Dokumentarfilm

This will be the first edited collection in English on urban space and architecture in Spanish popular film since 1898. Building on existing film and urban histories, this innovative volume will examine Spanish film through contemporary interdisciplinary theories of urban space, the built environment, visuality and mass culture from the industrial through to the digital age.Architecture and Urbanism in Spanish Film brings together the innovative scholarship of an international and interdisciplinary group of film, architecture and urban studies scholars thinking through the reciprocal relationship between the seventh art and the built environment. Some of the shared concerns that emerge from this volume include the ways cinema as a new technology reshaped how cities and buildings are built and inhabited since the early twentieth century; the question of the mobile gaze; film's role in the shifting relationship between the private and the public; film and everyday life; monumentality and the construction of historical memory for a variety of viewing publics; the impact of the digital and the virtual on filmmaking and spectatorship.Primary readership will be those researching, teaching and studying Spanish film, international film studies, urban cultural studies, cultural studies, and architects who are interested in interdisciplinary endeavours.

Das Fahrrad ist ein Medium sozialer Veränderung. Seine vielfältigen utopischen Potenziale ergeben sich nicht zuletzt aus seinen ebenso vielfältigen und häufig übersehenen medialen Qualitäten: Es vermittelt, es verbindet, es übersetzt; es modifiziert Wahrnehmung und Organisation von Raum und Zeit, von Körpern und von Sozialität. Umgekehrt kann auch das medienwissenschaftliche Denken fahrradmedial verändert werden. Das Fahrrad ist nicht nur Medium des sozialen und ökologischen Wandels: Radfahren eröffnet Perspektiven, verändert Räume, lässt neue Relationen entstehen und teilt Handlungsmacht neu auf. Fahrradutopien denkt vom Fahrrad aus und ergänzt dabei bestehende Ansätze zur Mobilitätsforschung um medienkulturwissenschaftliche Perspektiven. Die Beiträgeverbinden Medienwissenschaften und Forschungen zu Fahrradaktivismus mit der Liebe zum Radfahren. Fokussiert werden Fahrradfilme und -vlogs, Verkehr und Infrastrukturen, Virtuelle Realität und Fahrrad, Fahrradkollektive und Fahrradfeminismus.

Despite the increasing number of popular and celebrated sports documentaries in contemporary culture, such as ESPN’s 30 for 30 series, there has been little scholarly engagement with this genre. Sports documentaries, like all films, do not merely showcase objective reality but rather construct specific versions of sporting culture that serve distinct economic, industrial, institutional, historical, and sociopolitical ends ripe for criticism, contextualization, and exploration.<BR><BR>Sporting Realities brings together a diverse group of scholars to probe the sports documentary’s cultural meanings, aesthetic practices, industrial and commercial dimensions, and political contours across historical, social, medium-specific, and geographic contexts. It considers and critiques the sports documentary’s visible and powerful position in contemporary culture and forges novel connections between the study of nonfiction media and sport.<BR><BR><BR>  

From much-loved documentary maker Louis Theroux comes a funny, heartfelt and entertaining account of his life and weird times in TV.<BR><BR>The Sunday Times Bestseller.<BR><BR>'Honest and soul-searching' - Sunday Express<BR>______________<BR><BR>In 1994 fledgling journalist Louis Theroux was given a one-off gig on Michael Moore's TV Nation, presenting a segment on apocalyptic religious sects. Gawky, socially awkward and totally unqualified, his first reaction to this exciting opportunity was panic. But he'd always been drawn to off-beat characters, so maybe his enthusiasm would carry the day. Or, you know, maybe it wouldn't . . .<BR><BR>In Gotta Get Theroux This, Louis takes the reader on a joyous journey from his anxiety-prone childhood to his unexpectedly successful career. Nervously accepting the BBC's offer of his own series, he went on to create an award-winning documentary style that has seen him immersed in the weird worlds of paranoid US militias and secretive pro-wrestlers, get under the skin of celebrities like Max Clifford and Chris Eubank and tackle gang culture in San Quentin prison, all the time wondering whether the same qualities that make him good at documentaries might also make him bad at life.<BR><BR>As Louis woos his beautiful wife Nancy and learns how to be a father, he also dares to take on the powerful Church of Scientology. Just as challenging is the revelation that one of his old subjects, Jimmy Savile, was a secret sexual predator, prompting him to question our understanding of how evil takes place. Filled with wry observation and self-deprecating humour, this is Louis at his most insightful and honest best.<BR><BR>______________<BR><BR>'Funny, engaging' - Sunday Times<BR><BR>'Gripping' - Daily Mail<BR><BR>'Absorbing and surprisingly candid' - Telegraph Magazine

La nueva cartografía del sector audiovisual argentino relata y analiza un proceso de descentralización que transforma el tradicional mapa de ese sector productivo. A partir de los primeros años del Siglo XXI, en el cruce de la digitalización y la puesta en marcha de políticas públicas nacionales y provinciales, comienza a crecer la producción audiovisual en todas las provincias del país. Se trata de una realidad que excede en mucho la realización de un conjunto de producciones audiovisuales que enriquecieron el patrimonio cultural, ya que a la vera de las películas, series y videojuegos se crearon agrupaciones empresarias, gremiales y profesionales, e instituciones que diseñaron relaciones entre los actores del campo y también con el Estado. El lector encontrará una lectura crítica de este proceso de reconversión que merece ser observado tanto en el ámbito de las nuevas modalidades de producción, como en las problemáticas que se pusieron de relieve. Sin duda las negociaciones que nacen con estos desplazamientos geográficos, que son también políticos, culturales y estéticos, permiten suponer la existencia de nuevas miradas y nuevas enunciaciones de la imagen. El análisis focaliza los procesos de Córdoba, Santa Fe, Mendoza, el nordeste y el noroeste argentinos.

Telling Migrant Stories explores how contemporary documentary film gives voice to Latin American immigrants whose stories would not otherwise be heard. Contributors analyze films including Harvest of Empire, Sin País, The Vigil, De Nadie, Operation Peter Pan: Flying Back to Cuba, Abuelos, La Churona, and Which Way Home as well as internet documentaries distributed via platforms like YouTube. They examine the ways these films highlight the individual agency of immigrants as well as the global systemic conditions that lead to mass migrations from Latin American countries to the United States and Europe.<The collection also features interviews with filmmakers Luis Argueta, Jenny Alexander, Tin Dirdamal, Heidi Hassan, and María Cristina Carrillo Espinosa. Their discussions emphasize that because the genre is grounded in fact rather than fiction, it has the ability to profoundly impact audiences. Documentaries prompt viewers to recognize the many worlds migrants depart from, to become immersed in the struggles portrayed, and to consider the stories of immigrants with compassion and solidarity.

Contends that the narrative and aesthetic qualities of the documentary genre enable new understandings of animals and animal/human relationships.As indicated by the success of such films as March of the Penguins and Food, Inc., the documentary has become the preeminent format for rendering animals and nature onscreen. In Regarding Life, Belinda Smaill brings together examples from a broad array of moving image contexts, including wildlife film and television, advocacy documentary, avant-garde nonfiction, and new media to identify a new documentary terrain in which the representation of animals in the wild and in industrial settings is becoming markedly more complex and increasingly more involved with pivotal ecological debates over species loss, food production, and science.While attending to some of the most discussed documentaries of the last two decades, including Grizzly Man; Food, Inc.; Sweetgrass; Our Daily Bread; and Darwin's Nightmare, the book also draws on lesser-known film examples, and is one of the first to bring film studies understandings to new media such as YouTube. The result is a study that melds film studies and animal studies to explore how documentary films render both humans and animals, and to what political ends.

This book examines the recent challenges to the conventions of realist documentary through the lens of war documentary films by Ken Burns, Michael Moore, and Errol Morris. Ricciardelli examines how postcolonial critiques of historicism and the advent of digitization have affected the narrative structure of documentary film and the shaping of historical consciousness through cinematic representation.

This volume examines various representation of John F. Kennedy on film, from fictionalized accounts of his wartime exploits—PT-109 (1963)—to his presidency, his assassination, and his legacy. With a focus on docudramas, the book looks at how such films keep the myth of Kennedy and Camelot alive.

This book explores key themes in current documentary from a number of perspectives--social and political; digital technological and observational / reality. Framed by a substantial theoretical and historical introduction to documentary studies by the editors, the book then comprises a number of essays by practitioners, academics and academic-practitioners working in documentary in Ireland. The book charts key changes in Irish society over the past fifteen years as they relate to documentary practice and explores, through an array of diverse voices, whether documentary initiates and/or reflects these changes. The book situates documentary practice in the wider social, political and cultural context of recent Irish society.

Vito and the Others (1991), Death of a Neapolitan Mathematician (1992) and Libera (1993), the debuts of three young Neapolitan filmmakers, stood out dramatically from the landscape of Italian cinema in the early 1990s. On the back of their critical success, over the next decade and a half, Naples became a thriving centre for film production.In this first study in English of one of the most vital and stimulating currents in contemporary European Cinema, Alex Marlow-Mann provides a detailed, multi-faceted and provocative study of this distinct regional tradition. In tracing the movement's relationship with the popular musical melodramas previously produced in Naples, he reveals how contemporary Neapolitan filmmakers have interrogated, subverted and reconfigured cinematic convention as part of a through-going re-examination of Neapolitan identity.Key features include: analyses of over 45 contemporary Italian films, including Paolo Sorrentino's The Consequences of Love, Mario Martone's L'amore molesto, Antonio Capuano's Pianese Nunzio: 14 in May and Vincenzo Marra's Sailing Home; a theoretical discussion of the concept of regional cinema; an examination of the movement in its broader context as both product and critique of Mayor Bassolino's 'Neapolitan Renaissance'; and a study of one European film industry in terms of legislation, production, distribution and exhibition.