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"Widely acknowledged as a major turning point in the history of visual depictions of war, Francisco de Goya's renowned print series The Disasters of War remains a touchstone for serious engagement with the violence of war and the questions raised by its artistic representation. The Art of Witnessing provides a new account of Goya's print series by taking readers through the forty-seven prints he dedicated to the violence of war. Drawing on facets of Goya's artistry rarely considered together before, the book challenges the notion that documentary realism and historical testimony were his primary aims. Michael Iarocci argues that while the depiction of war's atrocities was central to Goya's project, the lasting power of the print series stems from the artist's complex moral and aesthetic meditations on the subject. Making novel contributions to longstanding debates about historical memory, testimony, and the representation of violence, The Art of Witnessing tells a new story, print by print, to highlight the ways in which Goya's masterpiece extends far beyond conventional understandings of visual testimony."--

War in art --- Goya, Francisco --- Goya, Francisco, --- Criticism and interpretation. --- Disasters of war (Goya, Francisco) --- War in art. --- Disasters of War. --- Francisco Goya. --- Napoleonic Era. --- Peninsular War. --- Spanish War of Independence. --- Spanish art. --- Spanish history. --- ethics of representation. --- satire. --- violence and representation. --- war art. --- war testimony.

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Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' – crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone – identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, ‘Developments in the Japanese Documentary Mode’, trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worlds

Music --- ethnofiction --- Japan --- documentary --- non-fiction --- dramatization --- Minamata disease --- Tsuchimoto Noriaki --- W. Eugene Smith --- Ishimure Michiko --- ethics of representation --- The Children of Minamata are Living --- Minamata: The Victims and Their World --- authorship --- documentary film --- hibakusha --- Japanese cinema --- Mizoguchi Kenji --- semi-documentary --- Shindō Kaneto --- film theory --- documentary film theory --- postwar Japan --- post-1945 Japan --- Hani Susumu --- cinéma verité --- direct cinema --- observational documentary --- cinematography --- the culture film --- Imamura Shōhei --- History of Post-War Japan as Told by a Bar Hostess --- fiction and documentary --- history --- memory --- experience --- magic lantern --- popular history movement --- avant-garde documentary --- new Left --- Teshigahara Hiroshi --- Adachi Masao --- subjectivity --- landscapes --- folklore studies --- documentary photography --- ethnofiction --- Japan --- documentary --- non-fiction --- dramatization --- Minamata disease --- Tsuchimoto Noriaki --- W. Eugene Smith --- Ishimure Michiko --- ethics of representation --- The Children of Minamata are Living --- Minamata: The Victims and Their World --- authorship --- documentary film --- hibakusha --- Japanese cinema --- Mizoguchi Kenji --- semi-documentary --- Shindō Kaneto --- film theory --- documentary film theory --- postwar Japan --- post-1945 Japan --- Hani Susumu --- cinéma verité --- direct cinema --- observational documentary --- cinematography --- the culture film --- Imamura Shōhei --- History of Post-War Japan as Told by a Bar Hostess --- fiction and documentary --- history --- memory --- experience --- magic lantern --- popular history movement --- avant-garde documentary --- new Left --- Teshigahara Hiroshi --- Adachi Masao --- subjectivity --- landscapes --- folklore studies --- documentary photography