2011-2020BooksJonathan KahanaUSA

Jonathan Kahana – The Documentary Film Reader: History, Theory, Criticism (2016)

History, Theory, Criticism
Edited by Jonathan Kahana and Foreword by Charles Musser

Provides the most comprehensive overview of documentary film assembled to date, with over 100 articles on myriad topics
Features a substantial main introduction and section introductions throughout to establish key contexts and important critical issues
Ranges widely across continents, filmmakers, and subgenres, addressing early documentary, avant-garde, propaganda, the essay film, and more
Proposes a fresh canon of films and texts as a starting point for further exploration into the world of nonfiction cinema
Includes foreword from the renowned film historian and filmmaker Charles Musser

1. Jonathan Kahana, Introduction To Section I / Jonathan Kahana
2. Rick Altman, “From Lecturer’s Prop To Industrial Product: The Early History Of Travel Films” (2006) / Jonathan Kahana
3. Anonymous, “Burton Holmes Pleases A Large Audience At The Columbia” (1905) / Jonathan Kahana
4. Kristen Whissel, “Placing The Spectator On The Scene Of History: Modern Warfare And The Battle Reenactment At The Turn Of The Century” (2008) / Jonathan Kahana
5. Dai Vaughan, “Let There Be Lumière” (1999) / Jonathan Kahana
6. Boleslas Matuszewski, “A New Source Of History” (1898) / Jonathan Kahana
7. Tom Gunning, “Before Documentary: Early Nonfiction Films And The ‘view’ Aesthetic” (1997) / Jonathan Kahana
8. Edward S. Curtis Et Al., “The Continental Film Company” (1912) / Jonathan Kahana
9. W. Stephen Bush, Review Of In The Land Of The Head Hunters (194) / Jonathan Kahana
10. Catherine Russell, “Playing Primitive” (1999) / Jonathan Kahana
11. Anonymous, “Movies Of Eskimo Life Win Much Appreciation” (1915) / Jonathan Kahana
12. Anonymous, Review Of Nanook Of The North (1922) / Jonathan Kahana
13. John Grierson, “Flaherty’s Poetic Moana” (1926) / Jonathan Kahana
14. John Grierson, “Flaherty” (1931-32) / Jonathan Kahana
15. Hamid Naficy, “Lured By The East: Ethnographic And Expedition Films About Nomadic Tribes; The Case Of Grass” (2006) / Jonathan Kahana
16. Béla Balázs, “Compulsive Cameramen” (1925) / Jonathan Kahana
17. Anonymous, “New Films Make War Seem More Personal” (1916) / Jonathan Kahana
18. Nicholas Reeves, “Cinema, Spectatorship, And Propaganda: Battle Of The Somme (1916) And Its Contemporary Audience” (1997) / Jonathan Kahana
19. Jonathan Kahana, Introduction To Section II / Jonathan Kahana
20. Robert Allerton Parker, “The Art Of The Camera: An Experimental “Movie”” (1921) / Jonathan Kahana
21. Siegfried Kracauer, “Montage” (1947) / Jonathan Kahana
22. Annette Michelson, “The Man With The Movie Camera: From Magician To Epistemologist” (1972) / Jonathan Kahana
23. Seth Feldman, “Cinema Weekly And Cinema Truth: Dziga Vertov And The Leninist Proportion” (1973) / Jonathan Kahana
24. Dziga Vertov, “We: Variant Of A Manifesto” (1922) / Jonathan Kahana
25. Jay Leyda, “Bridge” (1964) / Jonathan Kahana
26. Mikhail Iampolsky, “Reality At Second Hand” (1991) / Jonathan Kahana
27. Joris Ivens, “The Making Of Rain” (1969) / Jonathan Kahana
28. Joris Ivens, “Reflections On The Avant-Garde Documentary” (1931) / Jonathan Kahana
29. Tom Conley, “Documentary Surrealism: On Land Without Bread” (1986) / Jonathan Kahana
30. John Grierson, “The Documentary Producer” (1933) / Jonathan Kahana
31. John Grierson, “First Principles Of Documentary” (1932-34) / Jonathan Kahana
32. Otis Ferguson, “Home Truths From Abroad” (1937) / Jonathan Kahana
33. Charles Wolfe, “Straight Shots And Crooked Plots: Social Documentary And The Avant-Garde In The 1930s” (1995) / Jonathan Kahana
34. Samuel Brody, “The Revolutionary Film: Problem Of Form” (1934) / Jonathan Kahana
35. Leo T. Hurwitz, “The Revolutionary Film: Next Step” (1934) / Jonathan Kahana
36. Ralph Steiner And Leo T. Hurwitz, “A New Approach To Film Making” (1935) / Jonathan Kahana
37. Willard Van Dyke, Letter From Knoxville (1936) / Jonathan Kahana
38. Ralph Steiner, Letter To Jay Leyda (1935) / Jonathan Kahana
39. John T. Mcmanus, “Down To Earth In Spain” (1937) / Jonathan Kahana
40. Charles Wolfe, “Historicizing The “Voice Of God”: The Place Of Voice-Over Commentary In Classical Documentary” (1997) / Jonathan Kahana
41. Steve Neale, “Triumph Of The Will: Notes On Documentary And Spectacle” (1979) / Jonathan Kahana
42. Richard Griffith, “Films At The Fair” (1939) / Jonathan Kahana
43. Jonathan Kahana, Introduction To Section III / Jonathan Kahana
44. James Agee, Review Of Iwo Jima Newsreels (1945) / Jonathan Kahana
45. James Agee, Review Of San Pietro (1945) / Jonathan Kahana
46. Thomas Cripps And David Culbert, “The Negro Soldier (1944): Film Propaganda In Black And White” (1979) / Jonathan Kahana
47. André Bazin, “On Why We Fight: History, Documentation, And The Newsreel” (1946) / Jonathan Kahana
48. Jim Leach, “The Poetics Of Propaganda: Humphrey Jennings And Listen To Britain” (1998) / Jonathan Kahana
49. George C. Stoney, “Documentary In The United States In The Immediate Post-World War II Years” (1989) / Jonathan Kahana
50. Zoe Druick, “Documenting Citizenship: Reexamining The 1950’s National Film Board Films About Citizenship” (2000) / Jonathan Kahana
51. Srirupa Roy, “Moving Pictures: The Films Division Of India And The Visual Practices Of The Nation-State” (2007) / Jonathan Kahana
52. Jennifer Horne, “Experiments In Propaganda: Reintroducing James Blue’s Colombian Trilogy” (2009) / Jonathan Kahana
53. Peter Watkins With James Blue And Michael Gill, “Peter Watkins Discusses His Suppressed Nuclear Film The War Game” (1965) / Jonathan Kahana
54. Jonathan Kahana, Introduction To Section IV / Jonathan Kahana
55. Jean Painlevè, “The Castration Of Documentary” (1953) / Jonathan Kahana
56. Jean Cocteau, “On Blood Of The Beasts” (1963) / Jonathan Kahana
57. Lindsay Anderson, “Free Cinema” (1957) / Jonathan Kahana
58. Tom Whiteside, “The One-Ton Pencil” (1962) / Jonathan Kahana
59. Edgar Morin, “Chronicle Of A Film” (1962) / Jonathan Kahana
60. Jonathan Rosenbaum, “Radical Humanism And The Coexistence Of Film And Poetry In The House Is Black” (2003) / Jonathan Kahana
61. Jean Rouch With Dan Georgakas, Udayan Gupta, And Judy Janda, “The Politics Of Visual Anthropology” (1977) / Jonathan Kahana
62. Ricky Leacock, “For An Uncontrolled Cinema” (1961) / Jonathan Kahana
63. Bruce Elder, “On The Candid-Eye Movement” (1977) / Jonathan Kahana
64. Jonas Mekas, “To Mayor Lindsay / On Film Journalism And Newsreels” (1966) / Jonathan Kahana
65. Jeanne Hall, “Realism As A Style In Cinema Verite: A Critical Analysis Of Primary” (1991) / Jonathan Kahana
66. Margaret Mead, “As Significant As The Invention Of Drama Or The Novel” (1973) / Jonathan Kahana
67. Jonathan Kahana, Introduction To Section V / Jonathan Kahana
68. Robert Stam, “Hour Of The Furnaces And The Two Avant Gardes” (1981) / Jonathan Kahana
69. Juan Carlos Espinosa, Jorge Fraga, Estrella Pantin, “Toward A Definition Of The Didactic Documentary: A Paper Presented To The First National Congress Of Education And Culture” (1978) / Jonathan Kahana
70. Norm Fruchter, Marilyn Buck, Karen Ross, And Robert Kramer, “Newsreel” (1969) / Jonathan Kahana
71. Frederick Wiseman With Alan Westin, “”You Start Off With A Bromide”: Conversation With Film Maker Frederick Wiseman” (1974) / Jonathan Kahana
72. David Macdougall, “Beyond Observational Cinema” (1975) / Jonathan Kahana
73. Pauline Kael, “Beyond Pirandello” (1970) / Jonathan Kahana
74. Pearl Bowser, “Pioneers Of Black Documentary Film” (1999) / Jonathan Kahana
75. Michael Chanan, “Rediscovering Documentary: Cultural Context And Intentionality” (1990) / Jonathan Kahana
76. Santiago Alvarez With The Editors Of Cineaste, [—]5 Frames Are 5 Frames, Not 6, But 5″: An Interview With Santiago Alvarez” (1975) / Jonathan Kahana
77. Abé Mark Nornes, “The Postwar Documentary Trace: Groping In The Dark” (2002) / Jonathan Kahana
78. Emile De Antonio With Tanya Neufeld, “An Interview With Emile De Antonio” (1973) / Jonathan Kahana
Annette Michelson, Reply To De Antonio / Jonathan Kahana
79. Bill Nichols, “The Voice Of Documentary” (1983) / Jonathan Kahana
80. James Roy Macbean, “Two Laws From Australia, One White, One Black: The Recent Past And The Challenging Future Of Ethnographic Film” (1983) / Jonathan Kahana
81. Lee Atwell, Review Of Word Is Out (1979) / Jonathan Kahana
82. Julia Lesage, “The Political Aesthetics Of The Feminist Documentary Film” (1978) / Jonathan Kahana
83. E. Ann Kaplan, “Theories And Strategies Of The Feminist Documentary” (1983) / Jonathan Kahana
84. Jill Godmilow, “Paying Dues: A Personal Experience With Theatrical Distribution” (1977) / Jonathan Kahana
85. Coco Fusco, “A Black Avant-Garde? Notes On Black Audio Film Collective And Sankofa” (1988) / Jonathan Kahana
86. John Greyson, “Strategic Compromises: Aids And Alternative Video Practices” (1990) / Jonathan Kahana
87. Jonathan Kahana, Introduction To Section VI / Jonathan Kahana
88. Robert Sklar, “Documentary: Artifice In The Service Of Truth” (1975) / Jonathan Kahana
89. Chick Strand, “Notes On Ethnographic Film By A Film Artist” (1978) / Jonathan Kahana
90. Jonas Mekas, “The Diary Film: A Lecture On Reminiscences Of A Journey To Lithuania” (1972) / Jonathan Kahana
91. Michael Renov, “Toward A Poetics Of Documentary” (1993) / Jonathan Kahana
92. Trinh T. Minh-Ha, “Mechanical Eye, Electronic Ear And The Lure Of Authenticity” (1984) / Jonathan Kahana
93. Brian Winston, “The Tradition Of The Victim In Griersonian Documentary” (1988) / Jonathan Kahana
94. J. Hoberman, “Shoah: The Being Of Nothingness” (1985-86) / Jonathan Kahana
95. Claude Lanzmann With Marc Chevrie And Hervt Le Roux, “Site And Speech: An Interview With Claude Lanzmann About Shoah” (1985) / Jonathan Kahana
96. Linda Williams, “Mirrors Without Memories: Truth, History, And The New Documentary” (1993) / Jonathan Kahana
97. Errol Morris With Peter Bates, “Truth Not Guaranteed: An Interview With Errol Morris” (1989) / Jonathan Kahana —
Contents note continued: 98. Michael Moore With Harlan Jacobson, “Michael & Me” (1989) / Jonathan Kahana
99. Thomas Waugh, “”Acting To Play Oneself”: Notes On Performance In Documentary” (199O) / Jonathan Kahana
100. Phillip Brian Harper, “Marlon Riggs: The Subjective Position Of Documentary Video” (1995) / Jonathan Kahana
101. Paula Rabinowitz, “Melodrama/male Drama: The Sentimental Contract Of American Labor Films” (2002) / Jonathan Kahana
102. Marsha Orgeron And Devin Orgeron, “Familial Pursuits, Editorial Acts: Documentaries After The Age Of Home Video” (2007) / Jonathan Kahana
103. Vivian Sobchack, “Inscribing Ethical Space:10 Propositions On Death, Representation, And Documentary” (1984) / Jonathan Kahana
104. Paul Arthur, “Jargons Of Authenticity (Three American Moments)” (1993) / Jonathan Kahana
105. Jonathan Kahana, Introduction to Section VII / Jonathan Kahana
106. Harun Farocki And Jill Godmilow With Jennifer Horne And Jonathan Kahana, “A Perfect Replica: An Interview with Harun Farocki and Jill Godmilow” (1998) / Jonathan Kahana
107. Rachel Gabara, “Mixing Impossible Genres: David Achkar and African Autobiographical Documentary” (2003) / Jonathan Kahana
108. Jean-Marie Tend, “Writing on Walls: The Future of African Documentary Cinema” (2010) / Jonathan Kahana
109. Chris Berry, “Getting Real: Chinese Documentary, Chinese Postsocialism” (2007) / Jonathan Kahana
110. Wu Wenguang, “DV: Individual Filmmaking” (2006) / Jonathan Kahana
111. Richard Porton, “Weapon of Mass Instruction: Michael Moore’s Fahrenheit 9/11” (2004) / Jonathan Kahana
112. Scan Macdonald, “Up Close and Political: Three Short Ruminations on Ideology in the Nature Film” (2006) / Jonathan Kahana
113. Amy Villarejo, “Bus 174 and the Living Present” (2006) / Jonathan Kahana
114. Barbara Klinger, “Cave of Forgotten Dreams: Meditations on 3D” (2012) / Jonathan Kahana.


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