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82.0 --- 791.43:82 --- 791.43:82 Film en literatuur --- Film en literatuur --- 82.0 Literatuurtheorie --- Literatuurtheorie

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German literature --- Comparative literature --- Film --- German language --- Germany --- 791.43:82 --- #SBIB:309H1324 --- Film en literatuur --- Films met een amusementsfunctie en/of esthetische functie: film en literatuur --- Motion pictures --- 791.43:82 Film en literatuur

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Film --- Literature --- 82:791.43 --- 791.43:82 --- Literatuur en film --- Film en literatuur --- Film adaptations --- Motion pictures and literature. --- History and criticism. --- 791.43:82 Film en literatuur --- 82:791.43 Literatuur en film --- Motion pictures and literature --- Literature and motion pictures --- Moving-pictures and literature --- History and criticism

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When the 1990 English docudrama Who Bombed Birmingham? cast serious doubt on the guilt of six men convicted of bombing two British pubs in 1974, Prime Minister Margaret Thatcher declared that a "television program alters nothing." But, as Alan Rosenthal concludes, Thatcher was wrong. The film engendered a new inquiry that led to the release of the convicted men.Rosenthal notes that docudrama wields more influence than the average documentary and that "reality-based stories taken from topical journalism are the most popular drama genre on U.S. and British television today." This three-part collection of diverse and provocative essays addresses the dominant questions and controversies the genre poses.Defining and examining the rationale of docudrama, the nine essayists in the first part discuss the history and development of docudrama on TV and in film; they also consider the place of truth in docudrama, the main critiques of the form, and the audience's susceptibilities and expectations. In investigating the actual filmmaking process, the eight essays in the second part focus on how "docudrama as a 'commodity' is created in the United States and England." Part essay, part case study, and part interview, this section also explores how Hollywood and the commercial networks as well as producers and writers work and think. The final part presents an in-depth critique of a number of controversial docudramas that have helped form and shape public opinion, including Battleship Potemkin, Roots, Reds, JFK, Mississippi Burning, Schindler's List, and In the Name of the Father.In addition to Rosenthal, the contributors are John Corner, George F. Custen, David Edgar, Leslie Fishbein, George MacDonald Fraser, Todd Gitlin, Douglas Gomery, Richard Grenier, Sumiko Higashi, Tom W. Hoffer, Jerry Kuehl, Steve Lipkin, Yosefa Loshitsky, Ian McBride, Richard Alan Nelson, Conor Cruise O'Brien, Derek Paget, Robert A. Rosenstone, Betsy Sharkey, Irene Shubik, Jeff Silverman, D. J. Wenden, Sita Williams, and Leslie Woodhead.

#SBIB:309H1329 --- #SBIB:AANKOOP --- 791.43:82 --- Films met een informatieve functie (met inbegrip van de documentaire film) --- Film en literatuur --- Historical drama --- Historical films --- History and criticism. --- 791.43:82 Film en literatuur --- 799.5 --- docudrama --- documentaires --- filmgenres en -motieven, documentaire films --- History and criticism

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The essays brought together in this book understand phobia not as a pathology, but as a versatile moral, political, and aesthetic resource – and one with a history. They demonstrate that enquiry into strong feelings of aversion has enabled writers and film-makers to say and show things they could not otherwise have said or shown; and in this way to get profoundly and provocatively to grips with the modern condition. The essays are arranged in such a way as to chart phobia's unfolding as a resource in literature and film since 1850. They pose the question ‘What does phobia know?’ in relation to a range of writers and film-makers: from Dickens, Thackeray, and George Eliot through Hardy, Zola, Joyce, Ford, Mansfield, and Woolf to Tony Harrison and Buchi Emecheta; from Jean Renoir through Hitchcock, Wyler, Kurosawa, and Truffaut to Margarethe von Trotta, Pedro Almodóvar, and Lynne Ramsay. They take issue in particular with the pre-eminent status the concept of trauma has recently acquired in cultural theory and cultural history. In so doing contribute to and re-shape the current preoccupation with ordinariness.

English fiction --- Motion pictures --- Phobias in literature --- Phobias in motion pictures --- Psychic trauma in literature --- Psychic trauma in motion pictures --- History and criticism --- 791.43:82 --- 791.43:82 Film en literatuur --- Film en literatuur --- History --- English fiction - History and criticism --- Motion pictures - History and criticism