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 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,...

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, 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...

Camcorder AIDS activism is a prime example of a new form of political expression an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon why and how video has become the medium for so much AIDS activism she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media s form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of...

Camcorder AIDS activism is a prime example of a new form of political expression an outburst of committed, low-budget, community-produced, political video work made possible by new accessible technologies. As Alexandra Juhasz looks at this phenomenon why and how video has become the medium for so much AIDS activism she also tries to make sense of the bigger picture: How is this work different from mainstream television? How does it alter what we think of the media s form and function? The result is an eloquent and vital assessment of the role media activism plays in the development of...