Název: On true meaning(s) and the impossibility of documentary in the films of Jennifer Baichwal
Zdrojový dokument: Brno studies in English. 2013, roč. 39, č. 2, s. [55]-70
Rozsah
[55]-70
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ISSN0524-6881 (print)1805-0867 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/BSE2013-2-4
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/130309
Type: Článek
Jazyk
Licence: Neurčená licence
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Abstrakt(y)
Canadian filmmaker Jennifer Baichwal has made a remarkable series of feature documentaries that have until now received little scholarly attention, though they have circulated widely at film festivals, theatrical screenings and on broadcast television. These films: Let It Come Down: The Life of Paul Bowles, The Holier it Gets, Shelby Lee Adams' Appalachia: The True Meaning of Pictures, Manufactured Landscapes, Act of God, Payback and Watermark operate against the grain of informational instrumentalism associated with conventional documentary. They are playful and meditative explorations of the relationship between human culture, the built environment and forces of nature. This essay surveys recurring themes, strategies and issues across this body of work and situates this filmmaking practice within the oral tradition as described by Canadian thinker Harold Innis.
eng
Reference
[1] Ames, Eric (2012) Ferocious Reality: Documentary According to Werner Herzog. Minneapolis: University of Minnesota Press.
[2] Auster, Paul (1992) The Red Notebook: True Stories. New York: New Directions.
[3] Benjamin, Walter (1968) "The Work of Art in the Age of Mechanical Reproduction." In Arendt, Hannah (ed.) Illuminations. Trans. Harry Zohn. New York: Schocken.
[4] Burtynsky, Edward (2013) Water. Göttingen: Steidl.
[5] Innis, Harold A. (1951) The Bias of Communication. Toronto: University of Toronto Press.
[6] Marx, Karl and Friedrich Engels (1970) The Communist Manifesto. New York: Pathfinder Press.
[7] Morgan, Bill (2010) The Typewriter is Holy: The Complete Uncensored History of the Beat Generation. New York: Free Press.
[8] Morris, Errol (2011) Believing is Seeing: Observations on the Mysteries of Photography. New York: Penguin Press.
[9] Nichols, Bill (2001) Introduction to Documentary. Bloomington: Indiana University Press.
[10] Sobchack, Vivian (1984) "Inscribing Ethical Space: Ten Propositions on Death, Representation and Documentary." Quarterly Review of Film Studies 9 (4), 283–300. | DOI 10.1080/10509208409361220
[11] Winston, Brian (2008) Lies, Damn Lies and Documentaries. London: BFI.
[12] Wood, Michael (2003) "Paul Auster: the Art of Fiction" (interview). Paris Review 178, Fall 2003. Accessed on-line: www.theparisreview.org.
[2] Auster, Paul (1992) The Red Notebook: True Stories. New York: New Directions.
[3] Benjamin, Walter (1968) "The Work of Art in the Age of Mechanical Reproduction." In Arendt, Hannah (ed.) Illuminations. Trans. Harry Zohn. New York: Schocken.
[4] Burtynsky, Edward (2013) Water. Göttingen: Steidl.
[5] Innis, Harold A. (1951) The Bias of Communication. Toronto: University of Toronto Press.
[6] Marx, Karl and Friedrich Engels (1970) The Communist Manifesto. New York: Pathfinder Press.
[7] Morgan, Bill (2010) The Typewriter is Holy: The Complete Uncensored History of the Beat Generation. New York: Free Press.
[8] Morris, Errol (2011) Believing is Seeing: Observations on the Mysteries of Photography. New York: Penguin Press.
[9] Nichols, Bill (2001) Introduction to Documentary. Bloomington: Indiana University Press.
[10] Sobchack, Vivian (1984) "Inscribing Ethical Space: Ten Propositions on Death, Representation and Documentary." Quarterly Review of Film Studies 9 (4), 283–300. | DOI 10.1080/10509208409361220
[11] Winston, Brian (2008) Lies, Damn Lies and Documentaries. London: BFI.
[12] Wood, Michael (2003) "Paul Auster: the Art of Fiction" (interview). Paris Review 178, Fall 2003. Accessed on-line: www.theparisreview.org.