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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... emerges that radically alters assumptions about the purpose of documentary representation. To date, theory and criticism have not mounted a systematic account of the autobiographical documentary in the United States. However, Michael ...
... emerges in which the emphasis is placed on process, interaction, and a community that shares the production of meaning. Egan writes, “What happens in autobiographical film, however, refusing the story that could explain the past or ...
... emerges in these documentaries is constantly in the process of shaping and reshaping. The activity of making the documentary is part of this shaping process and hinges on the success or failure of the autobiographical subject to secure ...
... emerges that is less dependent on the controlling fix of the documentary. David's personal fall and eventual disillusionment with his documentary play out this scenario. Reference: Political/Ethical Consequences of the Autobiographical ...
... emerges as the film's main concern.15 In light of this, Holzman's relation to the camera and the overall autobiographical project are sites of conflict between him and Penny. David therefore occupies a point of affect, the ...
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 |