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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... Narrative , Chronology , and Autobiographical Claims 48 4 Autobiographical Portraiture : Family and Self 94 5 Women and the Autobiographical Documentary : Historical Intervention , Writing , Alterity , and the Dialogic Engagement 145 ...
... narrative scope of the grand literary autobiographical narrative. The viewer often sees moments of a life captured by a camera and sound recorder that only later may be incorporated into a larger representational scheme that has a ...
... narrative, the political or ethical consequences of such a project, and the relationship between temporality and narration. The connections between this fiction film Introduction.
... narrative and its effect on subjectivity, reference, and the autodocumentary form. Documentaries like Ed Pincus's Diaries (1971-1976) (1980), Mark Rance's Death and the Singing Telegram (1984), Ross McElwee's Sherman's March: A ...
... narrative representations, and the diminution of the historical referent.35 Such emphasis on the weakening of the referent, coupled with the decentering of particularized social subjects, reflects a “constructed” view of 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 |