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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... understand one's past, or to endure sexism, racism, and classism. We should also be thankful for the reinvigoration of documentary film and video as well as the development of novel autobiographies exemplified by these contemporary ...
... understanding of the close readings that follow. At the level of film history three main influences bear upon my discussion. First, beginning in the fifties, practitioners of the American avant-garde film movement, most notably Stan ...
... 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 most significantly influenced the American documentary scene of the ...
... understand and express one's own history through new media in the context of shifting U.S. politics. Documentary became autobiographical when Americans who were involved in countercultural movements turned to autobiographical discourses ...
... understands the work as views of the subjectively delimited world of the autobiographical subject. Such a world is ... understanding between reader and the text “the autobiographical pact.” The proper name of the author, narrator, and ...
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 |