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List of contents
List of Figures
Acknowledgements
Introduction
1. ‘To Do; To Perform’: In-Person Reenactment, Remediation and Documentary Performance
2. Between Document and Diegesis: Reenactment and Researched Detail in the Biopic
3. Dramatizing Forensic Crime Reconstruction: Investigation, Trace and Deixis in Police Procedural Television
4. Re-staging the Cinema: Reproducibility and the Shot-for-Shot Remake
5. Trial by Media: Fugitive Testimony, Demonstrative Evidence and Computer Animation in the Courtroom
Conclusion
References
Index
About the author
Megan Carrigy is Associate Director for Academic Programs at NYU Sydney, Australia. Her research interests include contemporary film theory, reenactment, virtual reality, Australian cinema and the cinema of Ritwik Ghatak. Awards include Best Doctoral Thesis Prize (UNSW), the Mari Kuttna Memorial Prize for Film Studies and English Association Prize for Best Long Essay (University of Sydney).
Additional text
Historical recreation, biographical film performance, television crime drama, and movie remakes – moving image reenactments are everywhere. And they befuddle us as they simultaneously seem to be accurate and inaccurate, authentic and inauthentic, and trustworthy and false documents of the past. Megan Carrigy takes us on an illuminating tour of such materials, showing how this indeterminacy operates to interrogate the aesthetic, evidentiary, and ontological status of the moving image. She powerfully demonstrates how the reanimated performance oscillates between theatricality, repetition, and documentation. As a result, The Reenactment in Contemporary Screen Culture, more than a study of a particular representation mode, is an insightful inquiry into the complexity of what we so easily push aside as fake.
