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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... developed in this book appeared in article form, specifically, “The Career and Influence of Ed Pincus: Shifts in Documentary Epistemology,” Journal of Film and Video 49, no. 4 (winter 1997); “Finding Christa, In Search of Our Fathers ...
... developed concurrently with the training of women documentarists in the United States. Because of this historical conjunction the woman's autobiographical documentary offers the most consistent grouping of political autobiography and ...
... develop a deeper appreciation for the layered history and theory of the movement, thereby strengthening the reader's understanding of the close readings that follow. At the level of film history three main influences bear upon my ...
... developed abstract (nonrepresentational) forms to represent the everyday. They often pursued cinematic forms that metaphorically represent states of mind and emotional states. Filmmakers consistently resisted what would be perceived as ...
... developed several intimate portraits of people who were in various stages of discontent. Moreover, Rouch and Morin constructed a systematic reflexive approach to the film. The filmmakers' presence and the documentary recording apparatus ...
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 |