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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... experience the death of family members and friends, to live with and die from AIDS, to separate from or reunite with a partner or parent, to try to understand one's past, or to endure sexism, racism, and classism. We should also be ...
... experience to represent a misrepresented history. My readings of Maxi Cohen and 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 ...
... experiences of many women involved in sixties political movements. The women's movement emerged from the impasse of the sixties by emphasizing the political nature of women's personal experiences. By bringing the domestic experience ...
... experience, and advances an arrogant individualism. The individualist position can lead to the reduction of complex social issues to problems of ego. Critics argue that the strengthening of individualism is an ideology that masks social ...
... experience and the impossibility of reference; on the other, the subject, unreconciled, demands that language represent the continuity of desire.”52 This reading of Barthes's text opens up the possibility that neither the subject nor ...
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 |