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The Philosophy of Documentary Film
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Artikel-Nr:
9781498504522
Veröffentl:
2016
Seiten:
644
Autor:
David LaRocca
Serie:
The Philosophy of Popular Culture
eBook Typ:
EPUB
Kopierschutz:
Adobe DRM [Hard-DRM]
Sprache:
Englisch
Beschreibung:
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, inviting the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation.
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.
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.
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.
Foreword
At the Center of Our Age
Timothy Corrigan
Introduction
Representative Qualities and Questions of Documentary Film
David LaRocca
Part I: The Medium, Morals, and Metaphysics of Documentary Film
Chapter 1: What Photography Calls Thinking: Theoretical Considerations on the Power of the
Photographic Basis of Cinema
Stanley Cavell
Chapter 2: Cinematic Representation and Spatial Realism: Reflections After/Upon André Bazin
Noël Carroll
Chapter 3: Documentary Traces: Film and the Content of Photographs
Gregory Currie
Chapter 4: The Limits of Appropriation: Subjectivist Accounts of the Fiction/Nonfiction
Distinction
Carl Plantinga
Chapter 5: Inscribing Ethical Space: Ten Propositions on Death and Documentary
Vivian Sobchack
Part II: Strategies and Styles of Documenting with Film
Chapter 6: Before Documentary: Early Nonfiction Films and the “View” Aesthetic
Tom Gunning
Chapter 7: Ruminating on the Ideologies of Nature Film
Scott MacDonald
Chapter 8: Jean Rouch’s Cine-trance and Modes of Experimental Ethnofiction Filmmaking
William Rothman
Chapter 9: The Ecstasy of Time Travel in Werner Herzog’s Cave of Forgotten Dreams
William Day
Chapter 10: Habitats of Documentary: Landscapes, Color Fields, and Ecologies in the
Avant-Docs of Vincent Grenier
Claudia Pederson and Patricia R. Zimmermann
Part III: Documentary Theorist-Filmmakers at Work
Chapter 11: Promises and Contracts Found in the Archive Are Not About the Past:
Renewing Civil Alliances—Palestine 1947–48
Ariella Azoulay
Chapter 12: “See and Remember”: The Golden Days of Said Otruk
Diana Allan
Chapter 13: Intimacy, Modesty, Silence: Documentary Filmmaking in the Face of Trauma
Mieke Bal
Chapter 14: Provoking the Truth: Applying the Method of Cinéma Vérité
Bernadette Wegenstein
Chapter 15: Reenvisioning Dziga Vertov: 10 Enduring Diktats for Documentary Cinema
Dan Geva
Chapter 16: Whose Strife is it Anyway? The Erosion of Agency in the Cinematic Production of
Kitchen Sink Realism
Elan Gamaker
Chapter 17: Redefining Documentary Materialism: from Actuality to Virtuality in Victor Erice’s
Dream of Light
Selmin Kara
Part IV: Interventions and Reconstitutions of Documentary
Modes, Methods, and Meanings
Chapter 18: Four and a Half Film Fallacies
Rick Altman
Chapter 19: The Dogma 95 Manifesto and The Vow of Chastity
Lars von Trier and Thomas Vinterberg
Chapter 20: Minnesota Declaration: Truth and Fact in Documentary Cinema
Werner Herzog
Chapter 21: Omission and Oversight in Close Reading—The Final Moments of Frederick
Wiseman’s High School
V. F. Perkins
Chapter 22: Cinematic Consciousness: Animal Subjectivity, Activist Rhetoric, and the Problem
of Other Minds in Blackfish
Jennifer L. McMahon
Chapter 23: Understanding (and) the Legacy of the Trace: Reflections After Carroll, Currie, and
Plantinga
Keith Dromm
Chapter 24: The Big Short: Adam McKay’s Vehicle for Truth Claims
K. L. Evans
Chapter 25: Letter to Errol Morris: Feelings of Revulsion and the Limits of Academic Discourse
Bill Nichols
Part V: Auto/biography and the Composition of Identity in Documentary Film
Chapter 26: “You are Never Alone”: On Douglas Gordon and Philippe Parreno’s Zidane:
A Twenty-First Century Portrait
Michael Fried
Chapter 27: On Patience (After Sebald): Documentary as a True Portrait of Sensibility
Garry L. Hagberg
Chapter 28: Fiction and Nonfiction in Chantal Akerman’s Films
Charles Warren
Chapter 29: Vérité Fiction, Dramatized Documentary: On Michelle Citron’s Aesthetic Provocations
Linda Williams
Chapter 30: “Deceiving into the Truth”: The Indirect Cinema of Stories We Tell and
The Act of Killing
Karen D. Hoffman
Chapter 31: A Reality Rescinded: The Transformative Effects of Fraud in I’m Still Here
David LaRocca
At the Center of Our Age
Timothy Corrigan
Introduction
Representative Qualities and Questions of Documentary Film
David LaRocca
Part I: The Medium, Morals, and Metaphysics of Documentary Film
Chapter 1: What Photography Calls Thinking: Theoretical Considerations on the Power of the
Photographic Basis of Cinema
Stanley Cavell
Chapter 2: Cinematic Representation and Spatial Realism: Reflections After/Upon André Bazin
Noël Carroll
Chapter 3: Documentary Traces: Film and the Content of Photographs
Gregory Currie
Chapter 4: The Limits of Appropriation: Subjectivist Accounts of the Fiction/Nonfiction
Distinction
Carl Plantinga
Chapter 5: Inscribing Ethical Space: Ten Propositions on Death and Documentary
Vivian Sobchack
Part II: Strategies and Styles of Documenting with Film
Chapter 6: Before Documentary: Early Nonfiction Films and the “View” Aesthetic
Tom Gunning
Chapter 7: Ruminating on the Ideologies of Nature Film
Scott MacDonald
Chapter 8: Jean Rouch’s Cine-trance and Modes of Experimental Ethnofiction Filmmaking
William Rothman
Chapter 9: The Ecstasy of Time Travel in Werner Herzog’s Cave of Forgotten Dreams
William Day
Chapter 10: Habitats of Documentary: Landscapes, Color Fields, and Ecologies in the
Avant-Docs of Vincent Grenier
Claudia Pederson and Patricia R. Zimmermann
Part III: Documentary Theorist-Filmmakers at Work
Chapter 11: Promises and Contracts Found in the Archive Are Not About the Past:
Renewing Civil Alliances—Palestine 1947–48
Ariella Azoulay
Chapter 12: “See and Remember”: The Golden Days of Said Otruk
Diana Allan
Chapter 13: Intimacy, Modesty, Silence: Documentary Filmmaking in the Face of Trauma
Mieke Bal
Chapter 14: Provoking the Truth: Applying the Method of Cinéma Vérité
Bernadette Wegenstein
Chapter 15: Reenvisioning Dziga Vertov: 10 Enduring Diktats for Documentary Cinema
Dan Geva
Chapter 16: Whose Strife is it Anyway? The Erosion of Agency in the Cinematic Production of
Kitchen Sink Realism
Elan Gamaker
Chapter 17: Redefining Documentary Materialism: from Actuality to Virtuality in Victor Erice’s
Dream of Light
Selmin Kara
Part IV: Interventions and Reconstitutions of Documentary
Modes, Methods, and Meanings
Chapter 18: Four and a Half Film Fallacies
Rick Altman
Chapter 19: The Dogma 95 Manifesto and The Vow of Chastity
Lars von Trier and Thomas Vinterberg
Chapter 20: Minnesota Declaration: Truth and Fact in Documentary Cinema
Werner Herzog
Chapter 21: Omission and Oversight in Close Reading—The Final Moments of Frederick
Wiseman’s High School
V. F. Perkins
Chapter 22: Cinematic Consciousness: Animal Subjectivity, Activist Rhetoric, and the Problem
of Other Minds in Blackfish
Jennifer L. McMahon
Chapter 23: Understanding (and) the Legacy of the Trace: Reflections After Carroll, Currie, and
Plantinga
Keith Dromm
Chapter 24: The Big Short: Adam McKay’s Vehicle for Truth Claims
K. L. Evans
Chapter 25: Letter to Errol Morris: Feelings of Revulsion and the Limits of Academic Discourse
Bill Nichols
Part V: Auto/biography and the Composition of Identity in Documentary Film
Chapter 26: “You are Never Alone”: On Douglas Gordon and Philippe Parreno’s Zidane:
A Twenty-First Century Portrait
Michael Fried
Chapter 27: On Patience (After Sebald): Documentary as a True Portrait of Sensibility
Garry L. Hagberg
Chapter 28: Fiction and Nonfiction in Chantal Akerman’s Films
Charles Warren
Chapter 29: Vérité Fiction, Dramatized Documentary: On Michelle Citron’s Aesthetic Provocations
Linda Williams
Chapter 30: “Deceiving into the Truth”: The Indirect Cinema of Stories We Tell and
The Act of Killing
Karen D. Hoffman
Chapter 31: A Reality Rescinded: The Transformative Effects of Fraud in I’m Still Here
David LaRocca