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Part IV: Interventions and Reconstitutions of DocumentaryĬhapter 18: Four and a Half Film FallaciesĬhapter 19: The Dogma 95 Manifesto and The Vow of ChastityĬhapter 20: Minnesota Declaration: Truth and Fact in Documentary CinemaĬhapter 21: Omission and Oversight in Close Reading-The Final Moments of FrederickĬhapter 22: Cinematic Consciousness: Animal Subjectivity, Activist Rhetoric, and the ProblemĬhapter 23: Understanding (and) the Legacy of the Trace: Reflections After Carroll, Currie, andĬhapter 24: The Big Short : Adam McKay’s Vehicle for Truth ClaimsĬhapter 25: Letter to Errol Morris: Feelings of Revulsion and the Limits of Academic Discourse Renewing Civil Alliances-Palestine 1947–48Ĭhapter 12: “See and Remember”: The Golden Days of Said OtrukĬhapter 13: Intimacy, Modesty, Silence: Documentary Filmmaking in the Face of TraumaĬhapter 14: Provoking the Truth: Applying the Method of Cinéma VéritéĬhapter 15: Reenvisioning Dziga Vertov: 10 Enduring Diktats for Documentary CinemaĬhapter 16: Whose Strife is it Anyway? The Erosion of Agency in the Cinematic Production ofĬhapter 17: Redefining Documentary Materialism: from Actuality to Virtuality in Victor Erice’s
CINE TRACER CHOPPY ARCHIVE
Part III: Documentary Theorist-Filmmakers at WorkĬhapter 11: Promises and Contracts Found in the Archive Are Not About the Past: Part II: Strategies and Styles of Documenting with FilmĬhapter 6: Before Documentary: Early Nonfiction Films and the “View” AestheticĬhapter 7: Ruminating on the Ideologies of Nature FilmĬhapter 8: Jean Rouch’s Cine-trance and Modes of Experimental Ethnofiction FilmmakingĬhapter 9: The Ecstasy of Time Travel in Werner Herzog’s Cave of Forgotten DreamsĬhapter 10: Habitats of Documentary: Landscapes, Color Fields, and Ecologies in theĬlaudia Pederson and Patricia R. Part I: The Medium, Morals, and Metaphysics of Documentary FilmĬhapter 1: What Photography Calls Thinking: Theoretical Considerations on the Power of theĬhapter 2: Cinematic Representation and Spatial Realism: Reflections After/Upon André BazinĬhapter 3: Documentary Traces: Film and the Content of PhotographsĬhapter 4: The Limits of Appropriation: Subjectivist Accounts of the Fiction/NonfictionĬhapter 5: Inscribing Ethical Space: Ten Propositions on Death and Documentary
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Representative Qualities and Questions of Documentary Film This book will be of interest to theorists and practitioners of nonfiction film to emerging and established scholars contributing to the secondary literature and to those who are intrigued by the kinds of questions and claims that seem native to nonfiction film, and who may wish to explore some critical responses to them written in engaging language. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, inviting-not bracketing or partitioning-the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences (in so far as we are biological beings who are trying to track our cognitive and perceptual understanding of a nonbiological thing-namely, film, whether celluloid-based or in digital form) these disciplines, so habitually cordoned off from one another, are brought together into a shared conversation about a common object and domain of investigation. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well.
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The spirit that founded the volume and guided its development is radically inter- and transdisciplinary.