By Stella Bruzzi
New Documentary: A severe advent offers a finished account of the final twenty years of documentary filmmaking in Britain, the USA and Europe. Stella Bruzzi's attractive textbook discusses key genres, filmmakers, and matters for the research of non-fiction movie and tv, including:* key texts equivalent to the Zapruder movie of Kennedy's assassination, Shoah, Hoop desires and Michael Apted's 7 Up sequence* documentary genres, from present affairs programming to 'fly at the wall' documentaries to 'reality television' sequence* the paintings of documentary filmmakers similar to Emile de Antonio, Fred Wiseman, Nick Broomfield, Molly Dineen and Paul Watson* the paintings of avant-garde filmmakers akin to Chris Marker, Patrick Keiller, Peter Greenaway and Wim Wenders, whose movies problem conventions of documentary filmmaking* videos in keeping with old occasions, corresponding to 'JFK' and 'Nixon'* fake documentaries reminiscent of this is often Spinal faucet, Bob Roberts and guy Bites puppy* gender id, queer concept, functionality, 'race' and spectatorship.Bruzzi exhibits how theories of documentary filmmaking may be utilized to modern texts and genres, and discusses the connection among contemporary, leading edge examples of the style and the extra proven canon of documentary.
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Additional info for New Documentary: A Critical Introduction
Sample text
What a film like Point of Order elucidates very clearly is the problem of equating the image ostensibly without bias with the truth (and the cameras deployed for the McCarthy vs Army hearings are as non-interventionist as possible, simply focusing on who is speaking). His ‘collage junk’ films are an astute, ironic dismantling of this assumption. De Antonio’s work clearly illustrates not only that original footage is open to interpretation and manipulation, but that general theses can be extrapolated from specific historical images and that the historical event does not only reside in the past but is inevitably connected to the present.
This analytical, intellectual approach to historical documentary filmmaking is manifested not merely in the way Nixon the individual is reassessed, but in how the system he epitomises is also scrutinised. As de Antonio comments, ‘This film [Millhouse] attacks the System, the credibility of the System, by focusing on the obvious and perfect symbol for that system’ (Weiner 1971: 4). Repeatedly, what de Antonio attempts in his documentaries is not the articulation of a solution to a problem but the exposure of what is wrong, the infinitely corruptible and corrupting political and ideological system that dominated America during the period he was making films (1963–89).
Exemplary of Shub’s way of working is the film she made to commemorate the February 1917 overthrow of the imperial family, The Fall of the Romanovs (1927) – a revolutionary, pro-Bolshevik film that was, nevertheless, largely dependent on antipathetic, pro-Tsarist material. It thereby exhibits the dependency upon dialectical collision between the inherent perspective of the original archive and its radical re-use that remains a characteristic of the compilation documentary. In the summer of 1926, Shub travelled to Leningrad where she found that much of the relevant preRevolutionary newsreel footage had been damaged or had disappeared, although she did come across the private home movies of Nicholas II and some 60,000 metres of film, of which she chose 5,200 metres to take back to Moscow (Leyda 1996: 58–9).