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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... over another. The close readings will demonstrate a critical/theoretical endeavor that will bring to light the ways ... voice,” first initiated by Bill Nichols, and the status of audiovisual evidence. At the historical level the field ...
... voice does not refer to the use of sound or voice-over narration per se but to the way in which a documentary rhetorically addresses the spectator. Nichols writes, “By 'voice' I mean something narrower than style: that which conveys to ...
... voiceover Williams states that he was twenty-four when he learned his father's name and that six months earlier Williams and his father spoke for the first time. A declaration such as this, while not public knowledge, clearly stands as ...
... voice-over narration as well as the overall perspective created in editing), and the main protagonist (often the director) are the same. For example, Ann Schaetzel's Breaking and Entering (1980) exemplifies how autobiographical ...
... voice-over that he has just broken up with his girlfriend. Ed Pincus begins Diaries with the death of his uncle and marital problems.13Peter Friedman begins Silverlake Life: The View from Herewith the announcement of codirector Tom ...
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 |