Notes
1.
Bill Nichols, Representing Reality: Issues and Concepts in Documentary ( Bloomington: Indiana University Press, 1991), 32-76.
2.
Wiseman has discussed his approach to making Law and Order in several interviews. On each of these occasions, he comments that his initial desire to "get
the cops" gave way to a wish to show that police brutality is part of the violent,
antisocial behavior that they face. See Alan Westin, "'You Start Off with a Bromide': Wiseman on Film and Civil Liberties", in Frederick Wiseman, ed.
Thomas R. Atkins
( New York: Simon and Schuster, 1976), 47-60; Janet Handelman, "An Interview with Frederick Wiseman", Film Library Quarterly 3 ( 1970): 5-9; Donald E. McWilliams
, "Frederick Wiseman", Film Quarterly 24 ( 1970): 17-26. Shortly after
finishing Law and Order, the filmmaker also authored a short article reflecting on
some of his experiences in making this movie; see Frederick Wiseman, "Reminiscences of a Filmmaker: Frederick Wiseman on Law and Order", Police Chief 36
( 1969): 32-35.
3.
Erik Barnouw, Documentary: A History of the Non-Fiction Film, 2d rev. ed.
( New York: Oxford University Press, 1993), 253-262.
4.
Frances Hubbard Flaherty, The Odyssey of a Filmmaker: Robert Flaherty's Story
( New York: Arno Press, 1972), 11-12, 43.
5.
Richard Meram Barsam, The Vision of Robert Flaherty ( Bloomington: Indiana
University Press, 1988), 24.
6.
Quoted in Arthur Calder-Marshall, The Innocent Eye: The Life of Robert J. Flaherty ( New York: Harcourt, Brace and World, 1963), 69-70.
7.
Siegfried Kracauer, Theory of Film: The Redemption of Physical Reality ( New
York: Oxford University Press, 1960), 245-259.
8.
Barnouw, Documentary, 39.
9.
Iris Barry, Let's Go to the Movies ( London: Chatto and Windus, 1926), 57-58.
10.
Vilhjalmur Stefansson, The Standardization of Error ( London: Kegan Paul,
Trench, and Trubner, 1928), 66-72.
11.
Roy Armes, Film and Reality: An Historical Survey ( London: Penguin, 1974), 32-33.
12.
James Roy MacBean, "Two Laws from Australia, One White, One Black", in New Challenges for Documentary, ed.
Alan Rosenthal ( Berkeley: University of California Press, 1988), 216.
13.
William Rothman, Documentary Film Classics ( Cambridge: Cambridge University Press, 1997), 2.
14.
As evidenced by his contract with Revillon Frères, which financed Nanook
of the North, Flaherty must have resolved to make another film well before March
of 1920. Part of this contract is cited in "Chronology", in Robert Flaherty, Photographer/Filmmaker: The Inuit, 1910-1922: An Exhibition ( Vancouver, B.C.: Vancouver
Art Gallery, 1979), 20. This exhibition catalogue, which consists of essays, a
chronology, a filmography, and notes furnishes numerous references to and descriptions of otherwise unpublished archival sources, including material in the
Robert J. Flaherty Papers, housed in the Butler Library, Rare Books and Manuscripts Collection, Columbia University.
15.
Robert Flaherty, "Robert Flaherty Talking", in The Cinema 1950, ed.
Roger Manvell
( London: Pelican, 1950), 12.
-140-
Questia, a part of Gale, Cengage Learning. www.questia.com
Publication information:
Book title: What Is Non-Fiction Cinema?On the Very Idea of Motion Picture Communication.
Contributors: Trevor Ponech - Author.
Publisher: Westview Press.
Place of publication: Boulder, CO.
Publication year: 1999.
Page number: 140.
This material is protected by copyright and, with the exception of fair use, may not be further copied, distributed or transmitted in any form or by any means.
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