Dokumentarfilme

Jingan Young in an award-winning screenwriter and journalist. She is a lecturer at Birkbeck University and King’s College London. She edited Foreign Goods: A Selection of Writing from British East Asian Artists (Bloomsbury, 2018) and is a regular contributor to the Guardian newspaper on film.

Despite the broad epistemological influence of commercially successful documentary films in the past several decades, documentary studies has frequently overlooked popular documentaries in favor of more formally experimental works. In Reclaiming Popular Documentary, Christie Milliken and Steve Anderson have assembled a stunning roster of scholars to begin to fill this scholarly gap by taking seriously the power and problems posed by popular documentaries at a moment in which the v

A sophisticated discussion on the theoretical and conceptual tools that we use to understand 'narratives of the self.'

For over five decades, the Newcastle-based Amber Film and Photography Collective has been a critical (if often unheralded) force within British documentary filmmaking, producing a variety of innovative works focused on working-class society. Situating their acclaimed output within wider social, political, and historical contexts, In Fading Light provides an accessible introduction to Amber’s output from both national and transnational perspectives, including experimental, low-budget

Beginning with Robert Flaherty's Nanook of the North (1922), the majority of films that have been made in, about, and by filmmakers from the Arctic region have been documentary cinema. Focused on a hostile environment that few people visit, these documentaries have heavily shaped ideas about the contemporary global Far North. In Arctic Cinemas and the Documentary Ethos, contributors from a variety of scholarly and artistic backgrounds come together to provide a compr

Ryan Watson is Associate Professor of Film and Media Studies at Misericordia University.

Introduction: Reflecting on "Moments of Truth"
1. Being There Again: Reenacting Camerawork in In Country (2014)
2. Weaponizing Affect: A Film Phenomenology of 3D Military Training Simulations during the Iraq War
3. "Do You Want to Play a Klansman?'": Lynching Photography, Civil Rights Camerawork, and the Moore's Ford Lynching Reenactment in Georgia
4. Establishing a Black Affective Infrastructure: From Lynching Performance in the Hollywood of the South to Always in Seaso

Regarding the real develops an original approach to documentary film, focusing on its aesthetic relations to visual arts such as animation, assemblage, photography, painting and architecture. Throughout, the book considers the work of figures whose preferred film language is associative and fragmentary, and for whom the documentary is an endlessly open form; an unstable expressive phenomenon that cannot help but interrogate its own narratives and intentions.

Combinin

Suzanne Crosta is Professor of French at McMaster University. She teaches contemporary African, Asian and Caribbean literatures and cinemas in French with a focus on ecocriticism, childhood/life narratives, postcolonialism, ethics, migration, violence and genocide. She has lectured widely at various universities in Africa, Asia, Europe, South America and the U.S.A in these disciplines. Her articles have appeared in Callaloo, Critical Interventions: Journal of African Art

Foreword / Gina Marchetti

Introduction: Documentary Across Platforms

Part I: Platforms

1. Reverse Engineering: Taking Things Apart for the New Global Media Ecology

2. Ardent Spaces, Formidable Environments

3. Precious Places, Scribe Video Center, Philadelphia

4. The Hand That Holds Up All This Falling: The Works of Daniel Reeves