000			03155pam a2200397 a 4500
001			012876985
003			Uk
005			20230418155205.0
008			031230s2004 mnua b 001 0 eng
010			_a2003028176
015			_aGBA4X4071 _2bnb
016	7		_a012876985 _2Uk
020			_a0816634408 (cased) : _c£42.00
020			_a0816634416 (pbk.) : _c£14.00
040			_aStDuBDS _dUk
050	0	0	_aPN1995.9.D6 _bR44 2004
082	0	0	_a070.18 _222
100	1		_aRenov, Michael, _d1950-
245	1	4	_aThe subject of documentary / _cMichael Renov.
260			_aMinneapolis, Minn. ; _aLondon : _bUniversity of Minnesota Press, _cc2004.
300			_axxiv, 286 p. : _bill. ; _c26 cm.
336			_atext _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
490	1		_aVisible evidence ; _vv. 16
500			_aEssays either previously published or previously presented at various conferences.
500			_aFormerly CIP. _5Uk
504			_aIncludes bibliographical references and index.
520			_aThe documentary, a genre as old as cinema itself, has traditionally aspired to objectivity. Whether making ethnographic, propagandistic, or educational films, documentarians have pointed the camera outward, drawing as little attention to themselves as possible. In recent decades, however, a new kind of documentary has emerged in which the filmmaker has become the subject of the work. Whether chronicling family history, sexual identity, or a personal or social world, this new generation of nonfiction filmmakers has defiantly embraced autobiography. In The Subject of Documentary, Michael Renov focuses on how documentary filmmaking has become an important means for both examining and constructing selfhood. By looking at key figures in documentary filmmaking as well as noncanonical video art and avant-garde artists, Renov broadens the definition of what counts as documentary, and explores the intersection of the personal and political, considering how memory can create a way into asking troubling questions about identity, oppression, and resiliency. Offering historical context for the explosion of personal nonfiction filmmaking in the 1980s and 1990s, Renov analyzes films in which the subjectivity of the filmmaker is expressly defined in relation to political struggle or historical trauma, from Haskell Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost. And, looking beyond the traditional documentary, Renov contemplates such nontraditional modes of autobiographical practice as the essay film, the video confession, and the personal Web page.Unique in its attention to diverse expressions of personal nonfiction filmmaking, The Subject of Documentary forges a new understanding of the heightened role and function of subjectivity in contemporary documentary practice. [amazon.com]
540			_aBritish Library not licensed to copy _c0 _5Uk
650		0	_aDocumentary films _xHistory and criticism.
830		0	_aVisible evidence ; _vv. 16.
942			_2ddc _cKNIHA _n0
999			_c738 _d738