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 34
... turn their cameras and sound recorders on themselves. At the core of this exploration lies a tension that hinges on the documentary impulse to objectively record a historical world “out there” and on the autobiographical impulse to ...
... turn in international cinema strongly influenced experimentation with autobiography in documentary. Fourth, the rise of autobiographical documentary coincided with a larger turn to the politics of selfhood in the United States. At the ...
... turn to the filmmaker's domestic scene also saw a simplification of the recording apparatus, a technological event that also marked the autobiographical documentary movement. Many avant-garde filmmakers shot by themselves in available ...
... turning the camera and tape recorder on themselves.14 Of the noted “we–they” documentaries, direct cinema most significantly influenced the American documentary scene of the sixties that autobiographical documentarists later rejected ...
... 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 with the “we–they” documentaries in the United States. 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 |