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Book Cover
Book
Author Barsam, Richard Meran.

Title Nonfiction film : a critical history / Richard M. Barsam
Edition Revised and expanded
Published Bloomington : Indiana University Press, [1992]
©1992

Copies

Location Call no. Vol. Availability
 MELB  791.43 BAR-N2 1992  AVAILABLE
 W'PONDS  791.437 Bar 1992  AVAILABLE
Description xvi, 482 pages : illustrations ; 25 cm
Contents Pt. 1. (1820-1933) Foundations of the Nonfiction Film. 1. Reality Perceived and Recorded. From Memory to Movement. Persistence of Vision: Theories and Technologies. Still Photography. Series Photography. Cinematography. The Realist Impulse in Nineteenth-Century Art. 2. The First Films. The First Films. Louis and Auguste Lumiere. The Lumieres' Contribution to Technology. The Lumiere Films. The Lumieres and Thomas A. Edison. The Lumieres' Overall Contribution to the Nonfiction Film. The Factual Film After the Lumieres. The Nonfiction Film and War: 1898-1918. Before World War I. World War I: 1914-18. British and Allied Films. German War Films. U.S. Government Films about World War I. American Commercial Films about World War I. 3. Exploration, Romanticism, and the Western Avant-Garde. Factual Films of Travel and Exploration. Film and the American West. Films about Native Americans. The American Romantic Tradition. Robert Flaherty. Merian C. Cooper and Ernest Schoedsack. The Soviet Naturalist Tradition. Alexander Dovzhenko. The Western Avant-Garde. Alberto Cavalcanti. Walther Ruttmann. Joris Ivens. 4. The Beginnings of the Documentary Film. Beginnings of the Soviet Propagandist Tradition. Dziga Vertov. Esther Shub and the Compilation Film. John Grierson and the Early British Documentary Film. Empire Marketing Board Film Unit -- Pt. 2. (1933-1939) Documentary Films to Change the World. 5. The British Documentary Movement: 1933-1945. General Post Office Film Unit Under John Grierson: 1933-37. Robert Flaherty and John Grierson: Industrial Britain (1933). Basil Wright: The Song of Ceylon (1934). Basil Wright and Harry Watt: Night Mail (1936). Grierson's Influence. GPO Film Unit After John Grierson: 1937-40. The Independent Documentary Film: Production Outside the GPO Film Unit. Overall Achievements of British Documentary Film Movement in the 1930s. 6. European and Asian Nonfiction Film: 1930-1939. Beginnings of the Film on Art. The Netherlands. Joris Ivens. John Ferno. Belgium. Charles Dekeukeleire. Andre Cauvin. Henri Storck. Sweden. Denmark. Spain. Germany. Organization of the Nazi Propaganda Film Effort. Nazi Ideology. Prewar Nazi Propaganda Films. Leni Riefenstahl. Triumph of the Will (1935). Olympia (1938). Japan. India. China. 7. American Nonfiction Film: 1930-1939. Beginnings of the American Film on Art. Robert Flaherty: The Romantic Tradition Continues. Man of Aran (1934). Joris Ivens: The European Political Documentary Comes to America. American Film on the Left: 1930-42. The Workers' Film and Photo League of America (1930-35). Nykino (1935-37). Frontier Film Group (1936-42). Native Land (1942). Pare Lorentz. The Plow That Broke the Plains (1936). The River (1937). The United States Film Service. The Fight for Life (1940). Robert Flaherty and The Land (1942). Screen Journalism. American Newsreel During the 1930s. "The March of Time" (1935-51). "This is America" (1942-51). Willard Van Dyke. The City (1939) -- Pt. 3. (1939-1945) Nonfiction Films for World War II. 8. British Films for World War II. Organizing for War-Film Production. Concerns of British Wartime Films. Domestic Defense. Firefighting. Wartime Living Conditions. Training Films for Civilians and the Armed Forces. Farming, Gardening, Food, and Nutrition. Health. Wartime Industry. Britain and the Sea. Labor, Women, and Youth. Anti-Enemy Propaganda. Combat Films. Envisioning the Postwar World. Grierson and the National Film Board of Canada. 9. European and Asian Films for World War II. Axis Films. The Nazi Propaganda Film. Wartime Nazi Propaganda Films. Films about Germany. Films about the Enemy. Japan. Italy. Anti-Axis Films. Russia. China. French Cinema of the Occupation and Resistance. Vichy Government Propaganda Films. Films of the French Resistance. 10. American Films for World War II. American Propaganda and Counterpropaganda for World War II. United States Office of War Information. Frank Capra: Military Training and Civilian Information Films. The "Why We Fight" Series. Incentive Films. Combat Films. John Ford. John Huston. Films on the Effects of War -- Pt. 4. (1945-1960) Nonfiction Films After World War II. 11. British Nonfiction Film after World War II. Great Britain After the War. The British Film Industry. The Continuing Documentary Tradition. British Free Cinema: 1956-59 -- 12. European, Asian, and Canadian Nonfiction Film after World War II. Europe. Italy. Neorealism. Films on Art. Belgium. Films on Domestic Subjects. Films on Colonial Subjects. Films on Art. France. Alain Resnais. Georges Franju. Films on Art. Other European Films. Asia. India. Japan. China. Canada. The National Film Board of Canada. 13. American Nonfiction Film after World War II. Postwar Government Film Production. The United States Information Agency. Television Documentary. Postwar Independent Film Production. Robert Flaherty and Louisiana Story (1948). Independent Films of the 1950s. Children. Health. Labor. Urban Life. Random Observations of American Life. Ethnographic Film Records of Foreign Cultures. Films on Art. Film Biographies. Documenting War -- Pt. 5. (1960-1985) Continuing Traditions and New Directions. 14. American Renaissance in the 1960s: The New Nonfiction Film. Cinema Verite and Direct Cinema. Cinema Verite: Historical and Theoretical Origins. Cinema Verite and Direct Cinema: A Comparison and Contrast. American Direct Cinema. Major Direct Cinema Filmmakers and Films. Robert Drew. Richard Leacock. Donn Alan Pennebaker. American Nonfiction Film Outside the Direct Cinema Movement. National Politics, Elections, and Leaders. Justice and Civil Rights. Youth. Poverty. Vietnam. National Defense. Society. Native Americans. Foreign Subjects. Portraits. Canadian Film. Canadian Arts, Culture, and Personalities. Human Relationships. Political Conscience. 15. Tradition and Change in the 1970s. New American and European Masters of the Nonfiction Film. Albert and David Maysles. Frederick Wiseman. Emile De Antonio. Louis Malle. Marcel Ophuls. American Independent Filmmaking. British and European Independent Filmmaking. American and European Films on Art. American Films on Art. European Films on Art. 16. New Voices of the 1980s. Issues Shaping Nonfiction Film in the 1980s. Liberation Filmmaking. Films by and about Women. Films by Lesbians and Gay Men. Nonfiction Film in Third World and Non-Western Countries. India. East and Southeast Asia. Latin America. The Middle East and Africa. Afterword: One Hundred Years of Nonfiction Film -- Legacy of the 1980s -- Developing Technologies -- Financing and Distribution -- Film Theory and Criticism
Analysis Documentary films History and criticism
Bibliography Includes bibliographical references (pages [381]-439) and indexes
Notes Text in Italian
Subject Documentary films -- History and criticism.
LC no. 91026985
ISBN 0253207061 (paperback)
0253311241 (alk. paper)
8817211044 (paperback)