New challenges for documentary: Second edition / Edition 2

by Alan Rosenthal, John Corner

Overview

The first edition of New challenges for documentary provided a major stimulus for teaching about documentary film and television and fresh encouragement for critical thinking about practice. This second edition brings together many new contributions both from academics and filmmakers, reflecting shifts both in documentary production itself, and in ways of discussing it.
Once again, the emphasis has been on clear and provocative writing, sympathetic to the practical challenges of documentary film-making but making connections with a range of work in media and communications analysis.
With its wide range of contributors and the international scope of its agenda, New challenges for documentary will be essential reading for general filmmakers and documentary students both of academic and practical inclinations.

Product Details

ISBN-13:	9780719068997
Publisher:	Manchester University Press
Publication date:	02/10/2005
Edition description:	New Edition
Pages:	520
Product dimensions:	6.14(w) x 9.21(h) x 1.05(d)

About the Author

Alan Rosenthal is Professor of Communications at the Hebrew University of Jerusalem and a documentary film-maker. John Corner is Professor in the School of Politics and Communication Studies at the University of Liverpool

Table of Contents

Acknowledgements
Introduction
Part One: Theories and forms: Documentary as genre
1. The voice of documentary - Bill Nichols
2. The image mirrored: Reflexivity and the documentary film - Jay Ruby
3. Television, documentary and the category of the aesthetic - John Corner
4. Mirrors without memories: Truth, history and the New Documentary - Linda Williams
Part Two: The inside view: Producers and directors
5. The Canadian Film Board Unit B - D.B. Jones
6. An interview with Emile de Antonio - Gary Crowdus and Dan Georgakas
7. The war game: An interview with Peter Watkins - Alan Rosenthal
8. New agendas in black film-making: An interview with Marlon Riggs - Roy Grundmann
9. Jumping off the cliff: A conversation with Dennis O'Rourke - Tracey Spring
10. The politics of documentary: A symposium - Barbara Zheutlin
11. Staying alive - Alan Rosenthal
Part Three: Issues of ethics and aesthetics
12. Ethics - Brian Winston
13. Ultimately we are all outsiders - Calvin Pryluck
14. The ethics of imagemaking - Jay Ruby
15. 'Word is Out' and 'Gay USA' - Lee Atwell
16. Building a mock-documentary schema - Jane Roscoe and Craig Hight
17. Sounds real: Music and documentary - John Corner
18. 'Bowling for Columbine': A review - Christopher Sharrett and William Luhr
Part Four: Changing contexts in television
19. The McCarthy 'See It Now' broadcast - Fred W. Friendly
20. An independent with the networks - Robert L. Drew
21. New boy: An independent with Israel TV - Alan Rosenthal
22. Reflections on 'An American Family' - Craig Gilbert
23. 'American High': Documentary as episodic television - Ben Levin
24. Documentary and truth on television: The crisis of 1999 - John Ellis
Part Five: Versions of history
25. History on the public screen I - Donald Watt
26. History on the public screen II - Jerry Kuehl
27. Historical analysis: Content, production and reception - John O'Connor
28. Narrative, invention and history - Jeffrey Youdelman
29. Against the ivory tower: An apologia for 'popular' historical documentaries - Dirk Eitzen
30. The event: Archive and imagination - Stella Bruzzi
Part Six: Docudrama: Border disputes
31. Dramadoc / docudrama: The law and regulation - Derek Paget
32. US Docudrama and 'Movie-of-the-Week' - Steve Lipkin
33. Death of a princess: Interview with Anthony Thomas - Alan Rosenthal
34. Dramatized documentary - Leslie Woodhead
35. Where are we going, and how and why? - Ian McBride

Editorial Reviews

"Was television “good” for documentary? Hard to believe this question was once posed, since television has so clearly become the dominant institution controlling what counts as “documentary”. This shift is well reflected in Alan Rosenthal and John Corner’s thoughtful and remarkably comprehensive anthology, which is a substantially revised version of Rosenthal’s original 1987 collection. In come welcome discussions not only of “docudrama” and “dramadoc” - subtly different genres - and timely reflections on the spread of “docusoap” as the documentary impulse finds new ways of staying on primetime television."
--Ian Christie, Professor of film and media history, Birkbeck, University of London

From the Publisher