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Documenting ourselves : film, video, and culture

Author: Sharon R Sherman
Publisher: Lexington, Ky. : University Press of Kentucky, [1998] ©1998
Edition/Format:   eBook : Document : EnglishView all editions and formats
Summary:
Since Robert Flaherty's landmark film Nanook of the North (1922) arguments have raged over whether or not film records of people and traditions can ever be ""authentic."" And yet never before has a single volume combined documentary, ethnographic, and folkloristic filmmaking to explore this controversy. What happens when we turn the camera on ourselves? This question has long plagued documentary filmmakers concerned  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Sherman, Sharon R.
Documenting Ourselves : Film, Video, and Culture.
Lexington : The University Press of Kentucky, ©2015
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Sharon R Sherman
ISBN: 9780813157948 0813157943
OCLC Number: 900344526
Description: 1 online resource (340 pages)
Contents: Cover; Half-title; Title; Copyright; Contents; List of Illustrations; Foreword; Preface; 1. Folklore, Film, and Video: In the Beginning; The Early Documentary; Defining Documentary; Flaherty and the Romantic Documentary; City Symphonies; Vertov's Montage; Grierson and the British School: Films of Occupational Groups; Nationalism; Romanticism to Realism; Shifting Paradigms: Film and Folklore; Cinema Verite; Postverite: Documentary as an Art Form; Documentary Films as Expressions of the Self: Feminist, Minority, and Third World Films; The Documentary as Folk History. Defining the Ethnodocumentary: Documenting the OtherEthnographies on Celluloid: Event Films; The Narrated ""Story"": Ethnographic Romanticism; Sequence Filming of Events; Gardner's Interpretative Montage as Ethnographic Romanticism; Shared Anthropology: The Work of Jean Rouch; Reconstruction: The Netsilik Eskimo Series; Observational Cinema; Conveying the Cultural Point of View; Blended Voices; Culture Clash: The Global Village; Ethnography as Folklore; 2. The Folkloric Film: Definition and Methodology, Texts and Contexts; The Early Film Movement and Folklore; Re-creating Previous Models. A Methodology for Analyzing Intent, Content, and the SelfFilms Documenting Texts and Artifacts; Historic Reconstruction; Cultural Contexts: Films Emphasizing Communities and Regions; 3. Documentation: Interactional Events and Individual Portraits; Process and Event Films; Portraits of Artists and Performers; Films of Negotiation; Focus and Technique in Folklore Films; 4. A Search for Self: Filmmakers Reflecton Their Work; Choice of Subject; Revealing the Self; Training: A Process of Discovery; Collaboration and Compromise; 5. Projecting the Self: Filmic Technique and Construction. Editing ""Truths""Sound Devices: The Filmmaker's ""Voice""; Tools of Choice; 6. Structure Shifts and Style: A Montage of Voices and Images; Ethical Problems and Negotiated Films; or, Is Everybody Happy?; Funding-For Love or Money or Both; Distribution, or, Getting It Out There; Film as Text, Film as Experience; Film: The Vehicle for Event and Performance; 7. Visions of Ourselves; Folklore Films and Documentary Modes; Video Reflections; Filmography; Notes; References; Index.
Responsibility: Sharon R. Sherman.

Abstract:

Since Robert Flaherty's landmark film Nanook of the North (1922) arguments have raged over whether or not film records of people and traditions can ever be ""authentic."" And yet never before has a single volume combined documentary, ethnographic, and folkloristic filmmaking to explore this controversy. What happens when we turn the camera on ourselves? This question has long plagued documentary filmmakers concerned with issues of reflexivity, subject participation, and self-consciousness. Documenting Ourselves includes interviews with filmmakers Les Blank, Pat Ferrero, Jorge Preloran, Bill F.

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