By Lucia Ricciardelli
American Documentary Filmmaking within the electronic Age examines the new demanding situations to the conventions of realist documentary throughout the lens of conflict documentary movies by way of Ken Burns, Michael Moore, and Errol Morris. throughout the 20th century, the discovery of latest applied sciences of audiovisual illustration comparable to cinema, tv, video, and electronic media have reworked the modes of old narration and with it compelled historians to evaluate the effect of recent visible applied sciences at the building of background. This e-book investigates the way within which this modern Western "crisis" in historic narrative is produced by way of a bigger epistemological shift in visible tradition. Ricciardelli makes use of the subject of warfare as depicted in those administrators’ movies to concentration her learn and view the model(s) of nationwide identification that Burns, Morris, and Moore form via their depictions people army activities. She examines how postcolonial evaluations of historicism and the appearance of digitization have affected the narrative constitution of documentary movie and the shaping of historic cognizance via cinematic illustration.
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Extra info for American Documentary Filmmaking in the Digital Age: Depictions of War in Burns, Moore, and Morris
Ellis, “The Young Grierson in America, 1924–1927,” Cinema Journal, 8. 1 (Autumn 1968), 12. , 1959), 105. As Catherine Belsey claims, “Liberal humanism, laying claim to be both natural and universal, was produced in the interests of the bourgeois class which came to power in the second half of the seventeenth century. [. ] The common feature of liberal humanism, justifying the use of the single phrase, is a commitment to man, whose essence is freedom. ” Catherine Belsey, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London, New York: Methuen, 1985), 7–8.
Curtis (In the Land of the Head Hunters, 1914; Seeing America, 1916) and Robert J. , Jacob Riis; Lewis Hine), the US film industry, often in conjunction with the government, began to produce nonfiction films that tackled various social issues. Tellingly, it was John Grierson, a son of the British Empire whose academic research focused on sociology of propaganda, who coined what Eurocentric film historians consider to be the first definition of documentary. In 1924, Grierson “was awarded a Rockefeller research fellowship in social science for study in America,”21 where he became acquainted with the US academic sociological model.
John Grierson, “First Principles of Documentary,” in Grierson on Documentary, ed. , 1947), 102–103. 31. ” Winston, Claiming the Real, 31. 32. Ibid, 35–36. 33. Bill Nichols, Representing Reality: Issues and Concepts in Documentary (Indiana University Press, 1991). 34. Roland Barthes, “Rhetoric of the Image,” in Image-Music-Text (New York: Hill and Wang, 1977). 35. In the 1950s, American documentary filmmakers struggled to develop quiet cameras that could be used with portable tape-recorders to record synchronous sound on location.