000			05156cam a2200397Ki 4500
001			ocn932625385
003			OCoLC
005			20240726105013.0
008			151218s2016 nyu ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT _dOCLCO _dYDXCP _dIDEBK _dCDX _dZCU _dEBLCP _dOCLCO _dYDX _dCSAIL _dOCLCF _dUBY _dOCLCQ _dMERUC _dBUF _dOTZ _dWAU _dCUY _dOCLCQ _dYOU _dOCLCQ _dLDP _dEZ9
020			_a9780190226541 _q((electronic)l(electronic)ctronic)
050	0	4	_aPN1995 _b.D638 2016
049			_aMAIN
245	1	0	_aThe documentary film reader : _bhistory, theory, criticism / _cedited by Jonathan Kahana.
260			_aNew York : _bOxford University Press, _c(c)2016.
300			_a1 online resource (xviii, 1024 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aCover; The Documentary Film Reader; Copyright; Contents; Acknowledgments; Foreword; The Documentary Film Reader; I Early Documentary: From the Illustrated Lecture to the Factual Film; 1 Introduction to Section I;)2 "From Lecturer's Prop to Industrial Product: The Early History of Travel Films" (2006);))3 "Burton Holmes Pleases a Large Audience at the Columbia" (1905); 4 "Placing the Spectator on the Scene of History: Modern Warfare and the Battle Reenactment at the Turn of the Century" (2008);)5 "Let There Be Lumière" (1999); 6 "A New Source of History" (1898).
505	0	0	_a7 "Before Documentary: Early Nonfiction Films and the 'View' Aesthetic" (1997); 8 "The Continental Film Company" (1912); 9 Review of In the Land of the Head Hunters (1914); 10 "Playing Primitive" (1999); 11 "Movies of Eskimo Life Win Much Appreciation" (1915); 12 Review of Nanook of the North (1922); 13 "Flaherty's Poetic Moana" (1926); 14 "Flaherty" (1931-32); 15 "Lured by the East: Ethnographic and Expedition Films about Nomadic Tribes; The Case of Grass" (2006); 16 "Compulsive Cameramen" (1925); 17 "New Films Make War Seem More Personal" (1916).
505	0	0	_a18 "Cinema, Spectatorship, and Propaganda: Battle of the Somme (1916) and Its Contemporary Audience" (1997); II Modernisms: State, Left, and Avant-Garde Documentary Between the Wars; 19 Introduction to Section II; 20 "The Art of the Camera: An Experimental "Movie")" (1921); 21 "Montage" (1947); 22 "The Man with the Movie Camera: From Magician to Epistemologist" (1972); 23 "Cinema Weekly and Cinema Truth: Dziga Vertov and the Leninist Proportion" (1973); 24 "WE: Variant of a Manifesto" (1922); 25 "Bridge" (1964); 26 "Reality at Second Hand" (1991); 27 "The Making of Rain" (1969).
505	0	0	_a28 "Reflections on the Avant-Garde Documentary" (1931); 29 "Documentary Surrealism: On Land Without Bread" (1986); 30 "The Documentary Producer" (1933); 31 "First Principles of Documentary" (1932-34); 32 "Home Truths from Abroad" (1937); 33 "Straight Shots and Crooked Plots: Social Documentary and the Avant-Garde in the 1930s" (1995); 34 "The Revolutionary Film: Problem of Form" (1934); 35 "The Revolutionary Film: Next Step" (1934); 36 "A New Approach to Film Making" (1935); 37 Letter from Knoxville (1936); 38 Letter to Jay Leyda (1935); 39 "Down to Earth in Spain" (1937).
505	0	0	_a40 "Historicizing the "Voice of God": The Place of Voice-Over Commentary in Classical Documentary" (1997); 41 "Triumph of the Will: Notes on Documentary and Spectacle" (1979); 42 "Films at the Fair" (1939); III Documentary Propaganda: World War II and the Post-War Citizen; 43 Introduction to Section III; 44 Review of Iwo Jima Newsreels (1945); 45 Review of San Pietro (1945); 46 "The Negro Soldier (1944): Film Propaganda in Black and White" (1979); 47 "On Why We Fight: History, Documentation, and the Newsreel" (1946).
520	0		_aThe Documentary Film Reader brings together an expansive range of writing by scholars, critics, historians, and filmmakers to provide a stimulating foundational text for students and others who want to undertake study of nonfiction film. While documentary has long been a mainstay of universities and cinematheques, its popularity of late has grown tenfold as reality television has flourished and as the ranks of novice filmmakers have swelled. There are now dozens of film festivals dedicated exclusively to documentaries. This reader presents an international perspective on the most significant developments and debates from several decades of critical writing about documentary. It integrates historical and theoretical approaches, offering a collection that is particularly well suited to meet the needs of large undergraduate survey courses on nonfiction film.
530			_a2 _ub
650		0	_aDocumentary films _xHistory and criticism.
655		1	_aElectronic Books.
700	1		_aKahana, Jonathan, _d1966- _e5
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1124767&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN.. _m2016 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c85663 _d85663
902			_a1 _bCynthia Snell _c1 _dCynthia Snell