The Autobiographical Documentary in AmericaUniv of Wisconsin Press, 29 apr 2002 - 264 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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... Joel DeMott, Peter Friedman, Geoffrey Gilmore, Robert Hawk, Chuck Kleinhans, Jeff Kreines, Julia Lesage, Ross McElwee, Robb Moss, Mark Rance, Abraham Ravett, Jay Ruby, Ann Schaetzel, Stephen Schrader, Marco Williams, Stephen Mamber ...
... Joel Gold's Joe and Maxi (1978), Ann Schaetzel's Breaking and Entering (1980), Joel DeMott's Demon Lover Diary (1980), Camille Billops and James Hatch's Finding Christa (1991), Rea Tajiri's History and Memory (1991), and Mindy Faber's ...
... Joel DeMott abruptly concludes Demon Lover Diary when she believes she is about to be shot by an angry acquaintance.14 The personal crisis can turn on an attempt to resolve the problem or, as in the case of David Holzman's Diary and ...
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Inhoudsopgave
3 | |
11 | |
33 | |
Narrative Chronology and Autobiographical Claims | 48 |
Family and Self | 94 |
Historical Intervention Writing Alterity and the Dialogic Engagement | 145 |
Afterword | 191 |
Notes | 197 |
Filmography | 222 |
Works Cited | 224 |
Index | 233 |