By Jack C. Ellis, Betsy A. McLane
An intensive and definitive survey/history of documentary movies. Concentrating mostly at the output of the U.S., the united kingdom, and Canada, the authors define the origins of the shape after which express its improvement over the subsequent a number of a long time. The publication is totally updated in discussing movies like Fahrenheit 11th of September and Aileen: existence and dying of a Serial Killer.<br/><br/>Written in an easy, chronological layout, the textual content is simple and entire of content material, info, and ancient viewpoint. each one bankruptcy concludes with an inventory of the main documentaries in that individual period of time or style, and there are worthy appendices directory all of the winners of the Academy Award for top Documentary, in addition to the winners of the Grierson Award.<br/> >
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Additional info for A New History of Documentary Film
He had photographed life and work in the North America wilderness since he was a teenager and was acclaimed for the portraits of American Indians and Eskimos on his expeditions. It was on his third expedition – 15 August 1913 to 3 October 1914 – that Flaherty, encouraged by then-affianced Frances and again funded by Mackenzie, supplemented his still photo kit with motion picture equipment to record what he saw. Supplies included ‘a comprehensive motion picture and camera outfit including 1,000 pounds of chemicals, 25,000 feet of film and 2,000 dry plates’ (a letter from Flaherty to Mackenzie).
He also surrounded himself with masters in the technical. From assistant cameraman Sam Sainbury on his northern expedition through editor Helen von Dongan and cameraman Ricky Leacock on Louisiana Story, skilled craftspeople always contributed to the film. And Frances’ imprint is always there behind the scenes guiding and protecting his methods. For his first filming in the North in 1913 Flaherty used a 1912 Bell and Howell studio camera, adapting it to his needs. Later he would use the Akeley, a sophisticated gyroscopic camera employed by newsreel cameramen, and The Work of Robert and Frances Flaherty 33 then the Newman Sinclair, which became a standard camera for documentarians.
In the same ethical and artistic vein as Chang, in the 1930s the husbandand-wife team of Martin and Osa Johnson made several popular travel/ expedition pictures with meretricious ‘educational’ trappings and condescending asides about the natives: Wonders of the Congo (1931), Baboona (1935), and Borneo (1937) are among them. Frank Buck, in much the same vein, filmed his expeditions to capture wild animals in Africa: Bring ’em Back Alive (1932), Wild Cargo (1934), Fang and Claw (1935). Set in the wild and using superfluous plots, these films are a stereotype of fiction film potboilers, and the antithesis of the Flaherty’s work.
A New History of Documentary Film by Jack C. Ellis, Betsy A. McLane