For Documentary: Twelve Essays by Dai Vaughan
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As critic, Vaughan contrasts the Olympic Games films of Riefenstahl (1936) and Ichikawa (1964); as participant, he tells how the introduction of portable 16mm equipment gave rise to cinéma vérité and observational visual anthropology. The twin perspective of analyst and practitioner results in a radical restatement of the documentary project, one in which documentary is seen as engaging the viewer's freedom in a way that fiction does not. A chapter near the end, "From Today, Cinema Is Dead," is uncompromising in its pessimistic view that digitalization threatens the privileged relationship we have always granted between a photograph and its object. Film theorists and filmmakers, indeed everyone who cares about how our society represents itself to itself, will find For Documentary engrossing as well as illuminating.
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