The Concise Routledge Encyclopedia of the Documentary Film by Ian Aitken

By Ian Aitken

Publish yr note: First released as The Encyclopedia of the Documentary Film in 2006. this can be the concise edition released 2013

The Concise Routledge Encyclopedia of the Documentary movie is an absolutely foreign reference paintings at the heritage of the documentary movie from the Lumière brothers' employees Leaving the manufacturing unit (1885) to Michael Moore's Fahrenheit 911 (2004).

List of stills vi
Board of advisers vii
List of participants viii
List of entries A–Z xiii
Thematic checklist of entries xix
Documentary movie: an creation 1
Encyclopedia entries A–Z 17
Index 1036

Show description

Read or Download The Concise Routledge Encyclopedia of the Documentary Film PDF

Similar film books

Dreams and Dead Ends: The American Gangster Film

The second one version of this vintage examine presents a reintroduction to a couple of the most important motion pictures and theoretical issues of movie noir and gangster motion pictures in twentieth-century the United States. starting from Little Caesar (1930) to objects to Do in Denver while You're useless (1995), Shadoian publications the reader via twenty vintage video clips of the style.

Hollywood's Copyright Wars: From Edison to the Internet (Film and Culture)

Copyright legislation is necessary to each level of media creation and reception. It is helping be certain filmmakers' inventive judgements, Hollywood's company constitution, and the sorts of media intake. the increase of electronic media and the net has simply extended copyright's achieve. everybody from manufacturers and sceenwriters to novice video makers, dossier sharers, and net marketers has a stake within the historical past and way forward for piracy, reproduction safeguard, and the general public area.

Beginning with Thomas Edison's competitive copyright disputes and concluding with contemporary court cases opposed to YouTube, Hollywood's Copyright Wars follows the fight of the movie, tv, and electronic media industries to persuade and adapt to copyright legislation. lots of Hollywood's such a lot valued treasures, from sleek occasions (1936) to megastar Wars (1977), can't be absolutely understood with out appreciating their criminal controversies. Peter Decherney indicates that the heritage of highbrow estate in Hollywood has no longer continuously reflected the evolution of the legislation. Many landmark judgements have slightly replaced the industry's habit, whereas a few quieter rules have had progressive results. His such a lot notable contributions discover Hollywood's reliance on self-regulation. instead of contain congress, judges, or juries in settling copyright disputes, studio heads and filmmakers have frequently stored such arguments "in house," turning to expertise guilds and different teams for options. even if the problem has been scuffling with piracy within the 1900s, controlling the specter of domestic video, or dealing with glossy beginner and noncommercial makes use of of safe content material, a lot of Hollywood's engagement with the legislation has happened offstage, within the better theater of copyright. Decherney's precise heritage recounts those extralegal strategies and their influence on American media and culture.

The Cinema of Hal Hartley

Essentially the most major participants to the yankee self sustaining cinema that built over the overdue Nineteen Eighties and Nineteen Nineties, Hal Hartley has all through his profession created movies that defy conference and trap the stranger realities of recent American lifestyles. The Cinema of Hal Hartley seems in any respect of Hartley's movie releases - from cult classics akin to The unimaginable fact and belief to oddball style experiments comparable to No Such factor and Fay Grim to brief movies akin to Opera No.

Xerox Ferox: The Wild World of the Horror Film Fanzine

A scene that motivated generations of writers, filmmakers and lovers, XEROX FEROX is the 1st ebook to hide the horror movie fanzine and the tradition it spawned. From well-known Monsters of Filmland to Fangoria and every little thing in among, XEROX FEROX is far greater than a e-book approximately monster magazines. It examines the home-grown DIY fanzines that dared to dig deeper than the slick and glossy newsstand mags ever might.

Additional resources for The Concise Routledge Encyclopedia of the Documentary Film

Sample text

Every frame is composed by the filmmaker as if it were a painting, displaying a profound attention for location and background, and an obsessive research for symmetry between the body of the interviewee and the space that surrounds it. In some cases, Greenaway creates a game of shadows behind the interviewee’s body; in other cases, he constructs an impressive depth of field through open doors and windows. In one interview held over the phone, Greenaway invents a shot with a strange perspective: a telephone handle in close-up looks unnaturally big, and from a window in the background the tops of some trees and a threatening sky are visible.

This is what Riefensthal achieves in Triumph of the Will, and also in her Olympia. It does not matter here if such portrayals are of things, nature or people, because, ultimately, everything is filtered through a human sensibility: we cannot escape the fact that every conception of reality is filtered through our human perspective. So, for example, in Joris Ivens’ Regen (1929), shots of reflections in a river, or of raindrops falling into a pool of water, appear emotionally moving not because they are so in themselves, but because we relate these images to our emotional and visceral experience of reality.

There is also a crucial distinction to be made here between these interview-based films and other types of documentary films which also use filmed extracts to illustrate their exposition. In such latter films, and as also argued earlier, a sequence is taken from a pre-existing film— which has a particular logic and coherence of its own—and is then inserted into the body of the host film in order to illustrate the exposition being mobilised by that film. However, as previously maintained, this is in fact a disingenuous and misleading type of illustration because the original footage was both intended and structured to illustrate another and completely different exposition, and may even not have directly illustrated any exposition at all but, rather, had the purpose of accompanying or even contradicting that exposition (if the original film even had an overall exposition).

Download PDF sample

Rated 4.10 of 5 – based on 16 votes