The Autobiographical Documentary in AmericaUniversity of Wisconsin Press, 26 mrt 2002 - 246 pagina's Since the late 1960s, American film and video makers of all genres have been fascinated with themes of self and identity. Though the documentary form is most often used to capture the lives of others, Jim Lane turns his lens on those media makers who document their own lives and identities. He looks at the ways in which autobiographical documentaries—including Roger and Me, Sherman’s March, and Silverlake Life—raise weighty questions about American cultural life. What is the role of women in society? What does it mean to die from AIDS? How do race and class play out in our personal lives? What does it mean to be a member of a family? Examining the history, diversity, and theoretical underpinnings of this increasingly popular documentary form, Lane tracks a fundamental transformation of notions of both autobiography and documentary. |
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... films that reacted against the popular form of 1960s observational docu- mentary known as direct cinema , whose ... film , the new autobiographical documentary disrupted the detached , objective ideal of direct cinema , which excluded ...
... film project and its value . This underscores the film's implicit dialectic , which acknowledges the im- possibility of " total " autobiography and summary . Williams's life goes on . However , despite the film's acknowledgment of ...
... film . Moore's discourse also has a personal function , which is figured in his family connections to the area . In the film's prologue Moore presents an im- age track of home movies , footage of Flint , as well as professionally pro ...
Inhoudsopgave
An Unlikely Beginning | 33 |
Narrative Chronology | 48 |
Family and Self | 94 |
Copyright | |
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