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Libros sobre el tema "Documentary Director"

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Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 20 de febrero de 2023

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1

Webster, Nicholas. How to sleep on a camel: Adventures of a documentary film director. Jefferson, N.C: McFarland & Co., 1997.

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2

Palmer, R. R., ed. The School of the French Revolution: A Documentary History of the College of Louis-le-Grand and its Director, Jean-Francois Champagne, 1762-1814. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400870639.

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3

The Mad Hot adventures of an unlikely documentary filmmaker. New York, NY: Hyperion, 2007.

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4

The documentary film makers handbook. New York, NY: Continuum International Publishing Group Inc., 2007.

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5

Documentary filmmakers handbook. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2011.

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6

Searle, Kochberg, ed. Introduction to documentary production. London: Wallflower, 2002.

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7

Documentary in the digital age. Oxford: Focal Press, 2006.

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8

Baker, Maxine. Documentary in the Digital Age. San Diego: Elsevier Science & Technology, 2010.

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9

The documentary moviemaking course: The starter guide to documentary filmmaking. London: Methuen Drama, 2010.

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10

Stubbs, Liz. Documentary filmmakers speak. New York, N.Y: Allworth Press, 2002.

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11

Documentary filmmakers speak. New York: Allworth Press, 2002.

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12

Documentary for the small screen. Oxford: Focal Press, 2000.

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13

Rabiger, Michael. Directing the documentary. Boston: Focal Press, 1987.

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14

Directing the documentary. 4a ed. Amsterdam: Focal Press, 2004.

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15

Directing the documentary. 3a ed. Boston: Focal Press, 1998.

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16

Rabiger, Michael. Directing the documentary. 2a ed. Boston: Focal Press, 1992.

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17

Rabiger, Michael. Directing the documentary. 5a ed. Burlington, MA: Focal Press, 2009.

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18

Jong, Wilma De. Creative documentary: Theory and practice. Harlow, England: Longman, 2011.

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19

Zhamanakě ev pʻastě: Vremi︠a︡ i fakt : aknarkner hay kinovaveragroghneri u nrants filmeri masin. Erevan: Hayastan hratarakchʻutʻyun, 2013.

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20

Pío, Caro Baroja, ed. Recuerdos de un documentalista ; Historias de la vieja querida. Pamplona-Iruña: Pamiela, 2002.

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21

Dumas, Mireille. Parole interdite. Paris: Edition⁰ 1, 1994.

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22

Lindenmuth, Kevin J. The documentary moviemaking course: The starter guide to documentary filmmaking. Hauppauge, N.Y: Barron's, 2010.

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23

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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24

The documentary handbook. London: Routledge, 2010.

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25

Gustavo, Vazquez, ed. Documentary film-making: A contemporary field guide. New York, NY: Oxford University Press, 2009.

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26

Kriwaczek, Paul. Documentary for the small screen. Oxford: Focal Press, 1997.

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27

Litvinova, Margarita y Irina Kozhaeva. Musical-poetic performance. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071391.

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In the educational-methodical manual deals with basic dramaturgical and staging the principles of working with documentary and artistic material, techniques use of fact and document in a journalistic view, clearly demonstrates techniques for creating imaginative solutions and scenarios of artistic and journalistic representations. Addressed to students of universities of arts and culture, studying under the direction of training 51.03.05 "direction of the dramatized representations and holidays", studying discipline "Directing poetry theater" and "writing"; and also workers of culture, Directors and practitioners working to create theatrical programs and mass celebrations.
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28

Directory of United Nations documentary and archival sources. [Hanover, N.H.]: Academic Council on the United Nations System, 1991.

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29

Documentary storytelling for film and videomakers. Burlington, MA: Focal Press, 2004.

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30

Hugo, Latulippe, ed. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.

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31

Wyszyński, Zbigniew. Szczęsny Mysłowicz: Filmowy kronikarz Krakowa. Kraków: Dom Kultury, 1986.

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32

G, Prozhiko y Firsova D, eds. Letopist͡s︡y nashego vremeni: Rezhissery dokumentalʹnogo kino. Moskva: "Iskusstvo", 1987.

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33

Giulio Briani: Regista e uomo di cultura. Trento: Fondazione Museo storico del Trentino, 2008.

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34

Ducharme, Thierry. Camera lucida: Entretien avec Hugo Latulippe : entretien. St-Fulgence, Québec: La Peuplade, 2009.

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35

Josei dokyumentarisuto no kaisō. Tōkyō: Domesu Shuppan, 1991.

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36

Documentary: Witness and self-revelation. New York, NY: Routledge, 2011.

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37

TROMBO, Tony. HAL WARREN: The Director of Fate. Lulu Press, Inc., 2010.

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38

Michael, Lindsay-Hogg, Jordan Neil 1950-, Walsh Kieron J, Sturridge Charles, Lehane Pearse, Beckett Samuel 1906-1989, Beckett Samuel 1906-1989, Beckett Samuel 1906-1989 y Beckett Samuel 1906-1989, eds. Beckett on film: Waiting for Godot [director: Michael Lindsay-Hogg]; Not I [director: Neil Jordan]; Rough for theatre 1 [director: Kieron J. Walsh]; Ohio impromptu [director: Charles Sturridge]; Documentary: Check the gate - putting Beckett on film [director: Pearse Lehane]. Dublin: RTE, 2001.

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39

Broinowski, Anna. Director Is the Commander: Come on a Unique Journey Inside North Korea's Propanganda Machine. Penguin Random House, 2015.

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40

Williams, Tami. Fiction, Newsreels, and Social Documentary in the Sound Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0005.

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This chapter traces Dulac's transition to nonfiction filmmaking in the early 1930s, in her work as founding director of one of the most important news reel companies of the period (France-Actualités-Gaumont, 1932–35). It examines the aesthetic and social dimensions of her conception of the newsreel and its capacity for objectivity, as well as its ability to reveal reality and inner meanings beyond that which is visible with the human eye. The chapter also considers Dulac's socially and politically engaged nonfiction films and projects of the Popular Front, particularly her unique newsreel-based, pacifist documentary feature, Le Cinéma au service de l'histoire (1935), which investigates cinema's role as an actor within history.
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41

Thomson, C. Claire. A Free Hand: The Art Film versus the Art of Documentary. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424134.003.0009.

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This chapter focuses on the short art film, a genre which emerged around 1950 to mediate the visual and plastic arts, often for international exchange. Danish films about national cultural heritage and the applied arts were the focus for state-sponsored film. These often circulated very widely: the production and distribution of Shaped by Danish Hands (Hagen Hasselbalch, 1948) and Thorvaldsen (Carl Th. Dreyer, 1949) are detailed as examples of Danish films seen by millions of international viewers. The chapter also highlights the artistry of the informational filmmakers themselves, as institutional practice: the principle that the director should have a ‘free hand’ to interpret the brief. An example of an alternative circuit for the screening of art films in Denmark is detailed: art film screening series at Thorvaldsen’s Museum. Debate about the extent to which state-sponsored filmmaking should pursue art and to what extent documentary itself was an art form marks the late 1950s, as changes in leadership and funding shift practice and priorities within Dansk Kulturfilm. The chapter ends with a discussion of one of the agency’s final productions, Herning 65, which captures a site-specific artwork in a factory in the town of Herning.
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42

Palmer, R. R. School of the French Revolution: A Documentary History of the College of Louis-le-Grand and Its Director, Jean-François Champagne, 1762-1814. Princeton University Press, 2016.

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43

Palmer, R. R. School of the French Revolution: A Documentary History of the College of Louis-Le-Grand and Its Director, Jean-Francois Champagne, 1762-1814. Princeton University Press, 2015.

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44

Palmer, R. R. School of the French Revolution: A Documentary History of the College of Louis-Le-Grand and Its Director, Jean-Francois Champagne, 1762-1814. Princeton University Press, 2015.

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45

Nash, Rose. Michael Palin Adult Coloring Book: Legendary Member of Monty Python and Travel Documentary Director, Acclaimed Comedian and Cultural Icon Inspired Adult Coloring Book. Independently Published, 2019.

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46

Palmer, R. R. School of the French Revolution: A Documentary History of the College of Louis-Le-Grand and Its Director, Jean-François Champagne, 1762-1814. Princeton University Press, 2015.

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47

Documentary Superstars. New York: Allworth Press, 2010.

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48

Borum Chattoo, Caty. Story Movements. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190943417.001.0001.

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Social-issue documentaries are art for civic imagination and social critique. Today, audiences experience documentaries that interrogate topics like sexual assault in the military (The Invisible War), the opioid crisis (Heroin(e)), racial injustice (13th), government surveillance (Citizenfour), animal captivity (Blackfish), and more. Along a continuum of social change, these intimate nonfiction films have changed national conversations, set media agendas, mobilized communities and policymakers, and provided new portals into social problems and lived experiences—accessed by expanding audiences in a transforming dual marketplace that includes mainstream entertainment outlets and grassroots venues. Against the activism backdrop of the participatory networked culture, the contemporary function of social-issue documentaries in civic practice is embodied also in parallel community engagement—the active role of civil society, communities, and individuals—that has dynamically evolved over recent decades. Story Movements: How Documentaries Empower People and Inspire Social Change explores the functions and public influence of social-issue documentary storytelling in the networked era. At the book’s core is an argument about documentary’s vital role in storytelling culture and civic practice with an impulse toward justice and equity. Intimate documentaries illuminate complex realities and stories that disrupt dominant cultural narratives and contribute new ways for publics to contemplate and engage with social challenges. Written by a documentary producer, scholar, and director of the Center for Media & Social Impact, the book features original interviews with award-winning filmmakers and field leaders to reveal the motivations and influence of some of most lauded, eye-opening stories of the evolving documentary age.
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49

1952-, Narwekar Sanjit y Mumbai International Film Festival for Documentary, Short & Animation Films., eds. A directory of Indian documentary. Mumbai: Mumbai International Film Festival for Documentary, Short & Animation Films, 1998.

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50

The Documentary Filmmakers Handbook 2nd Edition. Continuum, 2012.

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