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Books on the topic 'Documentary film media'

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Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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1

A new history of documentary film. 2nd ed. New York, NY: Continuum, 2012.

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2

Aitken, Ian. Documentary film: Critical concepts in media and cultural studies. Abingdon, Oxon [England]: Routledge, 2012.

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3

Hoover, Dwight W. Middletown: The making of a documentary film series. Chur: Harwood Academic Publishers, 1992.

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4

Communicating ideas with film, video, and multimedia: A practical guide to information motion-media. Carbondale: Southern Illinois University Press, 2004.

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5

Nordic Anthropological Film Association. Conference, ed. Beyond the visual: Sound and image in ethnographic and documentary film. Højbjerg: Intervention Press, 2010.

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6

Creating the witness: Documenting genocide on film, video, and the Internet. Minneapolis: University of Minnesota Press, 2012.

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7

Chan, Felicia. Genre in Asian film and television: New approaches. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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8

Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
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9

Genre in Asian film and television: New approaches. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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10

The AIDS movie: Representing a pandemic in film and television. New York: Haworth Press, 2000.

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11

Fox, Broderick. Documentary media: History, theory, practice. Boston: Allyn & Bacon, 2010.

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12

kinokulʹtury, Ėĭzenshteĭnovskiĭ t︠s︡entr issledovaniĭ, ed. Dokumentalʹnoe kino Rossii, 2009: Spravochnik = Documentary cinema of Russia, 2009 : the directory. Moskva: Ėĭzenshteĭnovskiĭ t︠s︡entr issledovaniĭ kinokulʹtury, 2008.

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13

Markus, Nornes, and Yamagata International Documentary Film Festival '91 (1991), eds. Nichi-Bei eigasen: Pāru Hābā 50-shūnen : Yamagata Kokusai Dokyumentarī Eigasai '91, 10-gatsu 7-nichi--10-nichi = Media wars, then and now : Pearl Harbor 50th anniversary : Yamagata International Documentary Film Festival '91, October 7-10. Tōkyō: Sōjinsha, 1991.

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14

Pat, Laughren, and Williamson Dugald 1946-, eds. Australian documentary: History, practices and genres. Port Melbourne, Vic: Cambridge University Press, 2011.

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15

Gallery, Whitechapel Art, Tate Modern (Gallery), and ebrary Inc, eds. Truth or dare: Art & documentary. Bristol, UK: Intellect, 2007.

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16

Zhongguo ji lu pian fa zhan shi. Beijing Shi: Zhongguo xi ju chu ban she, 2003.

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17

Hua yu xuan ze yu li lun lai yuan: Zhongguo ji lu pian pi ping yan jiu. Chengdu Shi: Sichuan da xue chu ban she, 2007.

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18

Mexico) Coloquio Latinoamericano de Creación Documental (1st 2007 Tepoztlán. Memoria. Cuernavaca, Morelos: Universidad Autónoma del Estado de Morelos-Facultad de Artes, 2008.

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19

Jerry, Rothwell, and Knudsen Erik, eds. Creative documentary: Theory and practice. Harlow, England: Longman, 2011.

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20

1940-, Izod John, ed. An introduction to television documentary: Confronting reality. Manchester: Manchester University Press, 1997.

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21

Le dispositif cinématographique, un processus pour [re]penser l'anthropologie. Paris: Téraèdre, 2009.

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22

Indigenous aesthetics: Native art, media, and identity. Austin: University of Texas Press, 1998.

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23

Die Farbe der Wahrheit: Dokumentarismen im Kunstfeld. Wien: Turia + Kant, 2008.

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24

Zooming in and out: Produktionen des Politischen in neueren deutschsprachigen Dokumentarfilm. Wien: Mandelbaum, 2013.

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25

Emilia-Romagna, Fondazione Istituto Gramsci, ed. La vita in rosso: Il Centro audiovisivi della Federazione del PCI di Bologna. Roma: Carocci, 2009.

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26

translator, Zhang Yuru, ed. Pan tao gong he guo. Taibei Shi: Make Boluo wen hua, 2017.

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27

Kishore, Shweta. Indian Documentary Film and Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433068.001.0001.

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Independent documentary is enjoying a resurgence in post-reform India. But in contemporary cinema and media cultures, where ‘independent’ operates as an industry genre or critical category, how do we understand the significance of this mode of cultural production? Based on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a 'tactical practice’, contesting the normative definitions and functions assigned to culture, cultural production and producers in a neoliberal economic system. Focusing on selected filmmakers, the book establishes how they have reorganised the dominance of industrial media, technology and social relations to develop practices that build upon principles of de-economisation, artisanship and interdependence.
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28

Dying in Full Detail: Mortality and Digital Documentary. Duke University Press Books, 2017.

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29

Malkowski, Jennifer. Dying in Full Detail: Mortality and Digital Documentary. Duke University Press, 2017.

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30

Malkowski, Jennifer. Dying in Full Detail: Mortality and Digital Documentary. Duke University Press, 2017.

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31

Oppenheimer, Joshua, and Joram ten Brink. Killer Images: Documentary Film, Memory and the Performance of Violence. Columbia University Press, 2013.

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32

Killer Images: Documentary Film, Memory and the Performance of Violence. Columbia University Press, 2012.

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33

Killer Images: Documentary Film, Memory and the Performance of Violence. Columbia University Press, 2012.

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34

National Endowment for the Humanities., ed. Media log: A guide to film, television, and radio programs supported by the National Endowment for the Humanities. Washington, D.C: The Endowment, 1987.

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35

Alexandra, Juhasz, and Lerner Jesse, eds. F is for phony: Fake documentary and truth's undoing. Minneapolis: University of Minnesota Press, 2006.

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36

National Endowment for the Humanities. Humanities Projects in Media., ed. Media log: A guide to film, television, and radio programs supported by the National Endowment for the Humanities, Division of Public Programs, Humanities Projects in Media. Washington, DC: The Project, 1993.

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37

Frits, Gierstberg, ed. Documentary now!: Contemporary strategies in photography, film and the visual arts. Rotterdam: NAi Publishers, 2005.

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38

Gevers, Ine, and Jean-Francois Chevrier. Documentary Now: Contemporary Strategies in Photography, Film and the Visual Arts (Reflect). NAi Publishers, 2006.

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39

Ricciardelli, Lucia. American Documentary Filmmaking in the Digital Age. Taylor & Francis Group, 2018.

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40

Juhasz, Alexandra Juhasz, and Jesse Lerner. F Is For Phony: Fake Documentary And Truth'S Undoing (Visible Evidence). Univ Of Minnesota Press, 2006.

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41

Documentarys Awkward Turn Routledge Research in Cultural and Media Studies. Taylor & Francis Ltd, 2014.

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42

Documenting Gay Men: Identity And Performance in Reality Television And Documentary Film. McFarland & Company, 2007.

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43

Guglielmo, Giumelli, and Girardi Giampiero, eds. Vecchiaia, cinema e audiovisivi: Film e documentari in lingua italiana sulla condizione anziana. Milano: Guerini e associati, 2000.

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44

Giampiero, Girardi, Giumelli Guglielmo, and Istituto regionale di studi e ricerca sociale (Trento, Italy), eds. Vecchiaia, cinema e audiovisivi: Film e documentari in lingua italiana sulla condizione anziana. Milano: Guerini e associati, 2000.

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45

American Documentary Filmmaking in the Digital Age: Depictions of War in Burns, Moore, and Morris. Taylor & Francis Group, 2014.

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46

Caught on Camera: Film in the Courtroom from the Nuremberg Trials to the Trials of the Khmer Rouge (Critical Authors and Issues). University of Pennsylvania Press, 2013.

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47

Stuart, Katz John, Ruby Jay, and Gross Larry P. 1942-, eds. Image ethics: The moral rights of subjects in photographs, film and television. New York, NY: Oxford University Press, 1988.

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48

Murray Levine, Alison J. Vivre Ici. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786940414.001.0001.

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Vivre Ici analyzes a selection of films from the vast viewing landscape of contemporary French documentary film, a genre that has experienced a renaissance in the past twenty years. The films are connected not just by a general interest in engaging the “real,” but by a particular attention to French space and place. From farms and wild places to roads, schools, and urban edgelands, these films explore the spaces of the everyday and the human and non-human experiences that unfold within them. Through a critical approach that integrates phenomenology, film theory, eco-criticism and cultural history, Levine investigates the notion of documentary as experience. She asks how and why, in the contemporary media landscape, these films seek to avoid argumentation and instead, give the viewer a feeling of “being there.” As a diverse collection of filmmakers, both well-known and less so, explore the limits and possibilities of these places, a collage-like, incomplete, and fragmented vision of France as seen and felt through documentary cameras comes into view. Venturing beyond film analysis to examine the production climate for these films and their circulation in contemporary France, Levine explores the social and political consequences of these “films that matter” for the viewers who come into contact with them.
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49

(Editor), Larry Gross, John Stuart Katz (Editor), and Jay Ruby (Editor), eds. Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television (Communication and Society). Oxford University Press, USA, 1991.

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50

The Migrant Image: The Art and Politics of Documentary during Global Crisis. Duke University Press Books, 2013.

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