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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... main protagonists can be similar. Literary and documentary autobiographical modes can share the status of a historically verifiable author who also functions as the textual narrator and focal point of the story. Also, Introduction.
Jim Lane. the textual narrator and focal point of the story. Also, in both we can encounter the anguished modern white male artist telling his story of guilt and redemption or the multivoiced postmodern female narrator of color who ...
... documentaries, especially the personal crisis narrative, the political or ethical consequences of such a project, and the relationship between temporality and narration. The connections between this fiction film Introduction.
Jim Lane. between temporality and narration. The connections between this fiction film and the nonfiction documentaries raise fundamental questions regarding the status of truth telling in documentary and autobiography. In chapter I ...
... expressionist visual style of Brakhage and Schneemann or the home movie visual aesthetic and oblique narration of Mekas diverge from the more readily discernible sounds and images of The Convergence of Autobiography and Documentary.
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 |