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. |
Vanuit het boek
Resultaten 1-5 van 52
... 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 ...
... story as opposed to someone else's. Nonetheless, these antigenre conventions quickly become readable because they can be found in autobiographical writings, especially diaries and journals, and because they can be seen as permutations ...
... story that many later documentaries adopted. David Holzman's Diary not only visually and aurally resembles many autobiographical documentaries but also evokes many of the central issues raised in the later documentaries, especially the ...
... story. Filmmaking and the status of being a documentarist factor into the overall meaning of the film or video. How a spectator relates to the depicted reality is negotiated by an awareness of a view constructed by someone who functions ...
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 |