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THE SOCIAL DOCUMENTARY: BIBLIOGRAPHY
Radio-Television-Film 345
Instructor: Dr. Laura
Stein
University of Texas at Austin;
Spring 2004
Nichols, Bill. (2001). “How Do Documentaries
Differ from Other Types of Film,” from Introduction to Documentary.
Bloomington, IN: Indiana University Press.
Nichols, Bill. (2001). “What Types of Documentary
Are There,” from Introduction to Documentary. Bloomington,
IN: Indiana University Press.
Eitzen, Dirk. (1995, Fall). “When Is a Documentary?:
Documentary as a Mode of Reception,” Cinema Journal 35(1),
81-102.
Monaco, James (1981). “The Language of Film:
Signs and Syntax,” from How to Read a Film. New York: Oxford
University Press.
Grierson, John. (1976). “First Principles of
Documentary,” from Richard Barsam (Ed.), Nonfiction Film Theory
and Criticism. New York: E.P. Dutton & Co.
Grierson, John. (1976). “The Nature of Propaganda,”
from Richard Barsam (Ed.), Nonfiction Film Theory and Criticism.
New York: E.P. Dutton & Co.
Grierson, John. (1976). “The Documentary Idea,”
from Richard Barsam (Ed.), Nonfiction Film Theory and Criticism.
New York: E.P. Dutton & Co.
Keil, Charlie. (1998). “Persuasion and Expression
in ‘The Plow That Broke the Plains’ and ‘The City,’”
from Barry Keith Grant and Jeannette Sloniowski (Eds.)., Documenting
the Documentary: Close Readings of Documentary Film and Video. Detroit,
MI: Wayne State University Press.
Guyn, William. (1998). “Basil Wright’s
‘Song of Ceylon,’” from Barry Keith Grant and
Jeannette Sloniowski (Eds.)., Documenting the Documentary: Close
Readings of Documentary Film and Video. Detroit, MI: Wayne State
University Press.
Rothman, William. (1997). “Land Without Bread,”
from Documentary Film Classics. New York: Cambridge University Press.
Nichols, Bill. (2001). “How Have Documentaries
Addressed Social and Political Issues?” from Introduction
to Documentary. Bloomington, IN: Indiana University Press.
Flaherty, Robert. J. “How I filmed ‘Nanook
of the North,’” from Harry Gould (Ed.), Film Makers
on Film Making. Bloomington, IN: Indiana University Press.
Rothman, William. (1997). “‘Nanook of
the North,’” from Documentary Film Classics. New York:
Cambridge University Press.
Stubbs, Liz. (2002). “Albert Maysles: Father
of Direct Cinema,” from Documentary Filmmakers Speak. New
York: Allworth Press.
Pryluck, Calvin. (1988). “Ultimately, We are
All Outsiders,” from Alan Rosenthal, (Ed.), New Challenges
for Documentary. Berkeley, CA: University of California Press.
Schwartz, David. (1985). “Streetwise and Seventeen,”Theatre
Crafts, 19(9), 103-105.
Rothman, William. (1997). “Chronicle of a Summer,
“ from Documentary Film Classics. New York: Cambridge University
Press.
King, Noel. (1981). Recent “Political”
Documentary: Notes on “Union Maids” and “Harlan
County USA.” Screen, 22(2), 7-18.
Stubbs, Liz. (2002). “Barbara Kopple: Through
the Lens Fearlessly,” from Documentary Filmmakers Speak. New
York: Allworth Press.
Fischer, Lucy. (1998). “Ross McElwee’s ‘Sherman’s
March,’” from Barry Keith Grant and Jeannette Sloniowski
(Eds.)., Documenting the Documentary: Close Readings of Documentary
Film and Video. Detroit, MI: Wayne State University Press.
Stubbs, Liz. (2002). “Ross McElwee: Personal
Journeyman,” from Documentary Filmmakers Speak. New York:
Allworth Press.
Feldman, Seth. (1998). “Dziga Vertov’s
‘The Man with a Movie Camera,’” from Barry Keith
Grant and Jeannette Sloniowski (Eds.)., Documenting the Documentary:
Close Readings of Documentary Film and Video. Detroit, MI: Wayne
State University Press.
Michelson, Annette (1984). “Introduction,”
from Annette Michelson (Ed.), Kino-Eye: The Writings of Dziga Vertov.
Berkeley, CA: University of California Press.
Vertov, Dziga. (1984/1922). “We: Variant of
a Manifesto,” from Annette Michelson (Ed.), Kino-Eye: The
Writings of Dziga Vertov. Berkeley, CA: University of California
Press.
Bernstein, Matthew. (1994, Spring). “Documentaphobia
and Mixed Modes: Michael Moore’s ‘Roger & Me,’”
from Barry Keith Grant and Jeannette Sloniowski (Eds.)., Documenting
the Documentary: Close Readings of Documentary Film and Video. Detroit,
MI: Wayne State University Press.
Ruby, Jay. “The Image Mirrored: Reflexivity
in Documentary Film”
Bullert, B. J. (1997). “Roger & Me and the
Heartbeat of America,” from Public Television: Politics and
the Battle over Documentary Film. New Brunswick, NJ: Rutgers University
Press.
Arthur, Paul. (1993). “Jargons of Authenticity,”
from M. Renov (Ed.), Theorizing Documentary. New York: Routledge.
Lane, Jim. (1993). Notes on Theory and the Autobiographical
Documentary Film in America. Wide Angle, 15(3), 21-36.
Petty, Sheila. (1998). “Silence and Its Opposite:
Expressions of Race in ‘Tongues Untied,’” from
Barry Keith Grant and Jeannette Sloniowski (Eds.)., Documenting
the Documentary: Close Readings of Documentary Film and Video. Detroit,
MI: Wayne State University Press.
Bullert, B.J. (1997). “Tongues Untied,”
from Public Television: Politics and the Battle over Documentary
Film. New Brunswick, NJ: Rutgers University Press.
Greg Bordowitz, “Operative Assumptions,”
from M. Renov & E. Suderburg (Eds.), Resolutions: Contemporary
Video Practices. Minneapolis, MN: University of Minnesota Press.
Riggs, Marlon. (1996). “Tongues Re-tied,”
from M. Renov & E. Suderburg (Eds.), Resolutions: Contemporary
Video Practices. Minneapolis, MN: University of Minnesota Press.
Rothman, William. (1997). “Cinema Verité
in America and ‘Don’t Look Back,’” from
Documentary Film Classics. New York: Cambridge University Press.
Levin, G.Roy. (1971). “Donn Alan Pennebaker,”
from Documentary Explorations: Interviews with Filmmakers. New York:
Doubleday & Co.
Plantinga, Carl. (1998). “Satirizing Masculinity
in ‘This is Spinal Tap,’” from Barry Keith Grant
and Jeannette Sloniowski (Eds.)., Documenting the Documentary: Close
Readings of Documentary Film and Video. Detroit, MI: Wayne State
University Press.
Nichols, Bill. (1994). “At the Limits of Reality
(TV),” from Blurred Boundaries. Bloomington, IN: Indiana University
Press.
Andrejevic, Mark. (2004). “Rediscovering Reality,”
from Reality TV: The Work of Being Watched. New York: Rowman &
Littlefield.
Andrejevic, Mark. (2004). “The Kinder, Gentler
Gaze of Big Brother,” from Reality TV: The Work of Being Watched.
New York: Rowman & Littlefield.
Boyle, Deirdre. (1992, Summer). “From Portapak
to Camcorder: A Brief History of Guerrilla Television,” Journal
of Film & Video, 44(1-2), 67-79.
Millner, Sherry. (1991). “Bargain Video,”
from D. Marcus (Ed.), The Paper Tiger Television Guide to Media
Activism. New York: The Paper Tiger Television Collective.
Stein, Laura. (2001). “Access Television and
Grassroots Political Communication in the United States,”
from John Downing with T. Ford, G. Gil & L. Stein. Radical Media:
Rebellious Communication and Social Movements. Thousand Oaks, CA:
Sage Publications.
Williams, Linda. (1998). “Truth, History, and
‘The Thin Blue Line,’” from Barry Keith Grant
and Jeannette Sloniowski (Eds.)., Documenting the Documentary: Close
Readings of Documentary Film and Video. Detroit, MI: Wayne State
University Press.
Bates, Peter. (1989). Truth Not Guaranteed: An Interview
with Errol Morris. Cineaste, 17, 1, pp. 16-17.
Barnouw, Dagmar. (1995). Seeing and Believing: The
Thin Blue Line of Documentary Objectivity. Common Knowledge, 4,
1, pp. 129-143.
Engardio, Joel (1999, October 20-26). “ITVS:
Might See TV,”SF Weekly.
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