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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... positions for authors/narrators/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 ...
... position I write with a deep respect for any and all documentarists who have managed to produce these films and videos, a daunting enterprise, often under arduous conditions with little or no expectations of financial return. Here we ...
... position toward the evidentiary pieces exhibited in the body of the work.11 Because so many of these filmmakers were trained as documentarists, either in the era of direct cinema or later in film schools, their use of sound and image ...
... position that direct cinema practitioners adhered to. The turn to autobiography in documentary necessarily contested the externally driven ideals of direct cinema and set in place an alternative documentary practice that has coexisted ...
... the cinematic apparatus with the intent of exposing the ideological position of the documentary and its maker. In the traditional documentary modes before the late sixties, the 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 |