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Documentary Film

Edited by Ian Aitken

Routledge – 2012 – 1,784 pages

Series: Critical Concepts in Media and Cultural Studies

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    978-0-415-57901-8
    July 27th 2012

Description

Documentary film is cinema’s oldest form, dating back to the medium’s invention at the turn of twentieth century. From cinema’s earliest days, important documentary films and film-makers have emerged continuously and, today, interest in documentary film remains substantial, and is rapidly growing. Standing conferences have been instituted, and new scholarly journals and festivals devoted to the genre are blossoming. Indeed, documentary film culture flourishes, particularly in the developing world and in non-democratic states. China’s burgeoning underground documentary film movement, for example, has garnered much critical attention in recent years.

Documentary Film is a new title in Routledge’s Major Works series, Critical Concepts in Media and Cultural Studies. It meets the need for an authoritative reference work to enable users to navigate and make sense of the subject’s large literature and the continuing explosion in research output. Compiled by Ian Aitken (who also edited Routledge’s landmark Encyclopedia of the Documentary Film (2006)), this collection brings together in four volumes the foundational and the very best cutting-edge scholarship on documentary film.

Documentary Film includes a full index and comprehensive introductions, newly written by the editor, which place the collected material in its historical and intellectual context. It is an essential work of reference and is destined to be valued by scholars and advanced students as a vital research tool.

Contents

vOLUME i: Film Theory/History/Documentary in general, Part 1

1. Ian Aitken, ‘Physical Reality: The Role of the Empirical in the Film Theory of Siegfried Kracauer, John Grierson, André Bazin and Georg Lukács’, Studies in Documentary Film, 2007, 1, 2, 105–21.

2. Ian Aitken, ‘Introduction’, in Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 1–61.

3. Ian Aitken, ‘The Documentary Film Movement’, Alberto Cavalcanti: Realism, Surrealism and National Cinemas (Flicks Books, 2000), pp. 42–65.

4. Ian Aitken, ‘"What is There Really in the World?"—Forms of Theory, Evidence and Truth in Fahrenheit 9/11: A Philosophical and Intuitionist Realist Approach’, in Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies (Routledge, 2009), pp. 310–30.

5. Dan Armstrong, ‘Wiseman’s Model and the Documentary Project: Towards a Radical Film Practice’, Film Quarterly, 1983–4, 37, 2, 2–10.

6. Michael Balcon, ‘The Feature Carries on the Documentary Tradition’, Quarterly of Film, Radio, and Television, 1952, 6, 4, 351–3.

7. Charles Bane, ‘Russia/Soviet Union’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 3 (Routledge, 2006), pp. 1159–66.

8. Roger A. Beaumont, ‘Images of War: Films as Documentary History’, Military Affairs, 1971. 35, 1, 5–7.

9. William A. Bluem, ‘Documentary in a Nuclear Age’, Journal of the University Film Producers Association, 1965, 17, 4, 12–16.

10. William Brown, ‘Man Without a Movie Camera—Movies Without Men: Towards a Posthumanist Cinema’, in Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies (Routledge, 2009), pp. 66–85.

11. Noel Burch, ‘Four Recent French Documentaries’, Film Quarterly, 1959, 13, 1, 56–61.

12. Alberto Cavalcanti, ‘The British Contribution (1952)’, in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 205–14.

13. Elizabeth Coffman, ‘Documentary and Collaboration: Placing the Camera in the Community’, Journal of Film and Video, 2009, 61, 1, 62–78.

14. Kirwan Cox, ‘Canada’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 164–74.

15. Jonathan Dawson, ‘Australia’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 56–61.

16. Williams Deane, ‘Introduction: Grierson Diminished’, Australian Post-War Documentary Film: An Arc of Mirrors (Intellect Books, 2008), pp. 11–20.

17. Willard Van Dyke, ‘Documentaries of the Thirties’, Journal of the University Film Association, 1973, 25, 3, 45–6.

18. Jack C. Ellis, ‘Postmortem: Assessments (1972–2000)’, John Grierson: Life, Contributions, Influence (Southern Illinois University Press, 2000), pp. 332–62.

19. Douglas W. Gallez, ‘Patterns in Wartime Documentaries’, Quarterly of Film, Radio, and Television, 1955, 10, 2, 125–35.

20. Jill Godmilow, ‘How Real is the Reality in Documentary Film?’, History and Theory, 1997, 36, 4, 80–101.

21. John Grierson, ‘First Principles of Documentary’, Cinema Quarterly, Winter 1932, Spring 1933 and Summer 1933.

22. John Grierson, ‘The Russian Example’, The Clarion, August 1930 and November 1930.

23. John Grierson, ‘The E. M. B. Film Unit’, Cinema Quarterly, Summer 1933.

24. John Grierson, ‘Summary and Survey: 1935’, The Arts Today (London, 1935).

25. John Grierson, ‘The Course of Realism’, Footnotes to the Film (Peter Davies, 1937).

26. John Grierson, ‘The Documentary Idea: 1942’, Documentary News Letter, 1942.

27. John Grierson, ‘Education and the New Order’, Pamphlet No. 7 of the ‘Democracy and Citizenship’ series (Canadian Association for Adult Education, 1941).

Volume II: Film Theory/History/Documentary in general, part 2

28. Sapna Gupta, ‘Poland’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 3 (Routledge, 2006), pp. 1056–60.

29. Christian Hansen, Catherine Needham, and Bill Nichols, ‘Pornography, Ethnography, and the Discourses of Power’, Representing Reality: Issues and Concepts in Documentary (Indiana University Press, 1991), pp. 201–28.

30. Kay Hoffman, ‘Germany’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 474–8.

31. Humphrey Jennings, ‘Surrealism’ [1936], in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 229–30.

32. Claire Johnston, ‘Independence and the Thirties’, in Don Macpherson (ed.), Traditions of Independence: British Cinema in the Thirties (BFI Publishing, 1980), pp. 9–23.

33. Robert Katz and Nancy Katz, ‘Documentary in Transition, Part I: The United States’, Hollywood Quarterly, 1948, 3, 4, 425–33.

34. Robert Katz and Nancy Katz, ‘Documentary in Transition, Part II: The International Scene and the American Documentary’, Hollywood Quarterly, 1949, 4, 1, 51–6.

35. Adam Knee and Charles Musser, ‘William Greaves’, Documentary Film-Making and the African-American Experience, 1992, 45, 3, 13–25.

36. Siegried Kracauer, ‘The Film of Fact’, Theory of Film: The Redemption of Physical Reality (Princeton University Press, 1960), pp. 193–211.

37. Annette Kuhn, ‘British Documentary in the 1930s and "Independence": Recontextualising a Film Movement’, in Don Macpherson (ed.), Traditions of Independence: British Cinema in the Thirties (BFI Publishing, 1980), pp. 24–33.

38. Andre Loiselle, ‘French Canada’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 175–9.

39. David MacDougall, ‘When Less Is Less: The Long Take in Documentary’, Film Quarterly, 1992–3, 46, 2, 36–46.

40. Bob Mielke, ‘Rhetoric and Ideology in the Nuclear Test Documentary’, Film Quarterly, 2005, 58, 3, 28–37.

41. Trinh T. Minh-ha, ‘The Totalizing Quest of Meaning’, in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 90–107.

42. Bill Nichols, ‘The Voice of Documentary’, Film Quarterly, 1983, 36, 3, 17–30.

43. Bill Nichols, ‘History, Myth, and Narrative in Documentary’, Film Quarterly, 1987, 41, 1, 9–20.

44. Markus Abé Nornes, ‘Japan’ in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 2 (Routledge, 2006), pp. 671–6.

45. Miles Orvell, ‘Documentary Film and the Interrogation: "American Dream" & "Roger and Me", Film Quarterly, 1994–5, 48, 2, 10–18.

46. Andreas Pagoulatos and Nikos Stabakis, ‘Greece’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 510–18.

47. Carl Plantinga, ‘What a Documentary Is, After All’, Journal of Aesthetics and Art Criticism, 2005, 63, 2, 105–17.

48. Wesley F. Pratzner, ‘What Has Happened to the Documentary Film?’, Public Opinion Quarterly, 1947, 11, 3, 394–401.

49. Paula Rabinowitz, ‘Wreckage Upon Wreckage: History, Documentary and the Ruins of Memory’, History and Theory, 1993, 32, 2, 119–37.

50. Michael Renov, ‘Introduction: The Truth About Non-Fiction’, in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 1–11.

51. Paul Rotha, ‘Television and the Future of Documentary’, Quarterly of Film, Radio, and Television, 1955, 9, 4, 366–73.

52. Paul Rotha, ‘Films and the Labour Party’ [1936], in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 171–8.

53. Vivian Sobchack, ‘Toward a Phenomenology of Nonfictional film Experience’, in Jane M. Gaines and Michael Renov (eds.), Collecting Visible (University of Minnesota Press, 1999), pp. 241–54.

54. Pierre Sorlin, ‘France’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 434–42.

55. Pierre Sorlin, ‘Italy’, in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 2 (Routledge, 2006), pp. 646–53.

56. Stephen Tallents, ‘The Birth of the British Documentary (Part II)’, Journal of the University Film Association, 1968, 20, 2, 27–32.

57. Parker Tyler, ‘Documentary Technique in Film Fiction’, American Quarterly, 1949, 1, 2, 99–115.

58. Linda Williams, ‘Mirrors Without Memories: Truth, History, and the New Documentary’, Film Quarterly, 1993, 46, 3, 9–21.

59. Brian Winston, ‘The Documentary Film as Scientific Inscription’, in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 37–57.

60. Basil Wright, ‘The Documentary Dilemma’, Hollywood Quarterly, 1951, 5, 4, 321–5.

61. Basil Wright, ‘Documentary Today (1947)’, in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 231–6.

Volume III: Music Teaching and Learning

Chang/Grass, 1927. Directed by Merian C. Cooper and Ernest Beaumont Schoedsack

62. Richard Griffith, ‘Grass and Chang’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 22–4.

Chronicle of a Summer, 1961. Directed by Jean Rouch and Edgar Morin

63. Ellen Freyer, ‘Chronicle of a Summer: Ten Years After’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 337–43.

64. William Rothman, ‘Chronicle of a Summer’, Documentary Film Classics (Cambridge University Press, 1997), pp. 69–108.

Dead Birds, 1963. Directed by Robert Gardner

65. Robert Gardner, ‘A Chronicle of the Human Experience: Dead Birds’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 430–6.

Desert Victory, 1943. Directed by David Macdonald

66. Manny Farber, ‘One for the Ages: Desert Victory’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 211–12.

A Diary for Timothy, 1945. Directed by Humphrey Jennings

67. Iris Barry, ‘A Diary for Timothy’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 226–7.

Drifters, 1929. Directed by John Grierson

68. Harry Alan Potamkin, ‘Grierson’s Drifter’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 64–5.

69. Forsyth Hardy (ed.), Grierson on Documentary (Faber & Faber, 1979), pp. 19–22.

Film and Reality, 1942. Directed by Alberto Cavalcanti and Ernest Lindgren

70. Richard Griffith, ‘Film and Reality: The Background’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 202–4.

Fires Were Started, 1943. Directed by Humphrey Jennings

71. William Sanson, ‘The Making of Fires Were Started’, Film Quarterly, 1961–2, 15, 2, 27–9.

Harlan County, U.S.A., 1976. Directed by Barbara Kopple

72. Gary Drowdus, ‘Harlan County, U.S.A.’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 563–73.

Hiroshima-Nagasaki, August 1945, 1970. Directed by Geof Bartz and Paul Ronder

73. Erik Barnouw, ‘Hiroshima-Nagasaki: The Case of the A-Bomb Footage’, in Alan Rosenthal (ed.), New Challenges for Documentary (University of California Press, 1988), pp. 581–91.

Land Without Bread, 1932. Directed by Luis Bunuel

74. William Rothman, ‘Land Without Bread’, Documentary Film Classics (Cambridge University Press, 1997), pp. 21–38.

Land Without Bread/Spanish Earth, 1932. Edited by Luis Bunuel

75. Basil Wright, ‘Land Without Bread and Spanish Earth’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 146–7.

Le Joli Mai, 1962. Edited by Chris Marker

76. Michael Kustow, ‘Chris Marker’s Le Joli’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 395–7.

Les Maisons de la Misère, 1937. Directed by Henri Storck

77. Paul Strand, ‘Les maisons de la misère’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 129–30.

Listen to Britain, 1942. Directed by Humphrey Jennings

78. Humphrey Jennings, ‘Listen to Britain (1942)’, in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 217–19.

Man of Aran, 1934. Edited by Robert Joseph Flaherty

79. Richard Barsam, ‘Man of Aran (1934) Realism and Lyricism’, The Vision of Robert Flaherty: The Artist as Myth and Filmmaker (Bloomington & Indianapolis: Indiana University Press, 1988), pp. 58–71.

The Man with a Movie Camera, 1929. Directed by Dziga Vertov

80. Dai Vaughan, ‘The Man with a Movie Camera’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 53–9.

The March of Time, 1935. Directed by Louis De Rochemont

81. Raymond Fielding, ‘Time Flickers Out: Notes of the Passing of the March of Time’, Quarterly of Film, Radio, and Television, 1957, 11, 4, 354–61.

Moana, 1926. Directed by Robert Joseph Flaherty

82. John Grierson, ‘Flaherty’s Poetic Moana’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 25–6.

Model, 1980. Directed by Frederick Wiseman

83. Dan Armstrong, ‘Wiseman’s Model and the Documentary Project: Toward a Radical Film Practice’, in Alan Rosenthal (ed.), New Challenges for Documentary (University of California Press, 1988), pp. 180–90.

Nanook of the North, 1922. Directed by Robert Joseph Flaherty

84. Ricciotto Canudo, ‘Another View of Nanook’ , in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 20–1.

85. William Rothman, ‘Nanook of the North’, Documentary Film Classics (Cambridge University Press, 1997), pp. 1–20.

Native Land, 1942. Directed by Leo Hurwitz and Paul Strand

86. Charles Wolfe, ‘Modes of Discourse in Thirties Social Documentary: The Shifting "I" of Native Land’, Journal of Film and Video, 1984, 36, 4, 13–21.

Olympia, 1974. Directed by Leni Riefenstahl

87. Hans Barkhausen, ‘Footnote to the History of Riefenstahl’s Olympia’, Film Quarterly, 1974, 28, 1, 8–12.

Pandaemonium, 1948. Directed by Humphrey Jennings

88. Humphrey Jennings, ‘Introduction to Pandaemonium (c. 1948)’, in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 231–6.

À propos de Nice, 1930. Edited by Jean Vigo

89. Boris Kaufman, ‘Àpropos de Nice’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 77–9.

Rain (Regen), 1929. Directed by Joris Ivens

90. Joris Ivens, ‘The Making of Rain’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 60–3.

Reel Paradise/Sisters in Law, 2005. Directed by Kim Longinotto and Florence Ayisi

91. Jennifer Malkowski, ‘Reel Paradise / Sisters in Law’, Film Quarterly, 2007, 60, 4, 30–4.

Sicko, 2007. Directed by Michael Moore

92. Ernest Callenbach, ‘Sicko’, Film Quarterly, 2007, 61, 2, 18–20.

The Silent World, 1956. Directed by Jacques-Yves Cousteau

93. Bosley Crowther, ‘Cousteau’s The Silent World’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 316–17.

Song of Ceylon, 1935. Directed by Basil Wright

94. Marie Seton, ‘Basil Wright’s Song of Ceylon’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 101–3.

The Sorrow and the Pity, 1969. Directed by Marcel Ophüls

95. James Roy MacBean, ‘The Sorrow and the Pity: France and Her Political Myths’, in Alan Rosenthal (ed.), New Challenges for Documentary (University of California Press, 1988), pp. 471–9.

The Thin Blue Line, 1987. Directed by Errol Morris

96. Linda Williams, ‘Mirrors Without Memories: Truth, History, and The Thin Blue Line’, in Barry Keith Grant and Jeanette Sloniowski (eds.), Documenting the Documentary: Close Readings of Documentary Film and Video (Wayne State, 1998), pp. 379–96.

The Triumph of the Will, 1935. Directed by Leni Riefenstahl

97. Frank P. Tomasulo, ‘The Mass Psychology of Fascist Cinema: Leni Riefenstahl’s Triumph of the Will’, in Barry Keith Grant and Jeanette Sloniowski (eds.), Documenting the Documentary: Close Readings of Documentary Film and Video (Wayne State, 1998), pp. 99–118.

Turkish, 1929. Directed by Victor A. Turin

98. K. J. Coldicutt, ‘Turkish: Building a Railroad’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 45–8.

Western Approaches, 1945. Directed by Pat Jackson

99. Anthony Aldgate and Jeffrey Richards, ‘The War the Documentarists Won: Western Approaches’, Britain Can Take It: The British Cinema in the Second World War (Basil Blackwell, 1986), pp. 246–76.

Volume IV: Film Makers

Jim Allen and Ken Loach

100. Jim Allen, ‘The Way Back from the Legend’ in Eva Orbanz (ed.), Journey to a Legend and Back: The British Realistic Film (Edition Volker Spiess, 1977), pp. 151–9.

Michelangelo Antonioni

101. Umberto Eco, ‘De Interpretatione, or the Difficulty of Being Marco Polo [On the Occasion of Antonioni’s China Film]’, Film Quarterly, 1977, 30, 4, 8–12.

102. James S. Williams, ‘The Rhythms of Life: An Appreciation of Michelangelo Antonioni, Extreme Aesthete of the Real’, Film Quarterly, 2008, 62, 1, 46–57.

Alberto Cavalcanti

103. Elizabeth Sussex, ‘Alberto Cavalcanti (1897–1982): Cavalcanti in England (1975)’, The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 181–201.

104. Emir Rodriguez Monegal, ‘Alberto Cavalcanti’, Quarterly of Film, Radio, and Television, 1955, 9, 4, 341–58.

Robert Flaherty

105. Hugh Gray, ‘Robert Flaherty and the Naturalistic Documentary’, Hollywood Quarterly, 1950, 5, 1, 41–8.

106. Helen van Dongen, ‘Robert J. Flaherty 1884–1951’, Film Quarterly, 1965, 18, 4, 2–14.

107. John Grierson, ‘Flaherty’, in Forsyth Hardy (ed.), Grierson on Documentary (Faber & Faber, 1979), pp. 29–34.

G.P.O. Film Unit

108. Forsyth Hardy, ‘G.P.O. Film Unit’, John Grierson: A Documentary Biography (Faber & Faber, 1979), pp. 72–91.

Robert Gardner

109. Robert Gardner, ‘The Impulse to Preserve’, Harvard Review, 1993, 3, 82–9.

110. Peter Loizos, ‘A Filmmaker’s Journal: An Appreciation of Robert Gardner’s "The Impulse to Preserve: Reflections of a Filmmaker"’, Anthropology Today, 2008, 24, 2, 13–17.

John Grierson

111. Stuart Hood, ‘A Cool Look at the Legend’, in Eva Orbanz (ed.), Journey to a Legend and Back: The British Realistic Film (Edition Volker Spiess, 1977), pp. 141–50.

112. Nicholas Pronay, ‘John Grierson and the Documentary: 60 Years On’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 227–46.

113. Ian Aitken, ‘John Grierson, Idealism and Inter-War Period’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 247–58.

114. Elizabeth Sussex, ‘Grierson on Documentary: The Last Interview’, Film Quarterly, 1972, 26, 1, 24–30.

115. Jack C. Ellis, ‘The Young Grierson in America, 1924–1927’, Cinema Journal, 1968, 8, 1, 12–21.

116. Jack C. Ellis, ‘John Grierson’s First Years at the National Film Board’, Cinema Journal, 1970, 10, 1, 2–14.

117. Robert Macmillan, ‘A Note Concerning John Grierson and the National Gallery of Canada, 1939–1943’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 283–90.

118. C. Rodney James, ‘John Grierson: England, Canada, the World’, Journal of the University Film Association, 1972, 24, 3, 52–5.

John Grierson and the National Film Board

119. Peter Morris, ‘"Praxis into Process": John Grierson and the National Film Board of Canada’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 269–82.

120. D. B. Fones, ‘Assessing the National Film Board, Crediting Grierson’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 301–8.

121. Gary Evans, ‘John Grierson’s Final Advice to the National Film Board of Canada, 1966–1971’, Historical Journal of Film, Radio, and Television, 1989, 9, 3, 291–300.

Humphrey Jennings

122. Gerald Noxon, ‘How Humphrey Jennings Came to Film’, Film Quarterly, 1962, 15, 2, 19–26.

David MacDougall and Judith MacDougall

123. Ilisa Barbash and Lucien Taylor, ‘Radically Empirical Documentary: An Interview with David and Judith MacDougall’, Film Quarterly, 2008, 54, 2, 2–14.

Albert Maysles

124. Calvin Pryluck, ‘Seeking to Take the Longest Journey: A Conversation with Albert Maysles’, Journal of the University Film Association, 1976, 28, 9–16.

Dennis O’Rourke

125. Nancy Christine Lutkehaus, ‘"Excuse Me, Everything is Not All Right": On Ethnography, Film, and Representation: An Interview with Filmmaker Dennis O’Rourke’, Cultural Anthropology, 1989, 4, 4, 422–37.

Leni Riefenstahl

126. George Paul Meiu, ‘Riefenstahl on Safari Embodied Contemplation in East Africa’, Anthropology Today, 2008, 24, 2, 18–22.

127. David Gunston, ‘Leni Riefenstahl’, Film Quarterly, 1960, 14, 1, 4–19.

Paul Rotha

128. Paul Rotha, ‘Paul Rotha (1907–84): Afterthought (1972)’, The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 154–70.

Jean Rouch

129. Dan Yakir, ‘Ciné-Transe’: The Vision of Jean Rouch: An Interview’, Film Quarterly, 1978, 13, 3, 2–11.

Dziga Vertov

130. Vlada Petric, ‘Vertov’s Cinematic Transposition of Reality’, in Charles Warren (ed.), Beyond Document: Essays on Nonfiction Film (Wesleyan University Press, 1996), pp. 271–94.

Frederick Wiseman

131. Thomas R. Atkins, ‘Frederick Wiseman’s America: Titicut Follies to Primate’, in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 536–50.

132. Bill Nichols, ‘Fred Wiseman’s Documentaries: Theory and Structure’, Film Quarterly, 1978, 31, 3, 15–24.

Related Subjects

  1. Film Studies

Name: Documentary Film (Hardback)Routledge 
Description: Edited by Ian Aitken. Documentary film is cinema’s oldest form, dating back to the medium’s invention at the turn of twentieth century. From cinema’s earliest days, important documentary films and film-makers have emerged continuously and, today,...
Categories: Film Studies