The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography.In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary, and explores the intersection of the personal and political, considering how memory can create a way into asking troubling questions about identity, oppression, and resiliency.Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films in which the subjectivity of the filmmaker is expressly defined in relation to political struggle or historical trauma, from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. And, looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page.Unique in its attention to diverse expressions of personal nonfiction filmmaking, The Subject of Documentary forges a new understanding of the heightened role and function of subjectivity in contemporary documentary practice.Michael Renov is professor of critical studies at the USC School of Cinema-Television. He is the editor of Theorizing Documentary and the coeditor of Resolutions: Contemporary Video Practices (Minnesota, 1996) and Collecting Visible Evidence (Minnesota, 1999).
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography.In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary, and explores the intersection of the personal and political, considering how memory can create a way into asking troubling questions about identity, oppression, and resiliency.Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films in which the subjectivity of the filmmaker is expressly defined in relation to political struggle or historical trauma, from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. And, looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page.Unique in its attention to diverse expressions of personal nonfiction filmmaking, The Subject of Documentary forges a new understanding of the heightened role and function of subjectivity in contemporary documentary practice.Michael Renov is professor of critical studies at the USC School of Cinema-Television. He is the editor of Theorizing Documentary and the coeditor of Resolutions: Contemporary Video Practices (Minnesota, 1996) and Collecting Visible Evidence (Minnesota, 1999).
Michael Strangelove provides a broad overview of the world of amateur online videos and the people who make them. He describes how online digital video is both similar to and different from traditional home-movie-making and argues that we are moving into a post-television era characterized by mass participation. --from publisher description.
Catastrophic events like the bombing of Hiroshima, Hurricane Katrina’s devastation of New Orleans, and drone strikes periodically achieve renewed political significance as subsequent developments summon them back to public awareness. But why and how do different conceptions of time inform and challenge these key events and the narratives they create? In this book, Michael J. Shapiro provides an approach to politics and time that unsettles official collective histories by introducing analyses of lived experience articulated in cinematic, televisual, musical, and literary genres. His investigation is framed by questions of our responsibility to acknowledge those victims of violence and catastrophe who have failed to rise above the threshold of public recognition. Ultimately, by focusing on time as an active force shaping our conception of political life, we can deepen our understanding of complex political dynamics and improve the theories and methods we rely on to interpret them. This bold and original book will be of interest to students and scholars of political theory, cultural studies and cinema studies looking for a new perspective on the temporal aspects of political life.
This is a comprehensive introduction to post-classical American film. Covering American cinema since 1960, the text looks at both Hollywood and non-mainstream cinema.
What a century of border films teaches about the real and imagined worlds of the US-Mexico borderlands—and how this understanding helps build better relations across boundaries. Border Witness is an account of cultural collision and fusion between Mexico and the United States, as seen on the ground and in films from the past hundred years. Blending film studies with political and cultural geography, Michael Dear investigates the making of cross-border identity and community in the territories between two nations. Border Witness introduces a new "border film" genre just now entering its golden age. A geographer and activist, Dear adopts an accessible and engaged perspective, combining the stories told by these films with insights drawn from his own decades-long research and travel. From early silent films to virtual reality, and from revolution to the present global crisis, border films provide fresh evidence for real and imagined politics and for envisioning future transborder architectures carved from in-between spaces. In an era of global geopolitics that favors walls and war over diplomacy, Dear's insights have relevance for borders around the world.
This is the first textbook to explicitly integrate both media law and ethics within one volume. A truly comprehensive overview, it is a thoughtful introduction to media law principles and cases and the related ethical concerns relevant to the practice of professional communication. With special attention made to key cases and practices, authors Roy L. Moore and Michael D. Murray revisit the most timely and incendiary issues in modern American media. Exploring where the law ends and ethics begin, each chapter includes a discussion of the ethical dimensions of a specific legal topic. The Fourth Edition includes new legal cases and emerging issues in media law and ethics as well as revised subject and case indices. In addition to a separate chapter devoted exclusively to media ethics by Michael Farrell, a new chapter on international and foreign law by Dr. Kyu Ho Youm has also been added. Resources on the companion website include updated PowerPoint presentations and a sample syllabus for instructors, and a glossary, chapter review questions, chapter quizzes, and all seven of the book’s original appendices for students. An excellent integration of both law and ethics, this is the ideal text for undergraduate and graduate courses in media law and ethics.
This wide-ranging study traces the history of the documentary from the first Lumiere films to Michael Moore's 'Fahrenheit 9/11'. Chanan argues that documentary makes a vital contribution to the public sphere - where ideas are debated, opinion formed and those in authority are held to account.
In an era characterized by news that caters to extreme ends of the political spectrum, sporting events are one of the last refuges to which people of divergent viewpoints can turn. In the days and weeks following a national tragedy, columnists frequently write about how the tragedy has affected the sports world, and how, in turn, particular sporting events have affected the American people as they cope with adversity, loss, and grief; in the process, these columnists often reveal their own definitions of tragedy and being American. In Sports in the Aftermath of Tragedy: From Kennedy to Katrina, Michael Gavin explores how columnists have written about sports’ role in the national recovery from specific tragedies. Beginning with John F. Kennedy’s assassination and including subsequent national tragedies such as 9/11 and Hurricane Katrina, this book studies the people considered “American” in these columnists’ work. Other tragedies examined are the assassinations of Martin Luther King Jr. and Bobby Kennedy, the bombing of the 1996 Olympics, and the 2011 Japanese tsunami that impacted both the Japanese and American women’s soccer teams when the two competed against each other in the final round of the World Cup. A unique and perceptive look through the eyes of the sports world at how a nation responds to tragedy, Sports in the Aftermath of Tragedy will be of interest to sports fans, scholars, and historians.
Jacques Derrida's writings often embed the key themes of deconstruction in a notion of the thing. The Event of the Thing is the most complete examination to date of Derrida's understanding of thinghood and its crucial role in psychoanalysis, ethics, literary theory, aesthetics, and Marxism. Arguing that the thing, as a figure of otherness, destabilizes the metaphysical edifice it underlies, Michael Marder reveals the contributions it makes to critiques of humanism and idealism. Subsequently, the new realism that emerges from deconstruction holds the possibility of an event that problematizes all attempts to objectify the thing. An illuminating analysis of Derrida and phenomenology, The Event of the Thing is an innovative and compelling study of a crucial aspect of one of the twentieth century's greatest thinkers.
Intellectuals occupy a paradoxical position in contemporary American culture as they struggle both to maintain their critical independence and to connect to the larger society. In Anxious Intellects John Michael discusses how critics from the right and the left have conceived of the intellectual’s role in a pluralized society, weighing intellectual authority against public democracy, universal against particularistic standards, and criticism against the respect of popular movements. Michael asserts that these Enlightenment-born issues, although not “resolvable,” are the very grounds from which real intellectual work must proceed. As part of his investigation of intellectuals’ self-conceptions and their roles in society, Michael concentrates on several well-known contemporary African American intellectuals, including Henry Louis Gates Jr. and Cornel West. To illuminate public debates over pedagogy and the role of university, he turns to the work of Todd Gitlin, Michael Bérubé, and Allan Bloom. Stanley Fish’s pragmatic tome, Doing What Comes Naturally, along with a juxtaposition of Fredric Jameson and Samuel Huntington’s work, proves fertile ground for Michael’s argument that democratic politics without intellectuals is not possible. In the second half of Anxious Intellects, Michael relies on three popular conceptions of the intellectual—as critic, scientist, and professional—to discuss the work of scholars Constance Penley, Henry Jenkins, the celebrated physicist Stephen Hawking, and others, insisting that ambivalence, anxiety, projection, identification, hybridity, and various forms of psychosocial complexity constitute the real meaning of Enlightenment intellectuality. As a new and refreshing contribution to the recently emergent culture and science wars, Michael’s take on contemporary intellectuals and their place in society will enliven and redirect these ongoing debates.
Best known to Americans as the “singing cowboy,” beloved entertainer Gene Autry (1907–1998) appeared in countless films, radio broadcasts, television shows, and other venues. While Autry’s name and a few of his hit songs are still widely known today, his commitment to political causes and public diplomacy deserves greater appreciation. In this innovative examination of Autry’s influence on public opinion, Michael Duchemin explores the various platforms this cowboy crooner used to support important causes, notably Franklin D. Roosevelt’s New Deal and foreign policy initiatives leading up to World War II. As a prolific performer of western folk songs and country-western music, Autry gained popularity in the 1930s by developing a persona that appealed to rural, small-town, and newly urban fans. It was during this same time, Duchemin explains, that Autry threw his support behind the thirty-second president of the United States. Drawing on a wealth of primary sources, Duchemin demonstrates how Autry popularized Roosevelt’s New Deal policies and made them more attractive to the American public. In turn, the president used the emerging motion picture industry as an instrument of public diplomacy to enhance his policy agendas, which Autry’s films, backed by Republic Pictures, unabashedly endorsed. As the United States inched toward entry into World War II, the president’s focus shifted toward foreign policy. Autry responded by promoting Americanism, war preparedness, and friendly relations with Latin America. As a result, Duchemin argues, “Sergeant Gene Autry” played a unique role in making FDR’s internationalist policies more palatable for American citizens reluctant to engage in another foreign war. New Deal Cowboy enhances our understanding of Gene Autry as a western folk hero who, during critical times of economic recovery and international crisis, readily assumed the role of public diplomat, skillfully using his talents to persuade a marginalized populace to embrace a nationalist agenda. By drawing connections between western popular culture and American political history, the book also offers valuable insight concerning the development of leisure and western tourism, the information industry, public diplomacy, and foreign policy in twentieth-century America.
This book explores the complex interplay of culture and economics in the context of Philippine cinema. It delves into the tension, interaction, and shifting movements between mainstream and independent filmmaking, examines the film distribution and exhibition systems, and investigates how existing business practices affect the sustainability of the independent sector. This book addresses the lack or absence of Asian representation in film distribution literature by supplying the much-needed Asian context and case study. It also advances the discourse of film distribution economy by expounding on the formal and semi-formal film distribution practices in a developing Asian country like the Philippines, where the thriving piracy culture is considered as ‘normal,’ and which is commonly depicted and discussed in existing literature. As such, this will be the first book that looks into the specifics of the Philippine film distribution and exhibition system and provides a historical grounding of its practices.
Each of Great Britain's countries that have grown out of kingdoms, principalities, shire, fiefs, boroughs, and parishes has its own special flavor. This derives from Britain's landscape, its resources and its history, all which have shaped its peoples, too. For more information about Great Britain's history, castles, gardens, restaurants, tours, national parks, stately homes and cathedrals look to Eyewitness Travel Great Britain. Annually revised and updated with beautiful new photos and illustrations this guide includes information on local customs, currency, medical services, and transportation. Consistently chosen over the competition in national consumer market research. The best keeps getting better!
Directing the Documentary is the definitive book on the documentary form, that will allow you to master the craft of documentary filmmaking. Focusing on the hands-on work needed to make your concept a reality, it covers the documentary filmmaking process from top to bottom, providing in-depth lessons on every aspect of preproduction, production, and postproduction. The book includes dozens of projects, practical exercises, and thought-provoking questions, and offers best practices for researching and honing your documentary idea, developing a crew, guiding your team, and much more. This fully revised and updated 7th edition also includes brand new content on the rise of the documentary series, the impact of video on-demand and content aggregators, updated information on prosumer and professional video (including 4K+), coverage of new audio & lighting solutions and trends in post-production, coverage of the immersive documentary, and provides practical sets of solutions for low, medium, and high budget documentary film productions throughout. The companion website has also been fully updated to a variety of new projects and forms. By combining expert advice on the storytelling process, the technical aspects of filmmaking and commentary on the philosophical underpinnings of the art, this book provides the practical and holistic understanding you need to become a highly regarded, original, and ethical contributor to the genre. Ideal for both aspiring and established documentary filmmakers, this book has it all.
Media Literacies: A Critical Introduction traces the history of media literacy and grapples with the fresh challenges posed by the convergent media of the 21st century. The book provides a much-needed guide to what it means to be literate in today’s media-saturated environment. Updates traditional models of media literacy by examining how digital media is utilized in today’s convergent culture Explores the history and emergence of media education, the digitally mediated lives of today’s youth, digital literacy, and critical citizenship Complete with sidebar commentary written by leading media researchers and educators spotlighting new research in the field and an annotated bibliography of key texts and resources
Pioneering participatory, social change-oriented media, the program had a national and international impact on documentary film-making, yet this is the first comprehensive history and analysis of its work. The volume's contributors study dozens of films produced by the program, their themes, aesthetics, and politics, and evaluate their legacy and the program's place in Canadian, Québécois, and world cinema. An informative and nuanced look at a cinematic movement, Challenge for Change reemphasizes not just the importance of the NFB and its programs but also the role documentaries can play in improving the world.
The new violent cartographies -- Preemption up close : film and Pax Americana -- Fogs of war -- The sublime today : re-partitioning the global sensible -- Aesthetics of disintegration : allegiance and intimacy in the former "Eastern bloc"--Perpetual war?
Since the early 1900s, Silver Lake has been a magnet for iconoclastic writers, architects and political activists. Famed architect Frank Lloyd Wright, who designed the Hollyhock House for socialist and oil heiress Aline Barnsdall, drew a wave of visionary modernists to the area. Local civil rights advocate Loren Miller spearheaded the fight against housing discrimination. Silver Lake's Black Cat bar and Harry Hay's Mattachine Society were central to the early gay rights movement. Literary artists Anäis Nin and James Leo Herlihy made the neighborhood their home, as did other notables like first lady of baseball Effa Manley and "Hobo Millionaire" James Eads How. Michael Locke and Vincent Brook chronicle these and other people and places that helped make Silver Lake the bohemian epicenter of Los Angeles.
Since the days of early television, video has been an indispensable part of culture, society, and moving-image media industries. Over the decades, it has been an avant-garde artistic medium, a high-tech consumer gadget, a format for watching movies at home, a force for democracy, and the ultimate, ubiquitous means of documenting reality. In the twenty-first century, video is the name we give all kinds of moving images. We know it as an adaptable medium that bridges analog and digital, amateur and professional, broadcasting and recording, television and cinema, art and commercial culture, and old media and new digital networks. In this history, Michael Z. Newman casts video as a medium of shifting value and legitimacy in relation to other media and technologies, particularly film and television. Video has been imagined as more or less authentic or artistic than movies or television, as more or less democratic and participatory, as more or less capable of capturing the real. Techno-utopian rhetoric has repeatedly represented video as a revolutionary medium, promising to solve the problems of the past and the presentÑoften the very problems associated with television and the society shaped by itÑand to deliver a better future. Video has also been seen more negatively, particularly as a threat to movies and their culture. This study considers video as an object of these hopes and fears and builds an approach to thinking about the concept of the medium in terms of cultural status.
This judicious history of modern Mexico's revolutionary era will help all readers, and in particular students, understand the first great social uprising of the twentieth century. In 1911, land-hungry peasants united with discontented political elites to overthrow General Porfirio Díaz, who had ruled Mexico for three decades. Gonzales offers a path breaking overview of the revolution from its origins in the Díaz dictatorship through the presidency of radical General Lázaro Cárdenas (1934-1940) drawn from archival sources and a vast secondary literature. His interpretation balances accounts of agrarian insurgencies, shifting revolutionary alliances, counter-revolutions, and foreign interventions to delineate the triumphs and failures of revolutionary leaders such as Francisco I. Madero, Pancho Villa, Emiliano Zapata, Alvaro Obregón, and Venestiano Carranza. What emerges is a clear understanding of the tangled events of the period and a fuller appreciation of the efforts of revolutionary presidents after 1916 to reinvent Mexico amid the limitations imposed by a war-torn countryside, a hostile international environment, and the resistance of the Catholic Church and large land-owners.
This book argues for a durational cinema that is distinct from slow cinema, and outlines the history of its three main waves: the New York avant-garde of the 1960s, the European art cinema in the years after 1968, and the international cinema of gallery spaces as well as film festivals since the 1990s. Figures studied include Andy Warhol, Ken Jacobs, Chantal Akerman, Marguerite Duras, Claude Lanzmann, James Benning, Kevin Jerome Everson, Lav Diaz, and Wang Bing.Durational cinema is predominantly minimal, but has from the beginning also included a more encompassing or encyclopedic kind of filmmaking. Durational cinema is characteristically representational, and converges on certain topics (the Holocaust, deindustrialization, the experience of the working class and other marginalized people), but has no one meaning, signifying differently at different moments and in different hands. Warhol’s durational cinema of subtraction is quite different from Jacobs’s durational cinema of social disgust, while Lav Diaz’ durational sublime is quite different from Kevin Jerome Everson’s unblinking studies of African-American working people.
In The Political Sublime Michael J. Shapiro formulates an original politics of aesthetics through an analysis of the experience of the sublime. Turning away from Kant's analysis of the sublime experience as a validation of the existence of a universal common sense, Shapiro draws on Deleuze, Lyotard, and Rancière to show how incomprehensible events and dilemmas provide openings for new political formations. He approaches the sublime through a range of artistic and cultural texts that address social crises and natural disasters, from the writing of James Baldwin and Ta-Nehisi Coates to the films of Ingmar Bergman and Spike Lee; these works suggest ways to channel the disruptive effects of the sublime into resistance to authority and innovative political initiative. Whether stemming from the threat of nuclear annihilation or the aftermath of an earthquake, the violence of racism and terrorism or the devastation of industrialism, sublime experience, Shapiro contends, allows for a rethinking of events in ways that reveal, redistribute, and create conditions of possibility for alternative communities of sense.
The Political Economy of Competitiveness offers an original perspective on the relationship between economic theory and policy. It places the issues within an accessible political economy perspective. Rejecting the narrowness of mainstream economics the authors deploy an interdisciplinary approach to the problem of economic growth, placing it in its historical and political context. Issues covered include: * trade theory and policy * industrial decline and policy * markets, competition and innovation * globalisation, unemployment and government policy. The book provides a valuable guide to the major economic policy issues for both economists and business students.
In this book, Michael J. Shapiro stages a series of pedagogical encounters between political theory, represented as a compositional challenge, and cinematic texts, emphasizing how to achieve an effective research paper/essay by heeding the compositional strategies of films. The text’s distinctiveness is its focus on the intermediation between two textual genres. It is aimed at providing both a conceptual introduction to the politics of aesthetics and a guide to writing strategies. In its illustrations of encounters between political theory and cinema, the book’s critical edge is its emphasis on how to intervene in cinematic texts with innovative conceptual frames in ways that challenge dominant understandings of life worlds. The Cinematic Political is designed as a teaching resource that introduces students to the relationship between film form and political thinking. With diverse illustrative investigations, the book instructs students on how to watch films with an eye toward writing a research paper in which a film (or set of films) constitutes the textual vehicle for political theorizing.
Kommentierte Bibliografie. Sie gibt Wissenschaftlern, Studierenden und Journalisten zuverlässig Auskunft über rund 6000 internationale Veröffentlichungen zum Thema Film und Medien. Die vorgestellten Rubriken reichen von Nachschlagewerk über Filmgeschichte bis hin zu Fernsehen, Video, Multimedia.
From 1937 through 1945, Hollywood produced over 1,000 films relating to the war. This enormous and exhaustive reference work first analyzes the war films as sociopolitical documents. Part one, entitled "The Crisis Abroad, 1937-1941," focuses on movies that reflected America's increasing uneasiness. Part two, "Waging War, 1942-1945," reveals that many movies made from 1942 through 1945 included at least some allusion to World War II.
Some of the most noteworthy graphic novels and comic books of recent years have been entirely autobiographical. In Graphic Subjects, Michael A. Chaney brings together a lively mix of scholars to examine the use of autobiography within graphic novels, including such critically acclaimed examples as Art Spiegelman’s Maus, David Beauchard’s Epileptic, Marjane Satrapi’s Persepolis, Alan Moore’s Watchmen, and Gene Yang’s American Born Chinese. These essays, accompanied by visual examples, illuminate the new horizons that illustrated autobiographical narrative creates. The volume insightfully highlights the ways that graphic novelists and literary cartoonists have incorporated history, experience, and life stories into their work. The result is a challenging and innovative collection that reveals the combined power of autobiography and the graphic novel.
In documentary studies, the old distinctions between fiction and nonfiction no longer apply, as contemporary film and video artists produce works that defy classification. Coming together to make sense of these developments, the contributors to this book effectively redefine documentary studies. They trace the documentary impulse in the early detective camera, in the reenactment of battle scenes from World War I, and in the telecast of the Nevada A-bomb test in 1952. Other topics include experiments in virtual reality; the crisis of representation in anthropology; and video art and documentary work that challenge the asymmetry of the postcolonial us/them divide. Book jacket.
In Punctuations Michael J. Shapiro examines how punctuation—conceived not as a series of marks but as a metaphor for the ways in which artists engage with intelligibility—opens pathways for thinking through the possibilities for oppositional politics. Drawing on Theodor Adorno, Alain Robbe-Grillet, and Roland Barthes, Shapiro demonstrates how punctuation's capacity to create unexpected rhythmic pacing makes it an ideal tool for writers, musicians, filmmakers, and artists to challenge structures of power. In works ranging from film scores and jazz compositions to literature, architecture, and photography, Shapiro shows how the use of punctuation reveals the contestability of dominant narratives in ways that prompt readers, viewers, and listeners to reflect on their acceptance of those narratives. Such uses of punctuation, he theorizes, offer models for disrupting structures of authority, thereby fostering the creation of alternative communities of sense from which to base political mobilization.
Written for the first- or second-time homebuyer, this comprehensive and easy-to-understand book provides readers with all the information necessary to look for, negotiate, and successfully close on a home. Includes information on the buying process, insurance, mortgages, improvements, taxes and other ways to own a home.
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