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. |
Vanuit het boek
Resultaten 1-5 van 29
... individuals and history coalesce. Because the documentarists are private citizens and not “great men of cinema and history,” they produce an “unofficial” history. This causes taxonomic problems when trying to compare them with other ...
... individual in American culture during this period. Finally, I will reflect on the theoretical and critical responses to the documentary movement in relation to recent discussions in the fields of documentary and autobiography studies ...
... individual's relation to the political and public. The postmodern theorist Fredric Jameson views such political struggle as a deeply rooted tension in radical politics of which sixties America was a part. According to Jameson, this ...
... individuals have unequal access to power. For example, Elizabeth Fox-Genovese criticizes middle-class feminism ... Individual self-improvement became the pervading national aspiration, as Americans sought to “save” themselves in ...
... individuals' acknowledging their “historical particularity” and resisting the narcissistic indulgences to which many critics have reacted negatively. The move from white, middle-class, heterosexual narratives in the seventies to a wider ...
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 |