Encyclopedia of the Documentary Film, 3 Volume Set
Format: PDF / Kindle (mobi) / ePub
The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.
internationally recognized with awards, including The British Academy Award, the Grand Prize at the Melbourne Film Festival, The Special Jury Award at the Sundance Film Festival, the Grand Award at the Houston Film Festival, the Golden Jugo at the Chicago Film Festival, and the Best of Festival Award at the San Francisco Film Festival. His documentary films are praised for the intimate and privileged glimpses they provide into artistic and culinary subcultures in the United States and are
Fitzcarraldo encampment while one explains the political tensions and violence that force the production to flee. Cut to the city of Iquitos, Peru, where shooting resumed in January 1981, only to be suspended when star Jason Robards fell ill. We see outtakes of Robards with co-star Mick Jagger, as Herzog relates: ‘‘If I abandon this project, I would be a man without dreams.’’ In April, actor Klaus Kinski arrives to take the title role, as he had for Herzog’s earlier tale of madness, Aguirre, der
Haus des Dokumentarfilms, Germany David Hogarth York University, Canada Ian Goode University of Glasgow Bert Hogenkamp Netherlands Institute for Sound and Vision / Utrecht University Barry Keith Grant Brock University, Canada Bruce Horsfield University of Southern Queensland Leger Grindon Middlebury College Kerr Houston Maryland Institute College of Art Tom Grochowski Queens College, City University of New York Amanda Howell Griffith University Sapna Gupta University of Calgary Robert
acknowledge the camera, but only obliquely. People seem experienced and complex, but closed off. At the end of the film we are at a concert and hear a full solo cello piece by Boris Tchaikovsky, which is greeted with a strong ovation. This old-fashioned, soulful music, with some painful modernist twists, one feels could be playing inside the heads of all the people we see in the film. Recent films of Akerman’s continue to look at places and the cultures associated with them. Sud (1999) journeys
public figures as the Drew Associates had in Primary (1960), Alan and Susan Raymond reversed the logic, making public the very private rituals of bourgeois family life as found at 35 Wood Dale Lane, Santa Barbara, California, thus acknowledging it to be an institution as open to surveillance as that of welfare recipients. Joining direct cinema documentary methods with television sitcom format, An American Family created a hybrid that fascinated its viewers. In Pat and Bill Loud, Gilbert found a