標(biāo)題: Titlebook: Documentary Screens; Nonfiction Film and Keith Beattie Textbook 2004Latest edition The Editor(s) (if applicable) and The Author(s) 2004 ex [打印本頁] 作者: charter 時(shí)間: 2025-3-21 19:17
書目名稱Documentary Screens影響因子(影響力)
書目名稱Documentary Screens影響因子(影響力)學(xué)科排名
書目名稱Documentary Screens網(wǎng)絡(luò)公開度
書目名稱Documentary Screens網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Documentary Screens被引頻次
書目名稱Documentary Screens被引頻次學(xué)科排名
書目名稱Documentary Screens年度引用
書目名稱Documentary Screens年度引用學(xué)科排名
書目名稱Documentary Screens讀者反饋
書目名稱Documentary Screens讀者反饋學(xué)科排名
作者: 臆斷 時(shí)間: 2025-3-22 00:00
,‘Believe Me, I’m of the World’: Documentary Representation, documentarian draws on past and present actuality — the world of social and historical experience — to construct an account of lives and events. Embedded within the account of physical reality is a claim or assertion at the centre of all non-fictional representation, namely, that a documentary depi作者: arsenal 時(shí)間: 2025-3-22 01:50
Men with Movie Cameras: Flaherty and Grierson,pment of documentary practices — is a varied one. Dziga Vertov, Walther Ruttmann, Joris Ivens, Pare Lorentz and Leni Riefenstahl are prominent in accounts of world documentary cinema, while two figures, Robert Flaherty (1884–1951) and John Grierson (1898–1972), are generally considered to be the fou作者: FLAG 時(shí)間: 2025-3-22 07:36
Constructing and Contesting Otherness: Ethnographic Film, anatomy and physical movement of people he referred to as ‘savages’: ‘All savage peoples make recourse to gesture to express themselves; their language is so poor it does not suffice to make them understood … With primitive man, gesture precedes speech’ (quoted in Rony, 1996: 3). By the time he pub作者: prostatitis 時(shí)間: 2025-3-22 10:32 作者: Slit-Lamp 時(shí)間: 2025-3-22 14:05 作者: Slit-Lamp 時(shí)間: 2025-3-22 18:47
The Camera I: Autobiographical Documentary,ression of the self — through use of the first person ‘I’ — characterizes a written form which reflects and focuses various ‘personal’ or subjective issues and agendas. A move from written autobiography to filmed self-representation has extended the possibilities for the depiction of ‘first person’ 作者: vanquish 時(shí)間: 2025-3-23 01:15 作者: 隱語 時(shí)間: 2025-3-23 03:37 作者: 向下 時(shí)間: 2025-3-23 06:44
The Evening Report: Television Documentary Journalism,ort current events and notable personalities are news bulletins and current affairs programmes. Television news reports typically feature one or more news presenters or readers in a studio whose scripted to-camera comments are complemented by video footage of selected news items. Current affairs pro作者: reperfusion 時(shí)間: 2025-3-23 12:31 作者: output 時(shí)間: 2025-3-23 17:04
The Burning Question: The Future of Documentary,roducers, directors and editors to answer a number of questions, among them, ‘What is the future of the documentary?’ The inquiry, undertaken in a chapter titled ‘The Burning Question’, provided a range of responses, including observations on documentary cinema, the fate of documentaries commissione作者: 消毒 時(shí)間: 2025-3-23 18:17
Conclusion, can note that it was always this way. As Chapter 1 pointed out, the tradition of documentary filmmaking inaugurated by Grierson was subject to financial restrictions imposed by sponsorship. Grierson acknowledged the effect of sponsorship on developing forms of documentary representation when he obs作者: 智力高 時(shí)間: 2025-3-23 22:55
Marleen Rensen,Christopher Wiley methods, techniques, and most notably in Grierson’s case, institutional arrangements and a body of theoretical writing that in varying ways, formed the bases of documentary as it continues to be practiced in numerous countries worldwide.作者: 脫離 時(shí)間: 2025-3-24 03:35 作者: compel 時(shí)間: 2025-3-24 07:25 作者: 水汽 時(shí)間: 2025-3-24 11:18
Conclusion, sober documentary works. In light of this history it is, then, ironic that the necessity to deliver audiences and maintain revenue returns from advertisers and sponsors in the era of increasingly commercialized television has resulted in forms of popular factual representation which have refigured documentary representation.作者: BARB 時(shí)間: 2025-3-24 15:21 作者: Anhydrous 時(shí)間: 2025-3-24 22:57 作者: 細(xì)微的差異 時(shí)間: 2025-3-25 00:24
,‘Believe Me, I’m of the World’: Documentary Representation,dded within the account of physical reality is a claim or assertion at the centre of all non-fictional representation, namely, that a documentary depiction of the socio-historical world is factual and truthful.作者: INTER 時(shí)間: 2025-3-25 06:25
National Responses to Global Agenda-Settingt that most work in the category comprised journalistic reports produced for television, aimed to reveal the truths of human existence residing behind the surface facts. Film historian Eric Barnouw (1983: 255) summarized the forms by describing what he saw as their essential differences: 作者: gastritis 時(shí)間: 2025-3-25 09:31 作者: apiary 時(shí)間: 2025-3-25 15:10 作者: DEVIL 時(shí)間: 2025-3-25 17:17
https://doi.org/10.1007/978-3-030-44893-6e visual language of the autobiography, creating new visual styles that situate the viewer in an intimate relationship with the subject of the autobiography. Other issues beyond new camera technologies have impacted on the development of autobiographical film and video.作者: WAIL 時(shí)間: 2025-3-25 20:53 作者: 混亂生活 時(shí)間: 2025-3-26 03:09
https://doi.org/10.1057/978-1-137-52914-5 In such cases, current affairs programming intersects with a related, though distinct, form of television news reporting, that of the long-form television news documentary, the subject of this chapter.作者: CHOKE 時(shí)間: 2025-3-26 04:58 作者: 形狀 時(shí)間: 2025-3-26 10:41 作者: 小歌劇 時(shí)間: 2025-3-26 14:40
The Camera I: Autobiographical Documentary,e visual language of the autobiography, creating new visual styles that situate the viewer in an intimate relationship with the subject of the autobiography. Other issues beyond new camera technologies have impacted on the development of autobiographical film and video.作者: 阻止 時(shí)間: 2025-3-26 17:21 作者: tackle 時(shí)間: 2025-3-27 00:29
The Evening Report: Television Documentary Journalism, In such cases, current affairs programming intersects with a related, though distinct, form of television news reporting, that of the long-form television news documentary, the subject of this chapter.作者: oncologist 時(shí)間: 2025-3-27 04:45
Up Close and Personal: Popular Factual Entertainment,se has, sadly, been accepted in the world of ‘talk television’, a precursor of reality television. As the executive producer of the . talk show has said, with an apparent lack of irony, ‘There is no line to draw. If I could kill someone on television … I would execute them on television.’ (quoted in Maddox, 2000: 200).作者: Temporal-Lobe 時(shí)間: 2025-3-27 07:20 作者: Suppository 時(shí)間: 2025-3-27 13:20 作者: 動(dòng)物 時(shí)間: 2025-3-27 14:36
Palgrave Studies in Life Writing in ways intended to provide ‘them’ with a history intersected with the original aim of anthropology, a field of study that was then developing its focus. In a broad sense, anthropology established itself at the turn of the twentieth century as a Western academic discourse which assigned itself the 作者: 獨(dú)白 時(shí)間: 2025-3-27 20:45 作者: neutrophils 時(shí)間: 2025-3-28 00:53
https://doi.org/10.1057/978-1-137-52914-5l in the editing process’ (Sobchack and Sobchack, 1987: 355). This definition, with its emphasis on a film constructed solely from existing sources, reflects the approach to compilation film taken by film historian Jay Leyda (1964) in one of the few book-length studies of the form in which he charac作者: 講個(gè)故事逗他 時(shí)間: 2025-3-28 02:57 作者: 公共汽車 時(shí)間: 2025-3-28 09:58 作者: 散布 時(shí)間: 2025-3-28 13:28 作者: Fresco 時(shí)間: 2025-3-28 17:59
Finding and Keeping: Compilation Documentary,l in the editing process’ (Sobchack and Sobchack, 1987: 355). This definition, with its emphasis on a film constructed solely from existing sources, reflects the approach to compilation film taken by film historian Jay Leyda (1964) in one of the few book-length studies of the form in which he charac作者: Toxoid-Vaccines 時(shí)間: 2025-3-28 21:19
The Burning Question: The Future of Documentary,o ignore. Unfortunately, one result of such a silence is the suggestion that documentary does not have a future. One thing that can be stated with certainty is that documentary representations of the real will continue to be produced in the twenty-first century.作者: 運(yùn)氣 時(shí)間: 2025-3-29 01:33
aterial forces which impact on documentary form and content. The important connection between form, content and context explored in the book constitutes a new and lively ‘documentary studies‘ approach to documentary representation.作者: 巨碩 時(shí)間: 2025-3-29 06:55 作者: 軌道 時(shí)間: 2025-3-29 09:53 作者: 熱烈的歡迎 時(shí)間: 2025-3-29 12:41
Marleen Rensen,Christopher Wileypment of documentary practices — is a varied one. Dziga Vertov, Walther Ruttmann, Joris Ivens, Pare Lorentz and Leni Riefenstahl are prominent in accounts of world documentary cinema, while two figures, Robert Flaherty (1884–1951) and John Grierson (1898–1972), are generally considered to be the fou作者: 俗艷 時(shí)間: 2025-3-29 16:57 作者: thrombus 時(shí)間: 2025-3-29 21:18
National Responses to Global Agenda-Settingifferences’, says Ginsburg, ‘such groups all struggle against a legacy of disenfranchisement of their lands, societies, and cultures by colonizing European societies’ (1993: 558). Ginsburg’s description usefully points to the struggle against colonialism — the conquest, control, and exploitation of 作者: 發(fā)芽 時(shí)間: 2025-3-30 01:50
National Responses to Global Agenda-Settingons in the early 1960s, constituted profound influences on documentary filmmaking.. Cinéma vérité, ‘film truth’, drew on Vertov’s description of a kino pravda, a cinema or film dedicated to representing truth in ways not achieved in the fictional cinema. Direct cinema, a misnomer in terms of the fac作者: chemical-peel 時(shí)間: 2025-3-30 05:24 作者: 輕率的你 時(shí)間: 2025-3-30 10:30
