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In the charged atmosphere of post-revolution, artistic and political forces often join in the effort to reimagine a new national space for a liberated people. Joshua Malitsky examines nonfiction film and nation building to better understand documentary film as a tool used by the state to create powerful historical and political narratives. Drawing on newsreels and documentaries produced in the aftermath of the Russian revolution of 1917 and the Cuban revolution of 1959, Malitsky demonstrates the ability of nonfiction film to help shape the new citizen and unify, edify, and modernize society
Documentary films --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- Political aspects --- Documentaires --- Aspect politique
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The evolution of the independent documentary cinema in India!
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An engaging read on independent documentary filmmaking in India
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"Using her award-winning film Musicwood as a case study, director Maxine Trump guides the reader through the complex lifecycle of the documentary film, focusing on the practical business aspects of the process. Written from the perspective of a successful documentary maker, it covers mistakes made and lessons learned. Perfect for documentary filmmaking students and aspiring filmmakers alike, it takes the reader not only through the production process but financing, marketing and distribution as well, emphasizing the skills needed to succeed in a competitive production market. This concise guide is ideal for the classroom or as a quick reference out in the field, at a budget meeting or in the editing room."--Provided by publisher.
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Il y a d'une part les documentaristes à qui l'on pose la question : «Quand est-ce que vous ferez un vrai film ?» Et il y a d'autre part des cinéastes de fiction à qui l'on demande : «Vous n'avez jamais eu envie de filmer la réalité ?» Le débat est aussi vieux que le cinéma lui-même. Peut-on filmer le réel ? Peut-on d'ailleurs filmer autre chose que le réel ? Dans cet ouvrage, ont été interrogés huit cinéastes qui ont l'expérience conjuguée de la fiction et du documentaire.Chacun d'entre eux se penche avec acuité sur le passage de l'un à l'autre, chaque créateur ayant son rapport particulier au réel et à l'imaginaire.
Catégories cinématographiques --- Cinéma -- Catégories --- Cinéma -- Genres --- Cinéma -- Typologie --- Documentaires (Films) --- Documentaries [Motion picture ] --- Documentary films --- Documentary videos --- Factual films --- Film genres --- Films -- Catégories --- Films -- Genres --- Films -- Typologie --- Films documentaires --- Genre films --- Genres [Film ] --- Genres cinématographiques --- Motion picture documentaries --- Motion picture genres --- Moving-pictures [Documentary ] --- Moving-pictures [Documentary] --- Typologie cinématographique --- Réalisateurs de cinéma --- Motion picture producers and directors --- Interviews --- Genres cinématographiques. --- Films documentaires.
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Described as the 'lost genre', the tradition of documentary film making in Hong Kong is far less known than its martial arts films. However documentary film has always existed in Hong Kong and often represents its troubled relationship to itself, China and the west. Including the period of colonial film-making, the high points of television documentary and the tradition of independent documentary film-making, this book presents a comprehensive study of this lost genre. It explores the role of public-service television (including representations of the massacre at Tiananmen Square) and presents critical analysis of key films.
Documentary films --- Documentaires --- History and criticism --- Histoire et critique --- Film --- Hong Kong --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- History and criticism.
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In Soul of the Documentary, Ilona Hongisto stirs current thinking about documentary cinema by suggesting that the work of documentary films is not reducible to representing what already exists. By close-reading a diverse body of films - from The Last Bolshevik to Grey Gardens - Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the doumentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world. -- Provided by publisher.
Documentary films --- History and criticism. --- Ethics --- Dokumentärfilm. --- Documentary films. --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- ethics --- experimentation --- immanence --- documentary --- aesthetics
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Documentary films --- History and criticism. --- Social aspects --- S17/2000 --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- History and criticism --- China: Art and archaeology--Film
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