Documentary Film

“Film als Historiographie. Handsworth Songs als Dekonstruktion kolonialer Geschichtsschreibung”.

by Dagmar Brunow

In: Hanno Balz, Jan-Henrik Friedrichs (Hrsg.): "All We Ever Wanted..." Eine Kulturgeschichte europäischer Protestbewegungen der 1980er Jahre. Berlin: Dietz, 2012, s. 107-119.

Review of Nayibe Bermúdez Barrios´s "Latin American Cinemas: Local Views and Transnational Connections." Calgary: U of Calgary P, 2011. Pp. 333. ISBN 978-1-55238-514-2.

by Santiago Juan-Navarro

Published in Hispania 95.2 (2012): 344–75

Wildlife Documentaries: From Classical Forms to Reality TV

by Jan-Christopher Horak

La Guerra Filmada. Cinema e Guerra Civile Spagnola.

by Pietro Piro

I testi contenuti in La Guerra Filmada. Cinema e Guerra Civile Spagnola, sono stati scritti in occasione della presentazione del DVD La Guerra Filmada, edito dalla Filmoteca Española di Madrid nel 2009 che raccoglie documentari di varia lunghezza e di diverso argomento sul tema della Guerra Civile, presso la Libreria Punto 52 di Termini Imerese, giorno 17 Giugno 2012.

Vuoto di cultura, vuoto di civiltà. Note sul Mezzogiorno di Carlo Levi

by Alessandro Gaudio

Come in un gioco insensato. Appunti sulla Calabria di De Seta

by Alessandro Gaudio

Almost There: A Portrait of Peter Anton Cultural reproduction, attitudes, and meaning in the category of outsider art

by Field Notes: A Journal of Collegiate Anthropology

By Andrea Fritsch

Published in Field Notes: A Journal of Collegiate Anthropology 4(1): 87-105. (May 2012)
Copyright ©2012 by Field Notes: A Journal of Collegiate Anthropology

An analysis of the debate surrounding the art exhibit Almost There: A Portrait of Peter Anton at Intuit: The Center... more An analysis of the debate surrounding the art exhibit Almost There: A Portrait of Peter Anton at Intuit: The Center for Intuitive and Outsider Art in 2010 reveals sets of actors with competing interests and claims on the term outsider art. I explore the public fascination with madness and outsider art, suggesting actors engage outsider art in three attitudes—aesthetic, instrumental and investigative. Aesthetic attitudes operate within an expanded definition of official ‘Art’ that allows outsider artwork, but not the outsider artist, to participate in the reproduction of fine art conventions. Instrumental attitudes engage outsider artwork and perceptions of madness as forms of cultural and social capital in the Bourdieuian sense. The curators of Almost There operated with an investigative attitude, seeking to understand the social conditions influencing the artist as well as the artist’s sociality and intent. Investigative fields such as documentary production and psychiatry situate outsider art historically, as art practice, and subjective expression. I argue each attitude strategically engages the label of outsider art to both negotiate and question hierarchical relationships. The imperfect fit of the Almost There exhibit in the category of outsider art demonstrates the limitations of current conceptions of artistic merit and mental health.

Revue (Predstavleniye)(2008)(review)

by Jeremy Hicks

CFP: International Film and Media Studies Journal: Acta Universitatis Sapientiae

by Ágnes Pethő

The International, peer-reviewed, open access journal of the Sapientia University (Cluj-Napoca, Romania) invites the submission of original, previously unpublished articles written in English. Articles in all areas of film and media studies are welcome. Deadline for the next issue: June 15, 2012. Previous issue available online here: http://www.acta.sapientia.ro/acta-film/, and here: http://issuu.com/actauniversitatissapientiae/docs/film4_2011

Technology and the GPO Film Unit

by Leo Enticknap

In Scott Anthony and James Mansell (eds.), 'The Projection of Britain: A History of the GPO Film Unit', Basingstoke, Palgrave Macmillan (2011), pp. 188-198.

This chapter considers the unique approach to technology taken by John Grierson's GPO Film Unit. The handheld... more This chapter considers the unique approach to technology taken by John Grierson's GPO Film Unit. The handheld Newman-Sinclair camera, the Visatone-Marconi sound system, colour processes that were either experimental or heavily modified from the form in which they were initially marketed and distirbution and exhibition on 16mm were all innovations that were developed by this group of filmmakers. The chapter argues that this was primarily a case of invention (or, strictly speaking, adaptation) being the child of economic necessity, but that the influence of these technologies on the resulting films has all too often been dismissed by earlier writers as simply restrictive. In conlcusion, I suggest that these technologies presented the GPO's filmmakers with opportunities as well as constraints.

‘Life Preservers: The Neoliberal Enterprise of Hurricane Katrina Survival in Trouble the Water, House, and When the Levees Broke’. Old and New Media after Katrina. Ed. Diane Negra. Palgrave 2010.

by Jane Elliott

A Changing Subject-Position for Travellers in Knuckle (Ian Palmer, 2011)

by Eileen Leahy

Film Review

Review of Knuckle, a film about Irish Travellers Review of Knuckle, a film about Irish Travellers

Ruina y refracción en el cine de Ignacio Agüero

by Ivan Pinto Veas

Ponencia leída en CONGRESO ASAECA 2010.

ACTAS II CONGRESO INTERNACIONAL DE LA ASOCIACIÓN ARGENTINA DE ESTUDIOS DE CINE Y AUDIOVISUAL II CONGRESO INTERNACIONAL DE LA ASOCIACIÓN ARGENTINA DE ESTUDIOS DE CINE Y AUDIOVISUAL - ISBN: 978-987-25871-2-3 1

http://www.asaeca.org/actas.php

El cine documental ha sido pensado como registro referencial y discurso realista del
mundo. Las líneas de... more El cine documental ha sido pensado como registro referencial y discurso realista del
mundo. Las líneas de interpretación vinculan al documental como un discurso transparente
de denotación donde las operaciones cinematográficas tienden a la sobriedad del estilo y la
utilidad argumental. Por otro lado el análisis narratológico de la ficción ha enfatizado la
autonomía de la imagen cinematográfica y los modos  de estructuración del relato,
supeditando sus contenidos a una relación externa y subjetiva con el contexto. La primera
discusión que queremos establecer dice relación con los modos de análisis del cine
documental, desde una perspectiva que integre tanto su función simbólica como sus
operaciones materiales; tanto su vinculación directa con el contexto social en el que está
inmerso como su tensión discursiva, llámese giro retórico, opacidad, reflexividad. Desde
aquí, nos interesa el documental como compleja operación simbólica que ha heredado de
las agendas modernas del cine su vinculación a un pensamiento vivo sobre su presente. Se
trata, en parte de encontrar un modo de analizar que rebase el descriptivismo y encuentre en
la forma cinematográfica un modo de pensar histórico. En el caso chileno, el documental ha
sido el lugar donde el cine ha mantenido un trabajo permanente en esta doble faz del signo,
estableciendo, por un lado una agenda temática contingente y reflexiva sobre el presente
político, y por otro, operaciones materiales que han confluido en el encuentro de alegorías e
imágenes que nos hablan de un país, un momento histórico, un entorno económico y social.
En ese marco, analizaremos dos documentales de Ignacio Agüero, uno de los realizadores
más relevantes de los últimos 20 años en Chile. Nos centraremos en Aquí se construye. De
la que tomaremos una metáfora temporal: la Ruina. En "Aquí se construye" Agüero filma
las nuevas políticas de construcción urbana y sus estilos arquitectónicos (arquitectura
efímera), ya su vez como la constante demolición de viejos barrios. Con música de Arvo Pärt, el film parece insistir en las formas de esta destrucción y de la aparición de una
modernidad ligada a la ruina.

The Middle Ground Journal: Call for Submissions 3.1

by Hong-Ming Liang 梁弘明教授

La Amazonia en sus imaginarios cinematográficos. 1914-1955. Apuntes preliminares

by Oscar Guarin Martinez

Aesthetic and Emotional Constructs within Cinematic Realism

by Hunter Snyder

“Benevolence, Global Citizenship, and Post-Racial Politics.”

by David Jefferess

Topia: A Canadian Journal of Cultural Studies. 25 (Spring 2011): 77-95.

"Behind the Mask/I Am the Other: The Fourth World War's Production of Human Solidarity"

by David Jefferess

IN _Imagining Resistance: Visual Culture and Activism in Canada_
Eds. Keri Cronin and Kirsty Robertson. Waterloo, ON: Wilfrid Laurier University Press. 2011: 219-236.

Goa Hippy Tribe: Theorising documentary content on a social network site

by Kate Nash

Published in Media International Australia no. 142 Feb 2012

Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this... more Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this article, I consider how documentary in a social network context might be theorised. While the concept of the database narrative is most often invoked to explain user interactivity in online documentary, social networks such as Facebook invite different forms of interaction and therefore raise distinct theoretical questions. In particular, Goa Hippy Tribe demonstrates the potential for the audience to engage creatively and communally with documentary

Abstract: Road to Revival

by Florian Schneider