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The Routledge companion to history and the moving image / (2024)

Hughes-Warrington, Marnie, [editor.] ; Nelson, Kim [editor.] (Documentary filmmaker), ; Treacey, Mia E. M., [editor.]

Abingdon, Oxon ; : Routledge,

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Details

UID:

almahu_9949598583602882

Umfang: 1 online resource.

ISBN: 9781003263234 , 1003263232 , 9781000984750 , 1000984753 , 9781000984835 , 1000984834

Serie: Routledge companions

Inhalt: "The Routledge Companion to History and the Moving Image takes an interdisciplinary approach to understanding history in moving images. It engages this popular and dynamic field that has evolved rapidly from film and television to digital streaming into the age of user-created content. The collection, written for a global audience, offers accessible discussions of historiography and a compelling resource for advanced undergraduates and postgraduates in history, film and media studies, and communications"--

Weitere Ausg.: Print version: Routledge companion to history and the moving image Abingdon, Oxon ; New York, NY : Routledge, 2024 ISBN 9781032203317

Sprache: Englisch

Fachgebiete: Allgemeines

RVK:

AP 45000

Schlagwort(e): Criticism, interpretation, etc. ; Aufsatzsammlung

DOI: 10.4324/9781003263234

URL: https://www.taylorfrancis.com/books/9781003263234

URL: lizenzpflichtig

URL: Cover

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HU Berlin

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Chapter 17 Live Documentary : Social Cinema and the Cinepoetics of Doubt (2024)

Nelson, Kim [VerfasserIn]

[Erscheinungsort nicht ermittelbar] : Taylor & Francis

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Details

UID:

gbv_1877729469

Umfang: 1 Online-Ressource (19 p.)

ISBN: 9781032203317 , 9781032203324

Inhalt: Frank Ankersmit tells historians of their mission: “You can approximate objectivity only as long as you sincerely despair of approximating it.” It follows that it is incumbent upon anyone who represents the past to enter that struggle. Whether by keyboard or camera, historians who do not probe and question their suppositions may seek to represent the past, but they do not make history. A prime question for historiophoty is to ask what this struggle looks and sounds like projected off the page. This chapter considers the cinepoetics of historical objectivity through a model of moving images that rewinds the clock to the emergence of film on screens and traces a new path for cinema through to a digital reimagining of what Tom Gunning calls the “cinema of attractions.” It explores the documentary methods of narration and reenactment in Sam Green’s Live Documentary practice and analyzes the methods by which filmmakers become cine-historians through articulating the historians’ dilemma by audiovisual means in the creation of moving history of shared experience and public spectacle

Anmerkung: English

Sprache: Unbestimmte Sprache

URL: kostenfrei

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