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
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Additional resources for The Concise Routledge Encyclopedia of the Documentary Film
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).