By Betsy A. McLane
Finally, A historical past of Documentary movie retains and updates the instructed readings and critical movies and the tip of every bankruptcy from the 1st version, together with the bibliography and appendices. very unlikely to speak learnedly approximately documentary movie with no an audio-visual part, a better half site increases its intensity of data and total usefulness to scholars, academics and picture lovers.
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Additional resources for A New History of Documentary Film: Second Edition
While Vertov’s talent and originality are unquestionable, he seemed a whirling dervish to some, an eccentric fanatic to others. Before becoming a filmmaker Vertov had been an experimental poet and writer of fantasy and satire. In 1918 he joined the staff of Kino Nedalia (Film Weekly), which produced the first newsreel in Soviet Russia. What attracted Vertov to cinema was what he saw as a close relationship between the filming process and human thought. Sergei Eisenstein would also develop much the same idea in his theories of montage.
Rather than approaching a society with an idea of the film they wanted to make, the Flahertys chose to live with and observe the people, to discover their essential 32 A New History of Documentary Film story, like the Eskimo sculptor who cuts into the ivory tusk until he finds the seal figure it contains. The other, corollary characteristic was Flaherty’s practice of shooting tremendous amounts of footage on the aspects of the people and their environment that struck him as significant, or beautiful, or interesting.
Last is a report on starving children at the Melekes rail junction. The subject matter of all six reports is of a practical, immediate and concrete nature: social, economic and political problems being solved and outlines of things remaining to be done. ’, a title in the last report exhorts. Initially Vertov’s production method did not involve recreation. Vertov confined himself, for the most part, to capturing what he could of undirected action as it was occurring: ‘Life as it is’ and ‘Life caught unawares’ were his slogans.
A New History of Documentary Film: Second Edition by Betsy A. McLane