The Concise Routledge Encyclopedia of the Documentary Film
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The Concise Routledge Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004).
Previously published in three volumes, entries have been edited and updated for the new, concise edition and three new entries have been added on: India, China and Africa.
The Concise Routledge Encyclopedia of the Documentary Film:
- Discusses individual films and filmmakers including little-known filmmakers from countries such as India, Bosnia, China and others
- Examines the documentary filmmaking traditions within nations and regions, or within historical periods in places such as Iran, Brazil, Portugal, and Japan
- Explores themes, issues, and representations in documentary film including human rights, modernism, homosexuality, and World War I, as well as types of documentary film such as newsreels and educational films
- Elaborates on production companies, organizations, festivals, and institutions such as the American Film Institute, Ceylon Tea Propaganda Board, Hot Docs (Toronto), and the World Union of Documentary
- Describes styles, techniques, and technical issues such as animation, computer imaging, editing techniques, IMAX, music, and spoken commentary
Bringing together all aspects of documentary film, this accessible concise edition provides an invaluable resource for both scholars and students. With film stills from key films, this resource provides the decisive entry point into the history of an art form.
his small white cot. Timothy’s comfortable whiteness is contrasted throughout the film with the hellish darkness in which Goronwy works, and it is Goronwy’s voice we hear in a sequence just after the Berlin air raids: ‘I was sitting thinking about the past: the last war, the unemployed, broken homes, scattered families. And then I thought, has all this really got to happen again?’ The apprehension that runs through A Diary for Timothy as to what comes after the war’s end is not rooted in a hollow
such critics as Wood, Durgnat, Milne, and Leblanc have demonstrated—returns again and again, almost obsessively, to certain images or motifs: dead landscapes, November skies, doves, the Paris Métro, windows, and World War I. His films, for all their black humor and ‘elements of rage and protest’ (Wood 1991), are filled with a sense of irretrievable loss. What Durgnat has called the archaism and nostalgia of Franju’s work is the opposite of sentimental, however; he does not invoke the past as a
social senses, resolving its contradictions through associations that suggested an underlying national unity. It ranged through Blackpool’s Tower Ballroom; an ambulance station pianist; Canadians chorusing ‘Home on the Range’; a school playground; a colliery; factory women enjoying Workers’ Playtime, Flanagan and Allen’s signature song; the Royal Marine’s band; and finally back to Kenneth Clark and the Queen listening to Hess. The MOI distributed it widely overseas, the film’s ‘soft-centredness’
Potato, Two Potato … (Yugoslavia): director, writer 1957 Pedagoška bajka/Educational Fairy Tale (Yugoslavia): director 1957 Film o knjizi A.B.C./The Film About the Book A.B.C. (Yugoslavia): director, writer 1962 Parada/Parade (Yugoslavia): director, writer 1962 Ljepotica 62/Miss Yugoslavia 62 (Yugoslavia): director, writer 1962 Nova domac´a zivotninja/New Domestic Animal (Yugoslavia): director 1962 Ljubavni slučaj ili tragedija sluzbenice PTT/Love Affair of the Case of the Missing
The Youngest Son: Autobiographical Sketches, London: Lawrence & Wishart, 1970. Montagu, Ivor, With Eisenstein in Hollywood, Berlin-GDR: Seven Seas Publishers, 1968. Monterey Pop (US, Leacock, Pennebaker, 1968) In capturing the events of the three-day 1967 Monterey Pop Music Festival, filmmaker D.A. (Donn Alan) Pennebaker (1925—) pioneered the ‘rockumentary’ genre later exemplified by films such as Woodstock (Michael Wadleigh, 1970), Gimme Shelter (David and Albert Maysles and Charlotte