Innovative documentary filmmaker; friend of Andy Warhol, John Cage, Jasper Johns, Robert Rauschenberg, and other leading figures of the New York art world; radical leftist critic of the Establishment; and legendary bon vivant: Emile de Antonio (1919-1989) was a larger-than-life personality and a key figure in the development of post-war American cinema. The films de Antonio made between 1963 and 1989 -- including Point of Order, Rush to Judgment, In the Year of the Pig, Painters Painting, and Millhouse: A White Comedy -- revolutionized the documentary format and inspired a generation of...
Innovative documentary filmmaker; friend of Andy Warhol, John Cage, Jasper Johns, Robert Rauschenberg, and other leading figures of the New York art w...
Alexandra Juhasz asked twenty-one women to tell their stories -- women whose names make up a who is (and who will be) who of independent and experimental film and video. What emerged in the resulting conversations is a compelling (and previously underdocumented) history of feminism and feminist film and video, from its origins in the fifties and sixties to its apex in the seventies, to today.
Women of Vision is a companion piece to Juhasz's 1998 documentary of the same name. The book presents the complete interviews, allowing readers to hear directly the voices of these articulate,...
Alexandra Juhasz asked twenty-one women to tell their stories -- women whose names make up a who is (and who will be) who of independent and experimen...
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography.
In The Subject of Documentary, Michael...
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educationa...
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography. In The Subject of Documentary, Michael Renov...
The documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educationa...
Set against the background of Bolivia's prominent urban festival parades and the country's recent appearance on the front lines of antiglobalization movements, Circuits of Culture is the first social analysis of Bolivian film and television, their circulation through the social and national landscape, and the emergence of the country's indigenous video movement.
At the heart of Jeff Himpele's examination is an ethnography of the popular television program, The Open Tribunal of the People. The indigenous and underrepresented majorities in La Paz have used the talk show...
Set against the background of Bolivia's prominent urban festival parades and the country's recent appearance on the front lines of antiglobalizatio...
Among Asian countries--where until recently documentary filmmaking was largely the domain of central governments--Japan was exceptional for the vigor of its nonfiction film industry. And yet, for all its aesthetic, historical, and political interest, the Japanese documentary remains little known and largely unstudied outside of Japan. This is the first English-language study of the subject, an enlightening close look at the first fifty years of documentary film theory and practice in Japan. Beginning with films made by foreigners in the nineteenth century and concluding with the first two...
Among Asian countries--where until recently documentary filmmaking was largely the domain of central governments--Japan was exceptional for the vigor ...
Fake documentaries mimic documentary genre expectations, unraveling the documentary's authority and dismantling understandings of identity, history, and nation. The interdisciplinary essays in F Is for Phony discuss a broad scope of works and explore issues raised by "fake docs" such as the fiction/documentary divide, the ethics of reality-based manipulation, and whether documentariness derives from form or reception. Defining the borderline between fact and fiction, the contributors reveal what fake documentaries imply and usually make explicit: that many documentaries lie to tell...
Fake documentaries mimic documentary genre expectations, unraveling the documentary's authority and dismantling understandings of identity, history, a...
"Extraordinarily valuable, illuminating, and even entertaining, Forest of Pressure brims with the types of information that only a key insider can get his hands on." --Mitsuhiro Yoshimoto, New York University
Ogawa Productions--known in Asia as Ogawa Pro--was an influential filmmaking collective that started in the 1960s under the direction of Ogawa Shinsuke (1936-1992). Between 1968 and the mid-1970s, Ogawa Pro electrified the Japanese student movement with its Sanrizuka documentary series--eight films chronicling the massive protests over the construction of the Narita...
"Extraordinarily valuable, illuminating, and even entertaining, Forest of Pressure brims with the types of information that only a key insider ...
