By Lucia Ricciardelli
American Documentary Filmmaking within the electronic Age examines the new demanding situations to the conventions of realist documentary during the lens of conflict documentary motion pictures by way of Ken Burns, Michael Moore, and Errol Morris. through the 20th century, the discovery of latest applied sciences of audiovisual illustration similar to cinema, tv, video, and electronic media have reworked the modes of old narration and with it pressured historians to evaluate the impression of recent visible applied sciences at the development of background. This ebook investigates the style within which this modern Western "crisis" in ancient narrative is produced through a bigger epistemological shift in visible tradition. Ricciardelli makes use of the subject of warfare as depicted in those administrators’ motion pictures to concentration her research and view the model(s) of nationwide id that Burns, Morris, and Moore form via their depictions people army activities. She examines how postcolonial reviews of historicism and the arrival of digitization have affected the narrative constitution of documentary movie and the shaping of ancient attention via cinematic illustration.
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Additional info for American Documentary Filmmaking in the Digital Age: Depictions of War in Burns, Moore, and Morris
Paradoxically, whereas Positivists claimed that universal knowledge rests on objective, empirical results dissociated from the subjectivity of the investigator, Idealists criticized the Cartesian distinction between subject and object. And this explains Grierson’s seemingly contradictory definition of documentary as the “creative treatment of actuality” [italics added]. From the 1930 onwards, the Griersonian tradition has justified its creative handling of social issues with the positivist claims that photographic representation is a faithful transcription of the real and that there exists an objective reality knowable to all through the camera lens.
That is the lesson—the somber majesty—of Fanon’s insight into the colonizing experience in Black Skin, White Masks. 20 In mediating our interpretation of reality through photographic representation, Western middle-class elites have increasingly reached a position of hegemonic power on a global level. Specifically, since the postwar period, the US has become a major disseminator of bourgeois values and culture worldwide, attempting to indoctrinate vast parts of the world population with its democratic capitalism.
43 Personal narratives, often told out of chronological order and delivered poetically, and evocative reenactments and animated sequences have become more and more common, proving documentarians’ disenchantment with the epistemology of realism. Keeping up with this new trend, documentary scholars have examined nonfiction films’ novel epistemological strategies, trying to understand how they affect the spectator’s body, emotions, and consciousness. ”44 In other words, while watching a documentary, Sobchack claims, film spectators look simultaneously at the screen and through it—that is, they accrue new information about the world (looking at the screen) and filter it through their embodied experience and knowledge (looking through the screen).
American Documentary Filmmaking in the Digital Age: Depictions of War in Burns, Moore, and Morris by Lucia Ricciardelli