At the turn of the 20th century, Sharons very existence was threatened by the collapse of the local iron industry as the towns economy and population began to decline. However, the popularity of automobile transportation and Sharons accessible distance from New York attracted a class of wealthy visitors who fell in love with the rolling hills and quiet valleys. This new weekend population purchased land and built stately country homes, reigniting interest in the area. Steady growth in construction provided much-needed work, and commerce began to thrive again. Early businesses expanded, and new operations opened. Local residents could shop at stores run by the Gillette brothers and A.R. Woodward, fill their tanks at Herman Middlebrooks gas station, and have their health care needs attended to by doctors at the state-of-the-art Sharon Hospital, built in 1916. Eastern Europeans became the towns newest residents, taking advantage of the affordable, cleared land to fuel a large number of highly successful farms. Sharons residents thrived as they reshaped their town, welcoming newcomers and nurturing a community of inclusion that lasts to the present day.
Since Robert Flaherty's landmark film Nanook of the North (1922) arguments have raged over whether or not film records of people and traditions can ever be "authentic." And yet never before has a single volume combined documentary, ethnographic, and folkloristic filmmaking to explore this controversy. What happens when we turn the camera on ourselves? This question has long plagued documentary filmmakers concerned with issues of reflexivity, subject participation, and self-consciousness. Documenting Ourselves includes interviews with filmmakers Les Blank, Pat Ferrero, Jorge Preloran, Bill Ferris, and others, who discuss the ways their own productions and subjects have influenced them. Sharon Sherman examines the history of documentary films and discusses current theiroeis and techniques of folklore and fieldwork. But Sharon Sherman does not limit herself to the problems faced by filmmakers today. She examines the history of documentary films, tracing them from their origins as a means of capturing human motion through the emergence of various film styles. She also discusses current theories and techniques of folklore and fieldwork, concluding that advances in video technology have made the camcorder an essential tool that has the potential to redefine the nature of the documentary itself.
Since Robert Flaherty's landmark film Nanook of the North (1922) arguments have raged over whether or not film records of people and traditions can ever be "authentic." And yet never before has a single volume combined documentary, ethnographic, and folkloristic filmmaking to explore this controversy. What happens when we turn the camera on ourselves? This question has long plagued documentary filmmakers concerned with issues of reflexivity, subject participation, and self-consciousness. Documenting Ourselves includes interviews with filmmakers Les Blank, Pat Ferrero, Jorge Preloran, Bill Ferris, and others, who discuss the ways their own productions and subjects have influenced them. Sharon Sherman examines the history of documentary films and discusses current theiroeis and techniques of folklore and fieldwork. But Sharon Sherman does not limit herself to the problems faced by filmmakers today. She examines the history of documentary films, tracing them from their origins as a means of capturing human motion through the emergence of various film styles. She also discusses current theories and techniques of folklore and fieldwork, concluding that advances in video technology have made the camcorder an essential tool that has the potential to redefine the nature of the documentary itself.
Hunangofiant difyr a dadlennol un o actoresau mwyaf talentog ac adnabyddus Cymru. Cawn hanes ei pherfformiadau ar lwyfan, radio a theledu ers deugain mlynedd, yn y Gymraeg, Saesneg a Ffrangeg. Mae yma storiau am enwogion, cariadon ac am gyfnodau cyffrous yn hanes Cymru.
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