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Présentation Contemporary Documentary de Format Relié
- Livre Science humaines et sociales, Lettres
Résumé : Foreword Bill Nichols Introduction: Situating Contemporary Documentary Selmin Kara and Daniel Marcus PART I: FORMS, GENRES, INNOVATIONS 1. Lying to Be Real: The Aesthetics of Ambiguity in Docufictions Ohad Landesman 2. The Mockumentary Craig Hight 3. Animated Documentary Annabelle Honess Roe 4. Producing the Crowdsourced Documentary: The Implications of Storytelling and Technology Heather McIntosh 5. Designed Experience in Interactive Documentaries Siobhan O'Flynn 6. Indigenous Documentary Media Pamela Wilson PART II: DOCUMENTARY IN NEW CONTEXTS 7. True Life: The Voice of Television Documentary Laurie Ouellette 8. Interrogating the Media: Errol Morris in the Information Age Kris Fallon 9. Documentary and the Survival of the Film Auteur: Agn?s Varda, Werner Herzog, and Spike Lee Helen Hughes 10. The Ethics of Appropriation: Misusing the Found Document in Suitcase of Love and Shame and A Film Unfinished Jaimie Baron 11. Documentary, Multi-Platform Production, and Cosmopolitan Dialogues Ib Bondebjerg 12.Documentary and Video Activism Daniel Marcus
Biographie: Daniel Marcus teaches media and documentary studies at Goucher College in Baltimore, Maryland. He is the author of Happy Days and Wonder Years: The Fifties and the Sixties in Contemporary Cultural Politics, and editor of ROAR! The Paper Tiger Television Guide to Media Activism. Selmin Kara is an Assistant Professor at OCAD University. She is interested in digital aesthetics and sound in post-cinema and documentary. Her work has appeared in Studies in Documentary Film, The Oxford Handbook of Sound and Image in Digital Media, and Music and Sound in Nonfiction Film.
Sommaire:
Contemporary Documentary includes chapters on some of the best known mainstream documentary producers and directors of the twenty first century. It also includes chapters on recent innovations and different ways of studying the genre, including a chapter on crowdsourced films consisting of interviews with producers, a chapter on video activism concentrating on questions of distribution and exhibition, and a chapter on web-based documentaries. The editors situate this contemporary work within the history of documentary, and within industrial, political, and technological contexts. Each chapter will also include a reading list for further study and images to illustrate the films discussed....
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