Film&Media History (6)
Film&Media History (6) FMS 2023
Popular in Film and Media History: 1960 - present
Popular in Film
This 2 page Class Notes was uploaded by Heidi Hilts on Monday March 7, 2016. The Class Notes belongs to FMS 2023 at University of Oklahoma taught by Caetlin Benson-Allott in Winter 2016. Since its upload, it has received 28 views. For similar materials see Film and Media History: 1960 - present in Film at University of Oklahoma.
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Date Created: 03/07/16
Film and Media History 1960 – present Week 6 notes 2/23/16 Define documentary o Audio visual evidence towards an argument o Nonfiction The Art of Non-Fiction, Robert Greene o “The art of non-fiction lies in the tension of chaos and structure.” Doc film 1895-1940s o Term coined in 1926 by filmmaker/critic John Grierson “the creative treatment of actuality” 1895-1900: “actualities” Even earliest actualities had arguments 1920s: ethnographic Graphy – representation of 1920s – 1960s: newsreels 1930s – 1940s: propagandist films 1950s – 1960s: questioning art form Night and Fog (Alan Resnais 1955) o What if documentary can’t impose structure on chaos? Do some realities exceed representation? o Historical o 10 years after WWII o Written by poet and survivor Jean Cayrol o Original footage of Auchwitz and Majdanek along with newsreels, archival footage, and commercial films o Limit to the power of representation 1958-1963: direct cinema/cinema direct Observational, fly on the wall approach o Robert Drew – goal to capture without intruding 1-2 people unobtrusive, capturing the moment Reaction against 40s propaganda Handheld cinematography made possible by lighter cameras Direct sound made possible by lighter magnetic tape recording o U.S. Journalism Long term shots Emphasis on narrative Make subjects performativity a part of the film o France (cinema verite) Filmmakers acknowledged as active intruders, even provacateurs Involved in, even excite drama Focuses on everyday people and psychodynamics rather than celebrity o Grey Gardens, Albert and David Maylses, US, 1975 Among most famous direct documentarians 2/25/16 Reassemblage Symbols o Fire, women, power, burden o Dead animals o Underdeveloped Documentary is usually not symbolic Trinh T. Minh-ha wants us to think critically about what we are viewing instead of accepting it as being truth because truth is subjective Many jumpcuts because of indecision on what is most important to film – questioning representations Silence used to force you to examine yourself o Assumptions about consistent music and happiness in African villages o Wakes us up to colonial fantasies 1980s on: the New Documentary “Coincident with the hunger for documentary truth is the clear sense that this truth is subject to manipulation and construction by docu-auteurs who whether on camera or behind, are forcefully calling the shots” Linda Williams “Mirrors with Memories” The Thin Blue Line (Errol Morris, US, 1988) o Engage symbolism o Cinematic recreation
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