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The Philosophy of Documentary Film

The Philosophy of Documentary Film


The Philosophy of Popular Culture

von: David LaRocca, Timothy Corrigan, Diana Allan, Rick Altman, Ariella Azoulay, Mieke Bal, Noël Carroll, Stanley Cavell, Gregory Currie, William Day, Keith Dromm, K. L. Evans, Michael Fried, Elan Gamaker, Dan Geva, Tom Gunning, Tom Erika, Werner Herzog, Karen D. Hoffman, Selmin Kara, Scott MacDonald, Jennifer L. McMahon, Bill Nichols, Claudia Pederson, V. F. Perkins, Carl Plantinga, William Rothman, Vivian Sobchack, Lars von Trier, Thomas Vinterberg, Charles Warren, Bernadette Wegenstein, Linda Williams, Patricia R. Zimmermann

59,99 €

Verlag: Lexington Books
Format: EPUB
Veröffentl.: 20.12.2016
ISBN/EAN: 9781498504522
Sprache: englisch
Anzahl Seiten: 644

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Beschreibungen

Titelbeschreibung

<span><span>The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting—not bracketing or partitioning—the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing—namely, film, whether celluloid-based or in digital form); these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation.</span></span>
<br>
<br>
<span><span>This book will be of interest to theorists and practitioners of nonfiction film; to emerging and established scholars contributing to the secondary literature; and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language.</span></span>

Titelkurzbeschreibung

<span><span>Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, i</span><span>nviting </span><span>the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation.</span></span>

Inhaltsverzeichnis

<span><span>Foreword</span></span>
<br>
<span><span>At the Center of Our Age</span></span>
<br>
<span><span>Timothy Corrigan</span></span>
<br>
<span><span>Introduction</span></span>
<br>
<span><span>Representative Qualities and Questions of Documentary Film</span></span>
<br>
<span><span>David LaRocca</span></span>
<br>
<span></span>
<br>
<span><span>Part I: The Medium, Morals, and Metaphysics of Documentary Film</span></span>
<br>
<span></span>
<br>
<span><span>Chapter 1: </span><span>What Photography Calls Thinking: Theoretical Considerations on the Power of the </span></span>
<br>
<span><span>Photographic Basis of Cinema</span></span>
<br>
<span><span>Stanley Cavell</span></span>
<br>
<span><span>Chapter 2: </span><span>Cinematic Representation and Spatial Realism: Reflections After/Upon André Bazin</span></span>
<br>
<span><span>Noël Carroll</span></span>
<br>
<span><span>Chapter 3: </span><span>Documentary Traces: Film and the Content of Photographs</span></span>
<br>
<span><span>Gregory Currie</span></span>
<br>
<span><span>Chapter 4: </span><span>The Limits of Appropriation: Subjectivist Accounts of the Fiction/Nonfiction</span></span>
<br>
<span><span>Distinction</span></span>
<br>
<span><span>Carl Plantinga</span></span>
<br>
<span><span>Chapter 5: </span><span>Inscribing Ethical Space: Ten Propositions on Death and Documentary</span></span>
<br>
<span><span>Vivian Sobchack</span></span>
<br>
<span></span>
<br>
<span><span>Part II: Strategies and Styles of Documenting with Film</span></span>
<br>
<span><span><br>Chapter 6: </span><span>Before Documentary: Early Nonfiction Films and the “View” Aesthetic</span></span>
<br>
<span><span>Tom Gunning</span></span>
<br>
<span><span>Chapter 7: </span><span>Ruminating on the Ideologies of Nature Film</span></span>
<br>
<span><span>Scott MacDonald</span></span>
<br>
<span><span>Chapter 8: </span><span>Jean Rouch’s Cine-trance and Modes of Experimental Ethnofiction Filmmaking</span></span>
<br>
<span><span>William Rothman</span></span>
<br>
<span><span>Chapter 9: </span><span>The Ecstasy of Time Travel in Werner Herzog’s </span><span>Cave of Forgotten Dreams</span></span>
<br>
<span><span>William Day<br>Chapter 10: </span><span>Habitats of Documentary: Landscapes, Color Fields, and Ecologies in the </span></span>
<br>
<span><span>Avant-Docs of Vincent Grenier</span></span>
<br>
<span><span>Claudia Pederson and Patricia R. Zimmermann<br></span></span>
<br>
<span><span>Part III: Documentary Theorist-Filmmakers at Work</span></span>
<br>
<span><span><br>Chapter 11: </span><span>Promises and Contracts Found in the Archive Are Not About the Past: </span></span>
<br>
<span><span>Renewing Civil Alliances—Palestine 1947–48</span></span>
<br>
<span><span>Ariella Azoulay</span></span>
<br>
<span><span>Chapter 12: </span><span>“See and Remember”: The Golden Days of Said Otruk</span></span>
<br>
<span><span>Diana Allan<br>Chapter 13: </span><span>Intimacy, Modesty, Silence: Documentary Filmmaking in the Face of Trauma </span></span>
<br>
<span><span>Mieke Bal<br>Chapter 14: </span><span>Provoking the Truth: Applying the Method of Cinéma Vérité</span></span>
<br>
<span><span>Bernadette Wegenstein<br>Chapter 15: </span><span>Reenvisioning Dziga Vertov: 10 Enduring Diktats for Documentary Cinema</span></span>
<br>
<span><span>Dan Geva</span></span>
<br>
<span><span>Chapter 16: </span><span>Whose Strife is it Anyway? The Erosion of Agency in the Cinematic Production of </span></span>
<br>
<span><span>Kitchen Sink Realism</span></span>
<br>
<span><span>Elan Gamaker </span></span>
<br>
<span><span>Chapter 17: </span><span>Redefining Documentary Materialism: from Actuality to Virtuality in Victor Erice’s </span></span>
<br>
<span><span>Dream of Light</span></span>
<br>
<span><span>Selmin Kara</span></span>
<br>
<span></span>
<br>
<span><span>Part IV: Interventions and Reconstitutions of Documentary </span></span>
<br>
<span><span>Modes, Methods, and Meanings</span></span>
<br>
<span></span>
<br>
<span><span>Chapter 18: </span><span>Four and a Half Film Fallacies</span></span>
<br>
<span><span>Rick Altman</span></span>
<br>
<span><span>Chapter 19: </span><span>The Dogma 95 Manifesto and The Vow of Chastity</span></span>
<br>
<span><span>Lars von Trier and Thomas Vinterberg</span></span>
<br>
<span><span>Chapter 20: </span><span>Minnesota Declaration: Truth and Fact in Documentary Cinema</span></span>
<br>
<span><span>Werner Herzog</span></span>
<br>
<span><span>Chapter 21: </span><span>Omission and Oversight in Close Reading—The Final Moments of Frederick </span></span>
<br>
<span><span>Wiseman’s </span><span>High School</span></span>
<br>
<span><span>V. F. Perkins</span></span>
<br>
<span><span>Chapter 22: </span><span>Cinematic Consciousness: Animal Subjectivity, Activist Rhetoric, and the Problem </span></span>
<br>
<span><span>of Other Minds in </span><span>Blackfish</span></span>
<br>
<span><span>Jennifer L. McMahon<br>Chapter 23: </span><span>Understanding (and) the Legacy of the Trace: Reflections After Carroll, Currie, and </span></span>
<br>
<span><span>Plantinga</span></span>
<br>
<span><span>Keith Dromm</span></span>
<br>
<span><span>Chapter 24: The Big Short</span><span>: Adam McKay’s Vehicle for Truth Claims</span></span>
<br>
<span><span>K. L. Evans</span></span>
<br>
<span><span>Chapter 25: </span><span>Letter to Errol Morris: Feelings of Revulsion and the Limits of Academic Discourse </span></span>
<br>
<span><span>Bill Nichols<br></span></span>
<br>
<span><span>Part V: Auto/biography and the Composition of Identity in Documentary Film</span></span>
<br>
<span></span>
<br>
<span><span>Chapter 26: </span><span>“You are Never Alone”: On Douglas Gordon and Philippe Parreno’s </span><span>Zidane: </span></span>
<br>
<span><span>A Twenty-First Century Portrait</span></span>
<br>
<span><span>Michael Fried</span></span>
<br>
<span><span>Chapter 27: </span><span>On </span><span>Patience (After Sebald)</span><span>: Documentary as a True Portrait of Sensibility</span></span>
<br>
<span><span>Garry L. Hagberg</span></span>
<br>
<span><span>Chapter 28: </span><span>Fiction and Nonfiction in Chantal Akerman’s Films</span></span>
<br>
<span><span>Charles Warren</span></span>
<br>
<span><span>Chapter 29: </span><span>Vérité Fiction, Dramatized Documentary: On Michelle Citron’s Aesthetic Provocations</span></span>
<br>
<span><span>Linda Williams</span></span>
<br>
<span><span>Chapter 30: </span><span>“Deceiving into the Truth”: The Indirect Cinema of </span><span>Stories We Tell</span><span> and </span></span>
<br>
<span><span>The Act of Killing</span></span>
<br>
<span><span>Karen D. Hoffman</span></span>
<br>
<span><span>Chapter 31: </span><span>A Reality Rescinded: The Transformative Effects of Fraud in </span><span>I’m Still Here</span></span>
<br>
<span><span>David LaRocca </span></span>

Autorenportrait

<span><span>David LaRocca is visiting assistant professor in the Department of Philosophy at the State University of New York College at Cortland.</span></span>

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