Dokumentarfilm

The first-ever authorised book from Oasis, one of the biggest bands on the planet.

Jørgen Leth er en institution i det danske filmmiljø og har bl.a. været en stor inspiration for Lars von Trier. Han har skabt en række stilskabende spille- og dokumentarfilm, f.eks. Det perfekte menneske (1967) Det gode og det onde (1975) Notater om kærligheden (1989)og de klassiske dokumentarfilm om cykling Stjernerne og vandbærerne, (1972) En forårsdag i Helvede (1974),om ballet At danse Bournonville Peter Martins - en balletdanserom fodbold Michael Laudrup - en fodboldspiller (1993)og om digtere Dansk litteratur (1989) Søren Ulrik Thomsen (1999)Sit egentlige internationale gennembrud fik han med De fem benspænd (2003), hvor Lars von Trier lod ham genindspille Det perfekte menneske fem gange.I tilfældets gaver samler han sine centrale tekster om at lave film: hans ideer om spilleregler, klipning, musik, det dumme kamera, det antropologiske blik og hans kontrakt med tilfældet.Bogen består af poetiktekster, tekster om og til udvalgte film og ikke mindst ideer til nye og urealiserede film.

Dansk dokumentarflms enfant terrible er han blevet kaldt, dokumentarflmskaberen Theodor Christensen, som var en af de væsentligste drivkræfter bag oprettelsen af Den Danske Filmskole i 1966. Theodor Christensen ville være fyldt 100 år den 6. april 2014, hvis ikke hans liv var endt alt for tidligt i 1967. Hans betydning for dansk flm, og ikke kun for dokumentarflm-genren, er ikke til at komme udenom. En grundig personlig biografi byggende på et kæmpe hidtil stort set ukendt materiale, også mange private fotos.

Den danske dokumentarfilm er en af dansk films største og mest vedvarende successer. Internationalt har den historisk haft stor bevågenhed og er gennem de seneste år blevet genstand for stadig større opmærksomhed hos det brede publikum. Og som Ib Bondebjerg viser i sin seneste bog, har den ikke mindst en solid historisk tradition som et eksperimentarium for det danske filmsprog. Virkelighedsbilleder er den første samlede fremstilling af den danske dokumentarfilms historie. Bogen har de filmiske genrer, instruktører og institutioner i centrum, men i Ib Bondebjerg fortæller også kultur- og socialhistorie.Ib Bondebjerg analyserer således dokumentarfilmens vilkår og udvikling i lyset af samfundsudviklingen, filmpolitiken og filmkulturen generelt – fra traditionsrige nationale institutioner som Statens Film Central fra 30’erne til den moderne, digitale og globaliserede filmkultur. I bogen analyserer Ib Bondebjerg desuden en lang række væsentlige dokumentarfilm med vægt på stil og genre og på filmens fortolkning af udviklingen i danskernes og det danske samfunds historie. Gennem analysen af dokumentarfilmene skildrer Bondebjerg udviklingen i periodens hverdagsliv, politik, kultur og historie, og han tegner et billede af et samfund, hvor udviklingen går fra mere traditionelle nationale billeder til globale billeder.

Call Me Lola is a moving photo essay by the acclaimed Israeli-American lens-based artist and documentarian Loli Kantor. For over twenty years, she combed through the family archives of her Polish-born father, a doctor and political activist. The focus is on her mother, Lola, who died in childbirth: a woman who manifests herself principally through images and stories rather than direct memories. The family documents and photographs that retrace the artist's personal history are shown in combination with new camera-based works, making the project a profoundly subjective reflection on the most significant upheavals of the twentieth century, on war and displacement, love and loss, trauma and grief. LOLI KANTOR (*1952) is an Israeli-American photographer whose work centers on personal and cultural memory. She lives and works in Fort Worth, Texas.

"More than 30 years after the collapse of the German Democratic Republic, its cinema continues to attract scholarly attention. Documenting Socialism moves beyond the traditionally analyzed "feature film production" and places East Germany's documentary cinema at the center of history behind the Iron Curtain. Between questions of gender, race and sexuality and the complexities of diversity under the political and cultural environments of socialism, the specialist contributions in this volume cohere into an introductory milestone on documentary film production in the GDR"--

A collection of original essays and previously untranslated critical writings on the renowned Brazilian documentary filmmaker, Eduardo Coutinho.

Vi bærer historien i os hele livet, ikke bare vores individuelle historie og erindring, vores familie- og slægtshistorie, men også den størrehistorie, vores liv er en del af. Erindringen er en vigtig del af vores liv og identitet. Den handler ikke bare om fortiden, men også om nutiden og fremtiden. Samfundet i dag er gennemsyret af film og andre medier, herunder også af erindringsbilleder og historiske fortællinger. De historiske fortællinger og erindringsbilleder, vi oplever og fascineres af, er i høj grad med til at påvirke os individuelt. De etablerer også en forbindelse til en større, kollektiv historie. Denne bog analyserer de centrale historiske genrer inden for både fiktive og dokumentariske filmfortællinger. Den påviser, hvordan film formår at gøre historien levende, og dermed være et væsentligt alternativ og supplement til historievidenskaben. Den filmiske historiefortælling skaber ikke bare en oplevelse af en historisk virkelighed. Den igangsætter også refleksioner over fortid og nutid. Bogens analyser fokuserer både på film, der bruger instruktørens egne barndoms- og familieerindringer som materiale for erindrings- og tidsbilleder, på film, der graver dybt i den historiske hverdagshistorie, og på film som skildrer kendte historiske personer. Den beskæftiger sig også med historiske film, hvor 2. verdenskrig er i centrum, og dermed med fortolkningskampen om store, centrale, historiske begivenheder.

The third volume in the Docalogue series, this book explores the significance of the documentary series Tiger King: Murder, Mayhem and Madness (2020), which became 'must-see-TV' for a newly captive audience during the global Covid-19 pandemic.

Hybrid Documentary and Beyond focusses on the theories, production techniques, ethical implications and impact of hybrid documentaries.

This book studies how documentaries, and factual media in general, can contribute to the reduction of social stigma and prejudice. It adopts models from social psychology, media studies and cultural studies and is intended for scholars and media makers who aim to increase social inclusion and diversity by deconstructing harmful boundaries between social groups. Such boundaries may be based on the stereotyping of ethnicity, culture, age, dis/ability, gender and sexual orientation, for example. The first part of the book outlines the functionality of stereotypes as essential processes for social cognition both in real life and during documentary viewing. The second part establishes a classification system for stigmatising media stereotypes and formulates a methodology based on critical discourse analysis to analyse them in narrative and audio-visual representations. The third and final part of the book conceptualises a set of methodologies to reduce stigmatising stereotypes. These methodologies are based on 1) representations that prompt perspectival alignment with screen characters, and 2) the perceived salience of multiple, intersecting social identities.

The first comprehensive account of one of the darkest and mostly forgotten episodes of the Troubles.

Only second to the Holocaust, the Rwandan genocide is the most audio-visually recreated genocide with approximately 200 films and documentaries produced in 39 countries between 1994 and 2021. Historical Media Memories of the Rwandan Genocide studies the construction, development, and recreation of the transnational historical media memory of the genocide against the Tutsi in Rwanda. This comprehensive work traces the international media image and the creation of historical memories of the Rwandan genocide, starting with the day-to-day television news reporting in 1994, and continues with analyzing how the genocide has been used and reproduced in films and documentaries on a global scale as well in Rwanda, which has created its own images of the genocide in film and television production to support a new national identity. Tommy Gustafsson is Professor of Film Studies at Linnaeus University, Sweden. His books include The Politics of Nordsploitation (with Pietari Kääpä, 2021), Masculinity in the Golden Age of Swedish Cinema (2014), and the anthologies Nordic Genre Films (EUP, 2015) and Transnational Ecocinema (2013), both co-edited with Pietari Kääpä.

New media and digital technologies open up numerous possibilities to document different versions of reality, which makes it essential to examine how they transform the logic behind the creation and production of documentaries in digital cultures. This study aims to investigate the integration between the traditional documentary and new media: the interactive documentary, in the context of the different sociocultural and technological environments of China and the West. Accordingly, a comparative study on the evolution and integration of these two fields was carried out. The documentary genre brings with it a method of classification and various modes of representing reality, while new media provide new approaches to interactivity as well as the production and distribution of interactive documentaries. Interactive documentaries grow and change as a continuously evolving system, engaging the roles of the author and the user, such that their roles are mixed for better co-expression andthe reshaping of their shared environment. In addition, an analytical approach based on the types of interactivity was adopted to explore this new form of documentary; both to deduce how the stories about our shared world can be told and to understand the impact of interactive documentaries on the construction of our versions of the reality as well as our role in it.

Viewing the films of Danièle Huillet and Jean-Marie Straub means looking at the construction of cinema itself: image, sound, performance, montage. Their work constitutes one of the most distinctive, beautiful, and politically radical oeuvres of modern cinema and has attracted the attention of a wide range of philosophers, filmmakers, and cineastes. Their sensual cinema of the eye and ear is as rich as the many texts and documents - musical, literary, and visual - that have served as the basis of individual works. Their films propose a Marxist critique of capitalism and suggest alternative ways of living.This volume grew out of the complete retrospective of the films of Huillet and Straub held in London in 2019 which all the authors attended. Editors Martin Brady and Helen Hughes are specialists in German, political, and documentary cinema.

This book illustrates a distinctive lineage of critical interventions in moving image culture and in the public sphere through the trajectories of a small number of film and video organizations established between the 1970s and the early 1980s in Western Europe and North America mainly by women and still operative today.

This book is a cultural history of post-Wall urban, social, political, and cultural transformations in Berlin.

The annexation of Eastern Europe to the Soviet sphere after World War II dramatically reshaped popular understandings of the natural environment. With an eco-critical approach, Cinema and the Environment in Eastern Europe breaks new ground in documenting how filmmakers increasingly saw cinema as a tool to critique the social and environmental damage of large-scale projects from socialist regimes and newly forming capitalist presences. New and established scholars with backgrounds across Europe, the United States, and Australia come together to reflect on how the cultural sphere has, and can still, play a role in redefining our relationship to nature.

Named to Kirkus Review's List of "Best Indie Books of 2023"Mugge describes the genesis of his twenty-five music films, the methods used, and the experiences shared by him, his crews, and his subjects.

UPDATED EDITION 2023This book explains how to conduct an interview in many different situations because many of the same principles are involved. The art of listening is a critical factor in interviewing for a documentary, podcast interview, journalistic effort, talk show interview, public relations video, human resources interview, law deposition, newspaper interview, oral history interview, or another type of interview."The secret to interviewing is to know how to listen. "Actuality-style interviewing and listening techniques allow the interviewer and interviewee to communicate in an objective reality atmosphere."In today's world of spin and framing, actuality interviewing and listening style of interviewing is a valuable tool." The book gives practical examples and instructions on all aspects of interviewing."Make a conscious effort to listen to the person speaking. It is not as easy as it may sound. Be aware of their bodylanguage and their words. But do not allow your mind to start judging and analyzing. It is called mindful listening, beingthere in the present. If you start to drift away, let go of those thoughts. Listening in this way will give you all the informationyou need to respond. Communication is only possible with both parties in the loop."

Shows that while the GDR is generally seen as - and mostly was - an oppressive and unfree country, from late 1989 until autumn 1990 it was the "freest country in the world": the dictatorship had disappeared while the welfare system remained.Stephen Brockmann's new book explores the year 1989/1990 in East Germany, arguing that while the GDR is generally seen as - and was for most of its forty years - an oppressive and unfree country, from autumn 1989 until the autumn of 1990 it was the "freest country in the world," since the dictatorship had disappeared while the welfare system remained. That such freedom existed in the last months of the GDR and was a result of the actions of East Germans themselves has been obscured, Brockman shows, by the now-standard description of the collapse of the GDR and the reunification of Germany as a triumph of Western democracy and capitalism.Brockmann first addresses the culture of 1989/1990 by looking at various media from that final year, particularly film documentaries. He emphasizes punk culture and the growth of neo-Nazism and the Antifa movement - factors often ignored in accounts of the period. He then analyzes three later semiautobiographical novels about the period. He devotes chapters to dramatic films dealing with German reunification made relatively soon after the event and to more recent film and television depictions of the period, respectively. The final chapter looks at monuments and memorials of the 1989/1990 period, and a conclusion considers the implications of the book's findings for the present day.

The Classical Animated Documentary and Its Contemporary Evolution is the first book to provide an historical insight into the animated documentary. Drawing on archival research and textual analysis, it shows how this form, usually believed to be strictly contemporaneous, instead took shape in the 1940s. Cristina Formenti integrates a theoretical and a historical approach in order to shed new light on the animated documentary as a form as well as on the work of renowned studios such as The Walt Disney Studios, Halas & Batchelor, National Film Board of Canada and never before addressed ones, such as Corona Cinematografica. She also highlights the differences and the similarities existing among the animated documentaries created between the 1940s and the mid-1980s and those produced today so as to demonstrate how the latter do not represent a complete otherness in respect to the former, but rather an evolution.

This long-awaited study explores the creation of NBC-TV's landmark 1952-53 WWII documentary series, with particular attention to its evocative Rodgers-Bennett score.