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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... actual thing to represent it in written words. Sound/im- age texts are a motivated, existential sign system. That is, their material signs, the cinematic sound and image, have a physical connection to the real thing that they represent ...
... actual world of the autobiographical subject. Thus the film-specific historical roots of the autobiographical documentary in America reveal a complex networking of three generative forces of the sixties. The autobiographical themes of ...
... actual filming process and embarked on an entirely new path in documentary history and autobiographical practice.27 At the broader historical level the inward turn in documentary coincided with social changes that occurred after the ...
... actual members of Marco Williams's family. •. Act-value. In a scene from Sherman's March(1986) Ross McElwee sits in front of the camera dressed as General Sherman. He has just returned from a costume party and is slightly drunk. McElwee ...
... actual space. The camera is no longer a free-floating omniscient machine whose presence is absented by continuity editing. The narrative flow established by joining heterogeneous images and sounds sets up a cinematic equivalent of what ...
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 |