The subject of documentary
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Copy number Shelfmark Shelf mark R017321 Ned. Fotomuseum $CIN RENOV.M 2004
TitleThe subject of documentary
Author
Place of publicationMinneapolis
PublisherUniversity of Minnesota Press
Year of publication2004
PaginationXXIV, 286 p.
Illustrationsb&w
Dimensions26 x 18 cm.
MaterialTekstboek
Document TypeBook
Series titleVisible evidence ; 16
ISBN08166344080816634416
External document
http://fotomuseum.adlibhosting.com/texts/017321_Michael_Renov_2004_The_Subject_of_Documentary.pdf
Bibliographic NotesIncludes bibliographical references and index.
Abstract
We cite from the COVER:
"In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. Whether chronicling family history, sexual identity, or a personal or social world, the new generation of nonfiction filmmakers has defiantly embraced autobiography. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary."
"Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. Looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page."
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For facsimile view of Table of Contents please click URL.
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"In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. Whether chronicling family history, sexual identity, or a personal or social world, the new generation of nonfiction filmmakers has defiantly embraced autobiography. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary."
"Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. Looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page."
*
For facsimile view of Table of Contents please click URL.
*
| Copy number | R017321 |
| Institution name | |
| Shelf mark | $CIN RENOV.M 2004 |