Betsy A. McLane's A New History of Documentary Film: Second Edition PDF

By Betsy A. McLane

ISBN-10: 1441124578

ISBN-13: 9781441124579

A New background of Documentary movie, moment version offers a much-needed source, contemplating the very speedy alterations occurring inside documentary media. construction upon the best-selling 2005 variation, Betsy McLane retains a similar chronological exam, real reliability, ease of use and obtainable prose type as ahead of, whereas additionally weaving 3 new threads - Experimental Documentary, visible Anthropology and Environmental/Nature motion pictures - into the dialogue. She presents emphasis on archival and upkeep heritage, current practices, and destiny wishes for documentaries. besides renovation info, particular difficulties of copyright and reasonable use, as they relate to documentary, are thought of.

Finally, A heritage of Documentary movie retains and updates the steered readings and critical movies and the top of every bankruptcy from the 1st version, together with the bibliography and appendices. most unlikely to speak learnedly approximately documentary movie with out an audio-visual part, a significant other web site increases its intensity of data and total usefulness to scholars, academics and picture fans.


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Extra resources for A New History of Documentary Film: Second Edition

Sample text

And Frances’ imprint is always there behind the scenes guiding and protecting his methods. For his first filming in the North in 1913 Flaherty used a 1912 Bell and Howell studio camera, adapting it to his needs. Later he would use the Akeley, a sophisticated gyroscopic camera employed by newsreel cameramen, and The Work of Robert and Frances Flaherty 33 then the Newman Sinclair, which became a standard camera for documentarians. On Nanook of The North he began his practice of developing and printing film in the field, necessary if he was to see what he was shooting while still on location.

Consequently, the ‘Film Eye’ method combined an aesthetic concept of unstaged, although manipulated, film with an ideological attitude towards art in general. The true Communist artist, Vertov claimed, must face reality ‘as it exists’, neither hiding from facts nor masking problems. Despite declarations of anti-aestheticism, the films remain compelling partly because they are highly contrived art. The wife of Dziga Vertov, and a key member of the ‘Cinema Eye’ group, was Yelizaveta Svilova, who began work at age 14 as an assistant editor for Pathé in Moscow and in 1918 became an editor of features at Goskino.

Quarterly Review of Film Studies, 7 (Winter 1982). Special issue on documentary. Fielding, Raymond, The American Newsreel, 1911–1967. Oklahoma: University of Oklahoma Press, 1972. , The Documentary Tradition. New York: W. W. Norton, 1979. Hertogs, Daan and Nico De Klerk, Nonfiction from the Teens. Amsterdam: Stichting Nederlands Filmmuseum, 1991. Leyda, Jay, Films Beget Films. New York: Hill and Wang, 1964. , Experiment in the Film. London: The Grey Walls Press, 1949. Orellana, Margarita Filming Pancho Villa: How Hollywood Shaped the Mexican Revolution.

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A New History of Documentary Film: Second Edition by Betsy A. McLane

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