What Is Non-Fiction Cinema? On the Very Idea of Motion Picture Communication

By Trevor Ponech | Go to book overview

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-

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What Is Non-Fiction Cinema? On the Very Idea of Motion Picture Communication
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • Acknowledgments vii
  • Introduction 1
  • Notes 7
  • 1 - What is Non-Fiction Cinema? 8
  • Notes 36
  • 2 - Representation and Depiction 40
  • Notes 69
  • 3 - What About Reality? 73
  • Notes 95
  • 4 - Plans for Non-Fiction 98
  • Notes 114
  • 5 - Planning for Content 116
  • Notes 140
  • 6 - Planning for Force 143
  • Notes 171
  • 7 - Perceptual Access to Cinematic Meaning 175
  • Notes 206
  • 8 - Aspects of Interpretation 213
  • Notes 242
  • 9 - The Truth of Non-Fiction 246
  • Notes 276
  • Works Cited 281
  • Index 293
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