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documentaires --- free cinema --- cinéma vérité --- direct cinema --- klank --- film en politiek --- Film --- Films documentaires --- Cinéma --- Aspect politique --- Histoire et critique --- Production et réalisation --- film --- geluid --- televisie --- politiek --- 791.43 --- Aspect politique. --- Histoire et critique. --- Production et réalisation.

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The epoch-making revolutionary period universally known in Germany as '68 can be argued to have predated that year and to have extended well into the 1970s. It continues to affect German society and culture to this day. Yet while scholars have written extensively about 1968 and the cinema of other countries, relatively little sustained scholarly attention has thus far been paid to 1968 and West German, East German, and Austrian cinemas. Now, five decades later, Celluloid Revolt sets out to redress that situation, generating new insights into what constituted German cinema around 1968 and beyond. Contributors engage a range of cinemas, spanning experimental and avant-garde cinema, installations and exhibits; short films, animated films, and crime films; collectively produced cinemas, feminist films, and Arbeiterfilme (workers' films); as well as their relationship to cinemas of other countries, such as French cinéma vérité and US direct cinema.

Motion pictures --- History. --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- 1968. --- French cinéma vérité. --- German cinema. --- US direct cinema. --- cinema. --- cultural and political happenings. --- cultural impact. --- revolution. --- screen cultures.

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"Direct Cinema is the first comprehensive study of the seminal 'reactive observationalist ' movement of 1960s America. During a pivotal epoch in the history of American cultural expression, pioneers such as Robert Drew, D. A. Pennebaker and Frederick Wiseman used mobile cameras and synchronized sound to reveal the hidden side of their turbulent times - from behind-the-scenes footage of John F. Kennedy's presidential campaign in Primary (1960), through epic coverage of the legendary Woodstock festival (Woodstock, 1970), to the downtrodden and dispossessed subjects of Wiseman's 'reality fictions'. Outlining the methods and achievements of these filmmakers, who together created the notion of the 'fly on the wall' documentary, this volume suggests that direct cinema was not only closely attuned to the artistic and political revolutions of the 1960s, but also representative of a resurgence of the United States homegrown philosophical ideals."--BOOK JACKET.

History of civilization --- Film --- United States --- Cinéma vérité --- Documentary films --- Cinéma direct --- Documentaires --- Etats-Unis --- Social conditions --- Conditions sociales --- Motion pictures --- History. --- Political aspects. --- États-Unis --- film --- documentaires --- Verenigde Staten --- direct cinema --- politiek --- film en politiek --- sixties --- Wiseman Frederick --- Drew Robert --- Pennebaker Donn A. --- 791.43 --- Cinéma vérité --- Cinéma direct --- Pennebaker Donn A --- Political aspects --- United States of America --- Années 1960 --- Au cinéma

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Art cinématographique --- Filmkunst --- Documentary films --- Motion pictures and language --- Motion pictures --- Reality in motion pictures --- Documentaires --- Cinéma et langue --- Cinéma --- Réalité au cinéma --- History and criticism --- Production and direction --- Philosophy --- Histoire et critique --- Production et réalisation --- Philosophie --- Realism in motion pictures --- Cinéma vérité --- Cinema verite --- Realism in moving-pictures --- Direct cinema --- Truth cinema --- History and criticism. --- Cinéma vérité. --- Realism in motion pictures. --- Cinéma et langue --- Cinéma --- Réalité au cinéma --- Production et réalisation --- Cinéma vérité --- CDL --- 791.41 --- Documentary films - History and criticism

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Writing on Japanese cinema has prioritized aesthetic and cultural difference, and obscured Japan's contribution to the representation of real life in cinema and related forms. Donald Richie, who was instrumental in introducing Japanese cinema to the West, even claimed that Japan did not have a true documentary tradition due to the apparent preference of Japanese audiences for stylisation over realism, a preference that originated from its theatrical tradition. However, a closer look at the history of Japanese documentary and feature film production reveals an emphasis on actuality and everyday life as a major part of Japanese film culture. That 'documentary mode' – crossing genre and medium like Peter Brooks' 'melodramatic mode' rather than limited to styles of documentary filmmaking alone – identifies rhetoric of authenticity in cinema and related media, even as that rhetoric was sometimes put in service to political and economic ends. The articles in this Special Issue, ‘Developments in the Japanese Documentary Mode’, trace important changes in documentary film schools and movements from the 1930s onwards, sometimes in relation to other media, and the efforts of some post-war filmmakers to adapt the styles and ethical commitments that underpin documentary's "impression of authenticity" to their representation of fictional worlds

ethnofiction --- Japan --- documentary --- non-fiction --- dramatization --- Minamata disease --- Tsuchimoto Noriaki --- W. Eugene Smith --- Ishimure Michiko --- ethics of representation --- The Children of Minamata are Living --- Minamata: The Victims and Their World --- authorship --- documentary film --- hibakusha --- Japanese cinema --- Mizoguchi Kenji --- semi-documentary --- Shindō Kaneto --- film theory --- documentary film theory --- postwar Japan --- post-1945 Japan --- Hani Susumu --- cinéma verité --- direct cinema --- observational documentary --- cinematography --- the culture film --- Imamura Shōhei --- History of Post-War Japan as Told by a Bar Hostess --- fiction and documentary --- history --- memory --- experience --- magic lantern --- popular history movement --- avant-garde documentary --- new Left --- Teshigahara Hiroshi --- Adachi Masao --- subjectivity --- landscapes --- folklore studies --- documentary photography --- n/a --- Shindō Kaneto --- cinéma verité --- Imamura Shōhei