Dokumentarfilm

This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research.Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specific national and indigenous film contexts to discussing ecojustice, environmental production studies, film festivals, and political ecology. The breadth of the contributions exemplifies how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic practices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis.This book is an invaluable resource for students and scholars of ecocritical film and media studies, production studies, cultural studies, and environmental studies.

In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience. With the exception of Alain Resnais's Van Gogh (1948), Henri-Georges Clouzot's Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention. This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships. With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.

Esfir Shub was the only prominent female director of nonfiction film present at the dawning of the Soviet film industry. She was, in fact, the first woman both to write critical texts on cinema and then practically apply these theorisations in her own films. As such, her syncretism of cinema theory and praxis inspired her to ask questions regarding both the nature of nonfiction film, such as the problem of authenticity and reality, and the function of the artist in society; issues which are still relevant in contemporary discussions about the documentary. Accordingly, this book demonstrates Shub's position not only as a significant filmmaker and recognised member of the early Soviet avant-garde but also as a key figure in global cinema history. Shub deserves recognition both as the founder and ardent promoter of the compilation film genre and as a pioneer of the theory and practice of documentary filmmaking.

Syria is now one of the most important countries in the world for the documentary film industry. Since the 1970s, Syrian cinema masters played a defining role in avant-garde filmmaking and political dissent against authoritarianism. After the outbreak of violence in 2011, an estimated 500,000 video clips were uploaded making it one of the first YouTubed revolutions in history. This book is the first history of documentary filmmaking in Syria. Based on extensive media ethnography and in-depth interviews with Syrian filmmakers in exile, the book offers an archival analysis of the documentary work by masters of Syrian cinema, such as Nabil Maleh, Ossama Mohammed, Mohammed Malas, Hala Al Abdallah, Hanna Ward, Ali Atassi and Omar Amiralay. Joshka Wessels traces how the works of these filmmakers became iconic for a new generation of filmmakers at the beginning of the 21st century and maps the radical change in the documentary landscape after the revolution of 2011. Special attention is paid to the late Syrian filmmaker and pro-democracy activist, Bassel Shehadeh, and the video-resistance from Aleppo and Raqqa against the regime of President Bashar al-Assad and the Islamic State. An essential resource for scholars of Syrian Studies, this book will also be highly relevant to the fields of media & conflict research, anthropology and political science.

Dokumentarische Filme aller Genres in TV, Kino und Netz entfalten ihre informative Kraft erst dann, wenn sie dramaturgisch als Erzählungen strukturiert sind, nicht als Aufzählungen. Sie müssen die Emotionen des Publikums wecken, damit die filmische Information verstanden werden kann. Wirksame dokumentarische Filmgestaltung ist begründet in der Art, wie Menschen hinschauen und hinhören. Ihre Wahrnehmungen werden zu Vorstellungen; diese prägen die Information. Dadurch verändern sich viele überkommene Regeln für Dokumentarische Filme. Neue Ideen werden möglich. Werkzeuge dafür sind der Erzählsatz, die Roten Fäden, die Drama-Elementarmuster, das konzentrierte Zusammenspiel der sechs filmischen Erzähler, Emotionsziel und Argumentziel und die für Erzählungen charakteristische Polaritätslogik.Anders als fiktionale Filme müssen Dokumentarische Filme durch ihre erzählerische Struktur und filmische Gestaltung einen nachprüfbaren Bezug zur Lebensrealität des Publikums schaffen. Spielfilme hingegen können in ihrem jeweils definierten Erzählkosmos plausibel und authentisch sein. Im Dokumentarischen lassen sich auch Werkzeuge und Muster der Fiktionalen Dramaturgie nutzen, aber mit anderer Absicht und Wirkung: sie müssen die Lebensrealität treffen.Das Buch von Gregor Alexander Heussen zeigt Dokumentarische Dramaturgie praktisch; und begründet sie mit Erkenntnissen der Kognitionswissenschaft. Redakteure* und Film-Auftraggeber* finden Werkzeuge und Denkwege für Planung, und Filmabnahme. Autoren* erfahren die Kraft der dramaturgischen Recherche und entdecken neue Gestaltungsmöglichkeiten bei Dreh und Montage. Das Buch ist ein Muss für alle, die sich für dokumentarischen Film in TV, Kino, Netz und Unternehmen interessieren. Mit dem Buch sind 29 runterladbare, sofort nutzbare Drama-Werkzeuge verlinkt.

In a newly designed edition, this stunning illustrated tribute to the life of Gandhi features the words and images of the man, his people, and his country.Written by a veteran New York Times correspondent and editor in consultation with Richard Attenborough soon after he completed the groundbreaking film Gandhi, this richly illustrated volume offers an astounding variety of photographs of one of the great figures of the twentieth century.Gandhi: A Pictorial Biography includes more than 150 historical photos from official Indian archives, text by Gerald Gold discussing Gandhi's life from boyhood through his last days, and a special section of comparison photos from the movie, plus an afterword by Sir Richard Attenborough.