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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... from China, she put a great perspective on what it means to persevere. She became a model by which I have tried to live my own life. The Autobiographical Documentary in America Introduction Readers who happened to xii Acknowledgments.
... lives and have presented them as examples of cultural experience. Such films and videos have influenced the way that we think about the role of documentary and autobiography in contemporary American life. The time now seems right to ...
Jim Lane. contemporary works that offer brief glimpses into the recent past of the lives of filmmakers who are not familiar to mass audiences. Nonetheless, innovative autobiographical representations powerfully link the everyday to the ...
... lives in film and video nonfiction, documentarists have reversed the homogenizing effects of mass technology and ... live with and die from AIDS, to separate from or reunite with a partner or parent, to try to understand one's past, or ...
... lives in the face of myths, stereotypes, institutions, and conventions. I hope that this book will create an exciting meeting point for critics, theorists, and practitioners. It is certainly time for critics and theorists to catch up ...
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 |