Rethinking Documentary: New Perspectives and Practices
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From a boom in theatrical features to footage posted on websites such as YouTube and Google Video, the early years of the 21st century have witnessed significant changes in the technological, commercial, aesthetic, political, and social dimensions of documentaries on film, television and the web.
In response to these rapid developments, this book rethinks the notion of documentary, in terms of theory, practice and object/s of study. Drawing together 26 original essays from scholars and practitioners, it critically assesses ideas and constructions of documentary and, where necessary, proposes new tools and arguments with which to examine this complex and shifting terrain.
Covering a range of media output, the book is divided into four sections:
- Critical perspectives on documentary forms and concepts
- The changing faces of documentary production
- Digital and online documentaries: opportunities and limitations
Contemporary documentary: borders, neighbours and disputed territories
Rethinking Documentary is valuable reading for scholars and students working in documentary theory and practice, film studies, and media studies.
the way in which ideology controls people’s memory. You could construct a different picture, all the good things, and let the people believe it. But we Kerrypress Ltd – Typeset in XML A Division: 16-thornham F Sequential 10 www.kerrypress.co.uk - 01582 451331 - www.xpp-web-services.co.uk McGraw Hill - 240mm x 170mm - Fonts: Stone Sans & Stone Serif
accept. Exploring questions of definition, a number of points of reference emerge, variously guiding or blocking the conduct of dispute. There are attempts to stabilize documentary around matters of form, matters of subject and matters of purpose. Not everyone would agree with the use of these particular terms but my aim here is merely to differentiate broadly between types of definitional argument, not to prescribe a particular analytic vocabulary. Proceeding by primary reference to form
of asphalt and steel’, as the last images of Treadwell show him walking along the side of a river, moving, apparently irretrievably, away from the camera, followed by two bears splashing in the shallows. In these sequences sound and image function together to both propose and acknowledge feelings of mourning and loss – including the loss of connections to ‘nature’, even if these are more imagined than real – not to dismiss them as (only) sentimental or absurd. Conclusion Ultimately, Grizzly Man
more power over their representation. The filmmakers know that if they alienate one, the others would follow and they would stop participating in the serial. The ethical argument for an ‘aesthetics of trust’ in this long-term documentary thus has practical reasons as well. As Barbara Junge (Panse 2003) observes: ‘You cannot of course record something about someone, which they themselves don’t like. They would have such an expression in front of the camera that it would be impossible to use it.’
companies do not produce the lion’s share of the films in the UK, but they are important for the number of people they employ (Hesmondhalgh 2002) and the possibilities they offer for aspiring directors, writers and producers. Research by Beacham (1999) among students at Goldsmiths College, London concluded that most students who had finished their degrees in media studies ended up in small independent production companies for their first jobs. You know, new talent can only come through because