Arab period. Despite the many studies of society and administration in Ptolemaic and Roman Egypt, there are no general studies of village institutions or communities in any one period, let alone in a long-term perspective, or integrated investigation of their relationship to the wider state. This volume, which represents a first response to fill this gap in the current scholarship, aims to demonstrate that Egypt is a particularly productive place to develop study of this subject because the rich documentary evidence of the papyri, a large majority of which comes from village sites, permits us both to study specific topics in detail by place and time, as the eleven papers of this volume do, and also to make comparisons across a long chronological period. These comparisons across time are beneficial because they raise questions about changing patterns and perspectives of the surviving documents, which may skew interpretation, and enable us to outline what seem to emerge as recurrent issues in the power-relationships between central and regional authorities and the rural population, as well as some preliminary indications of the trends in those developments across our period.
17
Callahan, William A. Sensible Politics. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071738.001.0001.
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Visual images are everywhere in international politics. But how are we to understand them? Callahan uses his expertise in theory and filmmaking to explore not only what visuals mean, but also how visuals can viscerally move and connect us in “affective communities of sense.” Sensible Politics explores the visual geopolitics of war, peace, migration, and empire through an analysis of photographs, films, and art. It then expands the critical gaze to consider how “visual artifacts”—maps, veils, walls, gardens, and cyberspace—are sensory spaces in which international politics is performed through encounters on the local, national, and world stages. Here “sensible politics” isn’t just sensory, but looks beyond icons and ideology to the affective politics of everyday life. This approach challenges the Eurocentric understanding of international politics by exploring the meaning and impact of visuals from Asia and the Middle East. Sensible Politics thus decenters our understanding of social theory and international politics by (1) expanding from textual analysis to highlight the visual and the multisensory; (2) expanding from Eurocentric investigations of IR to a more comparative approach that looks to Asia and the Middle East; and (3) shifting from critical IR’s focus on inside/outside and self/Other distinctions. It draws on Callahan’s documentary filmmaking experience to see critique in terms of the creative processes of social-ordering and world-ordering. The goal is to make readers not only think visually, but also feel visually—and to creatively act visually for a multisensory appreciation of politics.
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Poets, Desirée, and Max O. Stephenson Jr. Maré from the Inside: Art, Culture and Politics in Rio de Janeiro, Brazil. Edited by Nicholas Barnes. Virginia Tech Publishing, 2021. http://dx.doi.org/10.21061/mare.
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Complexo da Maré is a group of 16 contiguous favelas and housing projects in the northern zone of Rio de Janeiro. Home to an estimated 140,000 individuals, Maré is Brazil's largest agglomeration of favelas. Often depicted in a negative light, these favelas are in fact vibrant and diverse communities, as revealed in this remarkable book. Maré from the Inside: Art, Culture and Politics in Rio de Janeiro, BrazilMaré Brazil is a companion to the exhibition of the same name (Portuguese: Maré de DentroDentro), which was developed by an international team of Brazilian and US academics, activists and artists. The exhibition documents the lives of residents of Complexo da Maré through family portraits, street photographs, documentary films and written works. Featured in this book is a selection of the exhibition's photographs by Italian photojournalist Antonello Veneri, who worked closely with Maré resident and activist Henrique Gomes over the period from 2013 to 2019, during which Rio was home to the 2014 World Cup and 2016 Olympic Games. These photographs, simultaneously personal and deeply humane, counter long-standing and powerful stigmatizing narratives, demonstrating instead the diversity and resilience of these communities and exposing the barriers residents confront in their everyday lives. Providing context to the photographs are essays by the exhibition's creators, curators and collaborators, including Maré resident and scholar Andreza Jorge, who asks what it is about the Maré de DentroMaré Dentro exhibition that has made it so compelling for so many people from very different parts of the world. The answer lies in the power of art to make us rethink prevailing social frames and, in turn, embrace fresh political and cultural strategies for integrating previously marginalized communities more fully into political and social life.