مزيد من القراءة والمشاهدة

I have included here the most important texts I consulted in writing the book (in the case of prolific authors not all their books are referenced). Grant and Sloniowski, Warren and Izod, et al. are all essay collections featuring authors I have referred to in the text. The place where I and almost everybody else started was, of course, Erik Barnouw.

الأفلام

  • McLaren, Les, and Annie Stiven. Taking Pictures. First Run Icarus, 1996.
  • Műller, Ray. The Wonderful Horrible Life of Leni Riefenstahl. Kino on Video, 1998.
  • Stoney, George. How the Myth Was Made. Available on the Home Vision DVD of Man of Aran, 1978.
  • Wintonick, Peter. Cinema vérité: Defining the Moment. National Film Board of Canada, 1999.

المطبوعات

  • Aitken, Ian. Film and Reform: John Grierson and the Documentary Film Movement. London: Routledge, 1990.
  • ———. The Documentary Film Movement: An Anthology. Edinburgh: Edinburgh University Press, 1998.
  • Alexander, William. Film on the Left: American Documentary Film from 1931 to 1942. Princeton, NJ: Princeton University Press, 1981.
  • Anderson, Joseph L., and Donald Richie. The Japanese Film: Art and Industry. Princeton, NJ: Princeton University Press, 1982.
  • Aufderheide, Patricia. The Daily Planet: A Critic on the Capitalist Culture Beat. Minneapolis: University of Minnesota Press, 2000.
  • Aufderheide, Patricia, and Peter Jaszi, Untold Stories: Creative Consequences of the Rights Clearance Culture for Documentary Filmmakers. Washington, DC: Center for Social Media, American University, 2004.
  • Barnouw, Erik. Tube of Plenty: The Evolution of American Television. New York: Oxford University Press, 1982.
  • ———. Documentary: A History of the Non-fiction Film. New York: Oxford University Press, 1993.
  • ———. Media Marathon: A Twentieth-Century Memoir. Durham, NC: Duke University Press, 1996.
  • Barsam, Richard. Nonfiction Film: A Critical History. New York: Dutton, 1973.
  • Beattie, Keith. Documentary Screens: Non-fiction Film and Television. New York: Palgrave Macmillan, 2004.
  • Benson, Thomas W., and Carolyn Anderson. Reality Fictions: The Films of Frederick Wiseman. Carbondale, IL: Southern Illinois University Press, 1989.
  • Bernard, Sheila Curran. Documentary Storytelling for Film and Videomakers. Boston: Focal Press, 2004.
  • Bluem, A. William. Documentary in American Television: Form, Function [and] Method. Hastings House, 1965.
  • Bousé, Derek. Wildlife Films. Philadelphia: University of Pennsylvania Press, 2000.
  • Boyle, Deirdre. Subject to Change: Guerrilla Television Revisited. New York: Oxford University Press, 1997.
  • Burton, Julianne. The Social Documentary in Latin America. Pittsburgh, PA: University of Pittsburgh Press, 1990.
  • Campbell, Richard. 60 Minutes and the News: A Mythology for Middle America. Urbana: University of Illinois Press, 1991.
  • Campbell, Russell. Cinema Strikes Back: Radical Filmmaking in the United States, 1930–1942. Ann Arbor, MI: UMI Research Press, 1982.
  • Carey, James W. Communication as Culture: Essays on Media and Society. London: Unwin Hyman, 1989.
  • Carroll, Noël. Engaging the Moving Image. New Haven, CT: Yale University Press, 2003.
  • Chanan, Michael. Cuban Cinema. Minneapolis: University of Minnesota Press, 2003.
  • Culbert, David, Richard E. Wood, et al. Film and Propaganda in America: A Documentary History. Westport, CT: Greenwood Press, 1990.
  • Cunningham, Megan. The Art of the Documentary. Berkeley: New Riders, 2005.
  • Delmar, Rosalind. Joris Ivens: 50 years of Film-making. London: Educational Advisory Service, British Film Institute, 1979.
  • Dewey, John. The Public and Its Problems. New York: H. Holt and Company, 1927.
  • Doherty, Thomas. Cold War, Cool Medium: Television, McCarthyism, and American Culture. New York: Columbia University Press, 2003.
  • Eaton, Mick. Anthropology, Reality, Cinema: The Films of Jean Rouch. London: British Film Institute, 1979.
  • Edgerton, Gary R. Ken Burns’s America. New York: Palgrave, 2001.
  • Ellis, Jack C. John Grierson: Life, Contributions, Influence. Carbondale, IL: Southern Illinois University Press, 2000.
  • Elsaesser, Thomas. Harun Farocki: Working on the Sight-lines. Amsterdam: Amsterdam University Press, 2004.
  • Evans, Gary. John Grierson and the National Film Board: The Politics of Wartime Propaganda. Toronto: University of Toronto Press, 1984.
  • Feldman, Seth. Allan King: Filmmaker. Toronto: Toronto International Film Festival, 2002.
  • Ginsburg, Faye D., Lila Abu-Lughod, et al. Media Worlds: Anthropology on New Terrain. Berkeley: University of California Press, 2002.
  • Grant, Barry, and Jeannette Sloniowski. Documenting the Documentary: Close Readings of Documentary Film and Video. Detroit: Wayne State University Press, 1998.
  • Guynn, William. A Cinema of Nonfiction. Madison, NJ: Fairleigh Dickinson University Press, 1990.
  • Hall, Jeanne. ‘‘Realism as a style in cinema vérité: a critical analysis of Primary.’’ Cinema Journal 30, no. 4 (1991): 38–45.
  • Halleck, DeeDee. Hand-held Visions: The Impossible Possibilities of Community Media. New York: Fordham University Press, 2002.
  • Henaut, Dorothy. ‘‘Video Stories from the Dawn of Time.’’ Visual Anthropology Review 7, no. 2 (1991): 85–101.
  • Hirsch, Marianne. Family Frames: Photography, Narrative, and Postmemory. Cambridge, MA: Harvard University Press, 1997.
  • Holmlund, Chris, and Cynthia Fuchs. Between the Sheets, in the Streets: Queer, Lesbian, and Gay Documentary. Minneapolis: University of Minnesota Press, 1997.
  • Izod, John, R. W. Kilborn, et al. From Grierson to the Docu-soap: Breaking the Boundaries. Hadleigh, Essex, UK: University of Luton Press, 2000.
  • Jacobs, Lewis. The Documentary Tradition, from Nanook to Woodstock. New York: Hopkinson and Blake, 1971.
  • Juhasz, Alexandra. Women of Vision: Histories in Feminist Film and Video. Minneapolis: University of Minnesota Press, 2001.
  • Juhasz, Alexandra, and Catherine Saalfield. AIDS TV: Identity, Community, and Alternative Video. Durham, NC: Duke University Press, 1995.
  • King, John. Magical Reels: A History of Cinema in Latin America. London: Verso, in association with the Latin American Bureau, 1990.
  • Klotman, Phyllis, and Janet Cutler. Struggles for Representation: African American Documentary Film and Video. Bloomington: Indiana University Press, 1999.
  • Leyda, Jay. Films Beget Films. New York: Hill and Wang, 1964.
  • ———. Kino: A History of the Russian and Soviet Film. Princeton, NJ: Princeton University Press, 1983.
  • MacDonald, Scott. The Garden in the Machine: A Field Guide to Independent Films about Place. Berkeley: University of California Press, 2002.
  • ———. A Critical Cinema 4: Interviews with Independent Filmmakers. Berkeley: University of California Press, 2005.
  • MacDougall, David, and Lucien Taylor. Transcultural Cinema. Princeton, NJ: Princeton University Press, 1998.
  • Mamber, Stephen. Cinema Verité in America: Studies in Uncontrolled Documentary. Cambridge, MA: MIT Press, 1974.
  • Marx, Leo. The Machine in the Garden: Technology and the Pastoral Ideal in America. New York: Oxford University Press, 2000.
  • Matthieson, Donald. ‘‘Persuasive History: A Critical Comparison of Television’s Victory at Sea and The World at War.’’ History Teacher 25, no. 2 (1992): 239–51.
  • McEnteer, James. Shooting the Truth: The Rise of American Political Documentaries. Westport, CT: Praeger Publishers, 2006.
  • McKibben, Bill. The Age of Missing Information. New York: Random House, 1992.
  • Michaels, Eric. Bad Aboriginal Art: Tradition, Media, and Technological Horizons. Minneapolis: University of Minnesota Press, 1994.
  • Mitman, Gregg. Reel Nature: America’s Romance with Wildlife on Films. Cambridge, MA: Harvard University Press, 1999.
  • Moran, James M. There’s No Place like Home Video. Minneapolis: University of Minnesota Press, 2002.
  • Nelson, Joyce. The Colonized Eye: Rethinking the Grierson Legend. Toronto: Between the Lines, 1988.
  • Nichols, Bill. Representing Reality: Issues and Concepts in Documentary. Bloomington: Indiana University Press, 1991.
  • ———. Blurred Boundaries: Questions of Meaning in Contemporary Culture. Bloomington: Indiana University Press, 1994.
  • Nornes, Markus. Japanese Documentary Film: The Meiji Era through Hiroshima. Minneapolis: University of Minnesota Press, 2003.
  • O’Connell, P.J. Robert Drew and the Development of Cinema Verité in America. Carbondale, IL: Southern Illinois University Press, 1992.
  • Orbanz, Eve. Journey to a Legend and Back. Berlin: Verlag Volker Spiess, 1977.
  • Rabiger, Michael. Directing the Documentary. Boston: Focal Press, 2004.
  • Raphael, Chad. Investigated Reporting: Muckrakers, Regulators, and the Struggle over Television Documentary. Carbondale, IL: University of Illinois Press, 2005.
  • Rees, A. L. A History of Experimental Film and Video: From Canonical Avant-Garde to Contemporary British Practice. London: BFI Publishing, 1999.
  • Reeves, Nicholas. The Power of Film Propaganda: Myth or Reality? London: Cassell, 1999.
  • Renov, Michael. Theorizing Documentary. London: Routledge, 1993.
  • ———. The Subject of Documentary. Minneapolis: University of Minnesota Press, 2004.
  • Rich, B. Ruby. Chick Flicks: Theories and Memories of the Feminist Film Movement. Durham, NC: Duke University Press, 1998.
  • Roscoe, Jane, and Craig Hight. Faking It: Mock-documentary and the Subversion of Factuality. Manchester, UK: Manchester University Press, 2001.
  • Rosenthal, Alan. New Challenges for Documentary. Berkeley: University of California Press, 1988.
  • Rosteck, Thomas. ‘‘See It Now’’ Confronts McCarthyism: Television Documentary and the Politics of Representation. Tuscaloosa: University of Alabama Press, 1994.
  • Roth, Lorna. Something New in the Air: The Story of First Peoples Television Broadcasting in Canada. Montreal: McGill-Queen’s University Press, 2005.
  • Rotha, Paul. Documentary Film: The Use of the Film Medium to Interpret Creatively and in Social Terms the Life of the People as It Exists in Reality. New York: Hastings House, 1963.
  • Rotha, Paul, and Jay Ruby. Robert J. Flaherty, a Biography. Philadelphia: University of Pennsylvania Press, 1983.
  • Rothman, William. Documentary Film Classics. New York: Cambridge University Press, 1997.
  • Rouch, Jean, and Steven Feld. Ciné-ethnography. Minneapolis: University of Minnesota Press, 2003.
  • Ruby, Jay. Picturing Culture: Explorations of Film & Anthropology. Chicago: University of Chicago Press, 2000.
  • Sato, Tadao. Currents in Japanese Cinema: Essays. Tokyo: Kodansha International, 1982.
  • Schoots, Hans. Joris Ivens: Living Dangerously. Amsterdam: Amsterdam University Press, 2000.
  • Stam, Robert. Film Theory: An Introduction. Oxford: Blackwell, 2000.
  • Sussex, Elizabeth. The Rise and Fall of British Documentary: The Story of the Film Movement Founded by John Grierson. Berkeley: University of California Press, 1975.
  • Vaughan, Dai. For Documentary: Twelve Essays. Berkeley: University of California Press, 1999.
  • Vertov, Dziga, and Annette Michelson. Kino-eye: The Writings of Dziga Vertov. Berkeley: University of California Press, 1984.
  • Video nas aldeias (Video in the Villages). Um olhar indigena. São Paulo: Banco do Brasil, 2004.
  • Charles Warren, Beyond Document: Essays on Nonfiction Film. Lebanon, NH: University Press of New England for Wesleyan University Press, 1996.
  • Waugh, Thomas. ‘‘Show Us Life’’: Toward a History and Aesthetics of the Committed Documentary. Lanham, MD: Scarecrow Press, 1984.
  • Wees, William C. Light Moving in Time: Studies in the Visual Aesthetics of Avant-Garde Film. Berkeley: University of California Press, 1992.
  • Welsh, James Michael. Peter Watkins: A Guide to References and Resources. Boston: G. K. Hall, 1986.
  • Winston, Brian. Claiming the Real: The Griersonian Documentary and Its Legitimations. London: British Film Institute, 1995.
  • Worth, Sol, and John Adair. Through Navajo Eyes: An Exploration in Film Communication and Anthropology. Albuquerque: University of New Mexico Press, 1997.
  • Zimmermann, Patricia. Reel Families: A Social History of Amateur Film. Bloomington: Indiana University Press, 1995.

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