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Zusatztext A volume from which film students can explore informative, clearly structured, and detailed content, while practitioners and scholars can appreciate its thought-provoking and challenging nature. Informationen zum Autor Brian Winston was a leading figure in British media studies. He was Professor of Communications and Lincoln Chair at the University of Lincoln, UK. He held senior academic posts at UK National Film and Television School, New York University, Pennsylvania State University, the University of Wales (Cardiff), and Westminster University. He authored and edited over 20 books, including Claiming the Real: The Documentary Film Revisited (British Film Institute, 1995), Technologies of Seeing: Photography, Cinema and Television (British Film Institute, 1996), Fires Were Started- (BFI Film Classics, 1999), and A Right to Offend (Bloomsbury Academic, 2012). Gail Vanstone is the director of the Culture and Expression program at York University, Canada. She is concerned with the affordances of new technology for the documentary and women’s film production. Her history of the women’s film unit at Canada’s National Film Board, D is for Daring , was published in 2007. Wang Chi is a doctoral student at the University of Lincoln, UK. He has published widely on the documentary in Chinese including the edited volumes (with Brian Winston) Documenting and Methods (2014). Klappentext Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer and the spectator are being dissolved. The Act of Documenting addresses what this means for documentary's 21st century position as a genus in the "class" cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; for its future in a world where assumptions of photographic image integrity cannot be sustained. Unpacked are distinctions between performance and performativy and between different levels of interaction, linearity and hypertextuality, engagement and impact, ethics and conditions of reception. Winston, Vanstone and Wang Chi explore and celebrate documentary's potentials in the digital age.A critical review of documentary in the 21st century. Zusammenfassung Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer and the spectator are being dissolved. The Act of Documenting addresses what this means for documentary’s 21st century position as a genus in the “class” cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; for its future in a world where assumptions of photographic image integrity cannot be sustained. Unpacked are distinctions between performance and performativy and between different levels of interaction, linearity and hypertextuality, engagement and impact, ethics and conditions of reception. Winston, Vanstone and Wang Chi explore and celebrate documentary's potentials in the digital age. Inhaltsverzeichnis AN AGENDA 1. “A Much Hailed Triumph” 2. “The Shakiest of Foundations” 3. The Act of Documenting PART ONE: DIGITAL POTENTIALS 1. “A Walk in the Woods” Image: AUTHENTICITY: Indexing -- Evidence TRUST: Manipulation -- Judgment SAVVY: Inferences -- Probability 2. “A breath of fresh air for documentary” Kit: CONTRADICTION: Digitization -- Standards GLOBALIZATIONi: Proliferation-- Resistance 3. “Life as narrativized” Story: INTERPASSIVITY: Navigation...
