Rethinking Documentary by Thomas Austin, Wilma de Jong

By Thomas Austin, Wilma de Jong

From a growth in theatrical good points to pictures published on web content similar to YouTube and Google Video, the early years of the twenty first century have witnessed major adjustments within the technological, advertisement, aesthetic, political, and social dimensions of documentaries on movie, tv and the net. based on those swift advancements, this e-book rethinks the thought of documentary, by way of concept, perform and object/s of study.Drawing jointly 26 unique essays from students and practitioners, it seriously assesses principles and buildings of documentary and, the place worthwhile, proposes new instruments and arguments with which to ascertain this advanced and transferring terrain. overlaying more than a few media output, the publication is split into 4 sections: severe views on documentary types and ideas; the altering faces of documentary creation; modern documentary - borders, neighbours and disputed territories; and, electronic and on-line documentaries - possibilities and obstacles. "Rethinking Documentary" is efficacious interpreting for students and scholars operating in documentary thought and perform, movie experiences, and media stories.

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By Thomas Austin, Wilma de Jong

From a growth in theatrical good points to pictures published on web content similar to YouTube and Google Video, the early years of the twenty first century have witnessed major adjustments within the technological, advertisement, aesthetic, political, and social dimensions of documentaries on movie, tv and the net. based on those swift advancements, this e-book rethinks the thought of documentary, by way of concept, perform and object/s of study.Drawing jointly 26 unique essays from students and practitioners, it seriously assesses principles and buildings of documentary and, the place worthwhile, proposes new instruments and arguments with which to ascertain this advanced and transferring terrain. overlaying more than a few media output, the publication is split into 4 sections: severe views on documentary types and ideas; the altering faces of documentary creation; modern documentary - borders, neighbours and disputed territories; and, electronic and on-line documentaries - possibilities and obstacles. "Rethinking Documentary" is efficacious interpreting for students and scholars operating in documentary thought and perform, movie experiences, and media stories.

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The image represents ideology. It does so because it sets out to naturalize Panzani and to hide its production as a commodity. Products – most importantly, a can of pasta sauce – are equated in the image with the fresh, wholesome bounty of the farm. A perfect tautology exists: fresh vegetables are Panzani; Panzani is fresh vegetables, nothing more or less. This naturalizing gesture is, for Barthes, the fundamental move of ideology. Or as he puts it: To the general ideology, that is, correspond signifiers of connotation which are specified according to the chosen substance [sound, image, gesture and so on, BN].

The facts do not, as Wilkerson’s sardonic tone suggests, speak for themselves: they must be seen, and heard, and thence interpreted, an act that fissures into multiple directions depending on the purposes and goals of the interpreter. ARCO interprets the death of 342 geese as a case of a bad dietary choice; Wilkerson interprets it as a ‘mass suicide’ meant to be understood as the silent testimony of witnesses to a crime. The event, however, can only be seen as accidental death, testimony or anything else within the interpretive frame provided for it.

Science, like murder mysteries, works with objective facts; the form a precise account of them takes is of minor consequence. Form, for Collingwood, is little more than a question of style; the proof is in facts that serve as evidence. Careful interpretation leads us down a straight and narrow path to the truth, not into a labyrinth of competing interests and interpretations whose relative merits may be decided more by power, or at least rhetoric, than by logic. Although seemingly the most irrefutable of evidence, inartistic proofs were of minor concern to Aristotle.

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