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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... and sound, and serves as a social agent of historical transmission. The autobiographical texts that I address in the chapters that follow are contemporary works that offer brief glimpses into the recent past Introduction.
... social order. Like other modes of autobiographical writing, these autobiographies, or autodocumentaries, have become a potent site of American cultural production where private individuals and history coalesce. Because the ...
... social utility resembles that of many American avant-garde films and videos, which David James has described as “already politicized, already conceptualized as marginal, deviant, inconsequential—as other.”4 As Other, these documentaries ...
... social world and less to overhaul the tradition of representational art. Bill Nichols asserts that documentarists use sound and image as evidence to make an argument about the social and historical world. Documentarists mobilize sounds ...
... social acceptance of these documentary traditions, it is easy to understand why documentarists before the late sixties avoided turning the camera and tape recorder on themselves.14 Of the noted “we–they” documentaries, direct cinema ...
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 |