DOCSLIB.ORG

Fairness in Subjective Documentary Storytelling

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fairness in Subjective Documentary Storytelling Town Cape FAIRNESS IN SUBJECTIVEof DOCUMENTARY STORYTELLING Johann Abrahams Ever since filmmakers started making non- fiction Univeristyfilms, they have been plagued by the question of objectivity. Is the content truthful, is it accurate, and is it fair in dealing with opposing views? Today modern television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of Johann Abrahams people working in a team. The question is how a film Buitenhof, 103 can still be truthful and fair for viewers despite a Buitengracht Street, clear bias on the part of the filmmaker. This essay is Tamboerskloof, Cape about journalistic ethics, bias but fairness, and an Town. analysis of my own personal film, ‘Coming Home’, 082 416 3759 weighed against the opinions by various film theorists. 10/31/2014 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University DECLARATION By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by the University of Cape Town will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. ………………………… Johann Abrahams Date: 31 October 2014 Copyright © 2014 University of Cape Town All rights reserved Town Cape of Univeristy 2 Fairness in subjective documentary storytelling. A Reflective Essay supporting the Documentary Film 'Coming Home’ By Johann Abrahams ABRJOH008 A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of MASTERS IN MEDIA THEORY AND PRACTICE Supervisor: Dr Liani Maasdorp Centre for Film and Media Studies Faculty of the Humanities University of Cape Town 2014 3 TABLE OF CONTENTS Abstract..............................................................................................5 1. Introduction………………………................................................................6 2. Historical background….....................................................................10 3. Maintaining fairness despite bias……………………………………................14 4. Designing the film ‘Coming Home’....................................................21 5. The Documentary film Production: ‘Coming Home’..........................27 6. Conclusion.......................................................................................34 Bibliography....................................................................................36 Filmography....................................................................................38 4 ABSTRACT Ever since filmmakers started making non- fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Today television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of people working in a team. The question in this study is how a film can still be truthful, fair and relevant for viewers despite a clear bias on the part of the filmmaker. Michael Rabiger, Stella Bruzzi, and Sheila Bernard gave great insight into the importance of fairness toward participants, while the P.O.V series aired on PBS in the US show how to make films from a particular point of view to stimulate debate. Based on this I will argue that it is possible for a filmmaker to hold a particular view and to still make a film that is fair and accurate. 5 CHAPTER ONE INTRODUCTION Ever since filmmakers started making non- fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Documentaries work with fact not fiction and therefore filmmakers cannot invent plots, character and story arcs. Instead the filmmaker must be creative in the arrangement of the material without compromising journalistic integrity. (Bernard, 2007, p.2). But creativity knows no boundaries and in order for a film to be entertaining, or gripping, filmmakers do tend to bend the truth, or change the order of events. (Bowling for Columbine,2002). Rabiger, in an article published online in the Nieman Report 2001, says non-fiction films are more often perceived to be true and objective. He ascribes this to the perceptions that were established during the heyday of television news when stalwarts like Walter Cronkite personified objectivity, truth and fairness in television journalism. (Rabiger, 2001, para 1). Documentary also seemed impartial because an inanimate instrument like a movie camera, taking “truth 24 times a second,” seemed incapable of deception. Film (including video) is always in the present tense, while print journalism tends to reside in the reflective past tense. (Rabiger, 2001, para 1). Today audiences have become sophisticated and media savvy. They know through the long line of credits at the end of the film that a number of editorial and creative decisions are being made, and usually by a number of people working in a team. As filmmakers we know that before the camera even starts rolling decisions are being made as to how the story will be told. A hypotheses is developed, research done and a site visit undertaken to find sources, compelling characters and experts. Who appears in the film eventually and who is left out is a decision taken sometimes months before filming. (Snyman, 2007). During the shoot more decisions are made, including about the lens used, camera placement. A high angle on an interviewee, for example, can make her look 6 insignificant, on lighting - strong fall-off with deep shadows can make an interviewee look ominous and less truthful. In contemporary journalism and non-fiction films new forms are emerging. More and more filmmakers like Michael Moore, Nick Broomfield and Louis Theroux connect with viewers on a subjective level. Although Moore’s films raise suspicions as to their truthfulness, they still have relevance and his overtly subjective approach has become his trademark. There are also films, such as PBS’ P.O.V series, that explicitly declare that they are not objective, but claim to be fair while putting forward the filmmakers’ point of view. (Mertes, 2001). RESEARCH QUESTION This research is about objectivity and fairness, and an analysis of my own personal film, Coming Home, weighed against the opinions by various film theorists. My question is what are the strategies a filmmaker can use to ensure fairness is maintained in a documentary that he/she is subjectively involved in? The film Coming Home, about Genadendal’s land transformation process, is written and directed by me. I am also telling the story and often appear in the film. I recently built a house in Genadendal and I consider it my spiritual home. Both my paternal and maternal ancestors are from the old mission station. My uncle serves on the transformation committee and I share the view of the majority of Genadendal residents that the whole village is communal land and should be governed by the residents themselves. This is in conflict with the views and actions of the Theewaterskloof district municipality. I therefore have a clear bias and the film is made from my point of view. I am also an advocate for the aboriginal rights of the Khoisan. Most of the residents of Genadendal are direct Khoikhoi descendants giving them UN recognised aboriginal rights to the land although this is often ignored in South Africa in general and in the case of Genadendal in particular. (United Nations, 2007, p.10). The question is how the film can still be truthful despite the clear bias of the storyteller. In this essay I will argue that it is possible for a filmmaker to hold a particular 7 view and to still tell a truthful and balanced story. In this study, I therefore aim to question conventional notions of objective distance by demonstrating how I remained fair in the face of my own bias while producing a film about a community I’m closely related to. In order to do this, I provide some historical background, a literature review and analysis of existing films and insight into my own production process. In the chapter that follows, chapter two, I paint a picture of my family history and my connection to Genadendal. It is a nostalgic look at a village where I spent my high school years and now it is my partial home and where I hope to retire one day. I also sketch the history of Genadendal, with references to the rich cultural heritage and artefacts found in the local museum. This is very important because the argument to preserve the town is based on its being a national treasure and actually should be declared a national heritage site. In the third chapter I examine the ideas of various theorists in order to establish a theoretical framework for my film. I also explore the work of other filmmakers. In the fourth chapter I outline my professional career as a reference to my style of filmmaking. I explain how I designed the film style, and how I applied the different theories. It also contains a short synopsis of the film with production notes and personal notes from me as director of the film. Finally, it looks at the relevance of the film to ordinary audiences. It also clearly spells out the point of view of the film and its aims. The methodology used was a review of literature on the topic of subjectivity and bias in filmmaking. I also analysed a selection of documentary films in order to explore the position of the filmmaker towards his/her subject matter and how this relates to perceived expectations of objectivity in a contemporary context where there seems to be a greater general awareness of subjectivity.
Load more

Recommended publications
  • WJEC Film Studies GCE Specification (From 2010)
    BFI Media Conference 2014 Teaching Documentary - Mark Piper WJEC Film Studies GCE Specification (from 2010) FM4: VARIETIES OF FILM EXPERIENCE – ISSUES AND DEBATES This unit contributes to synoptic assessment. Understanding will be fostered through: - studying complex films from different contexts, extending knowledge of the diversity of film and its effects - exploring spectatorship issues in relation to a particular type of film - applying key concepts and critical approaches (b) Spectatorship and Documentary: The study of the impact on the spectator of different kinds of documentary – for example, the overtly persuasive and the apparently observational film. Examples may be taken from both historical (such as 30s and 40s British Documentary or 60s Cinéma Verité) and contemporary examples, including work on video. A minimum of two feature-length documentaries should be studied for this topic. AQA Media Studies Specification (from 2015) UNIT 1 – MEST1 – INVESTIGATING MEDIA The aim of this unit is to enable candidates to investigate the media by applying media concepts to a range of media products in order to reach an understanding of how meanings and responses are created. Candidates will firstly investigate a wide range of media texts to familiarise themselves with media language and media codes and conventions and then embark upon a cross-media study. The cross-media study The knowledge and understanding of media concepts and contexts gained through the investigation and comparison of individual media texts will then be developed by making a detailed case study chosen from a range of topics. Centres should choose a topic area that communicates with audiences across the media platforms; a topic which includes media products that can be classified, perhaps loosely, as a genre.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Why Documentaries Matter Recognised As an Innovative Cultural Form
    RISJ CHALLENGES CHALLENGES Documentaries have for many decades inhabited the schedules of public Why Documentaries Matter Why broadcasters. They have chronicled the lives and institutions of western democracies. In the past two decades, however, documentaries have become Why Documentaries Matter recognised as an innovative cultural form. Instead of being exclusively funded by television channels, documentaries receive money from a number of sources, including film funds, private investors and foundations. Rather than observing, documentaries are now thought capable of changing the world. Is this what they really do? How do we define a documentary? What does it mean to be the ‘author’ of a film? Nick Fraser has been editor of the BBC’s Storyville series since 1997; here he looks at the history of documentaries, showing how definitions of documentaries have changed – and how fragile is their funding. If we want good documentaries, he concludes, we have to find ways of encouraging their creators. “Nick Fraser writes about documentaries with unique authority. Not only has he made some good ’uns, he has commissioned more than practically anyone else on earth (for the BBC’s Storyville) and - as this book shows - he Nick Fraser has watched docs from their earliest days. His ideas on what the growth of the web and the decline of public service broadcasters mean for doc-makers are informed, imaginative and challenging.” Brian Lapping Chairman and Executive Producer, Brook Lapping “The rise of documentaries over the past two decades owes more to Nick Fraser than to any other single person. For so many of us who make non-fiction films, Nick’s peerless brand of tough love and mischievous curiosity have inspired us to aim higher as we try to promote greater understanding of the major events and issues of our time.” Eugene Jarecki Documentary film maker “This expert lament is beautifully written.
    [Show full text]
  • Documentary Film 3. Filmmakers' Theories Introduction
    Component 2 Global filmmaking perspectives Section B: Documentary Film 3. Filmmakers’ Theories Introduction (from the specification) The documentary film will be explored in relation to key filmmakers from the genre. The documentary film studied may either directly embody aspects of these theories or work in a way that strongly challenges these theories. In either case, the theories will provide a means of exploring different approaches to documentary film and filmmaking. Two of the following filmmakers' theories must be chosen for study: Peter Watkins Watkins established his reputation with two docu-dramas from the 1960s, Culloden and The War Game. Both document events from the past using actors and reconstruction. In asking questions of conventional documentary, Watkins reflects his deep concern with mainstream media, which he has called the ‘monoform’. Nick Broomfield Broomfield, like Michael Moore, has developed a participatory, performative mode of documentary filmmaking. Broomfield is an investigative documentarist with a distinctive interview technique which he uses to expose people's real views. Like Watson, he keeps the filmmaking presence to a minimum, normally with a crew of no more than three. He describes his films as 'like a rollercoaster ride. They’re like a diary into the future.' 1 Kim Longinotto Longinotto has said 'I don’t think of films as documents or records of things. I try to make them as like the experience of watching a fiction film as possible, though, of course, nothing is ever set up.' Her work is about finding characters that the audience will identify with – 'you can make this jump into someone else’s experience'.
    [Show full text]
  • FEATURE DOCUMENTARY Catalogue
    FEATURE DOCUMENTARY Catalogue ACTIVE MEASURES Active Measures chronicles the most successful espionage operation in Russian history, the American presidential election of 2016. Filmmaker Jack Bryan exposes a 30-year history of covert political warfare devised by Vladimir Putin to disrupt, and ultimately control world events. Running time: 1 x 109-minutes Produced by: Shooting Films Year of production: 2017 -2018 THE ALEXANDER COMPLEX (w/t) The words ‘tomb of Alexander’ draw one of the world’s foremost archaeologists and a team of experts, on 6 expeditions to uncover the truth. The stakes are high in this breathtaking game of strategy as they face fatwas, military interventions and the stoic bedrock of the ancient Middle-East. One man, code- named ‘The Inventor’ holds the exact coordinates of the tomb entrance – will he give up the secret? Running time: 1 x 90-minutes Produced by: Soilsiú Films & Fine Point Films production Year of production: 2019 ALIAS RUBY BLADE Kirsty Sword, a young Australian activist, aspired to be a documentary filmmaker in East Timor, but instead became an underground operative for the Timorese resistance against Indonesia in Jakarta. Her code name: Ruby Blade. Her task: to become a conduit for information and instruction between the resistance movement and its enigmatic leader, Kay Rala “Xanana” Gusmão, while he was serving a life sentence in prison for his revolutionary activities. Through correspondence, they fell in love. Alias Ruby Blade captures their incredible love story from its beginning to the ultimate triumph of freedom in East Timor, demonstrating the astonishing power of ordinary individuals to change the course of history.
    [Show full text]
  • Postmodern Portraiture in Documentary Film and Television
    OBSCENE INTIMACIES: POSTMODERN PORTRAITURE IN DOCUMENTARY FILM AND TELEVISION by Angela Walsh B.A., The University of British Columbia, 2012 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate and Postdoctoral Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Angela Walsh, 2015 Abstract The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features.
    [Show full text]
  • Kurt & Courtney
    KURT & COURTNEY -- ILLUSTRATED SCREENPLAY & SCREENCAP GALLERY directed by Nick Broomfield © 1997 Strength Ltd. YOU ARE REQUIRED TO READ THE COPYRIGHT NOTICE AT THIS LINK BEFORE YOU READ THE FOLLOWING WORK, THAT IS AVAILABLE SOLELY FOR PRIVATE STUDY, SCHOLARSHIP OR RESEARCH PURSUANT TO 17 U.S.C. SECTION 107 AND 108. IN THE EVENT THAT THE LIBRARY DETERMINES THAT UNLAWFUL COPYING OF THIS WORK HAS OCCURRED, THE LIBRARY HAS THE RIGHT TO BLOCK THE I.P. ADDRESS AT WHICH THE UNLAWFUL COPYING APPEARED TO HAVE OCCURRED. THANK YOU FOR RESPECTING THE RIGHTS OF COPYRIGHT OWNERS. [Transcribed from the movie by Tara Carreon] Kurt & Courtney [Nick Broomfield] At 8:40 a.m. on April 8, 1994, Kurt Cobain's body was found. He had been killed by a shotgun wound to the head. The verdict was suicide. The medical examiner in Kurt's case knew Courtney well before she got married to Kurt. In fact, they were pretty good friends and used to go out barhopping together. This should be reason for someone else to handle the examination. Shortly after this potential conflict of interest was revealed, he left the King County medical examiner's office and took a job in a small town in Florida. Coincidence? I think not. -- http://www.angelfire.com/nv/boddah/facts.html The Seattle medical examiner who examined Cobain's body, Dr. Nicholas Hartshorne, insisted that all of the evidence pointed to a suicide. However, many have questioned his opinion because he once promoted concerts for Nirvana, to which he replied, "It's leap of faith, that someone who once promoted concerts for bands would now risk his job, prison, and public disgrace, in order to cover up a murder.
    [Show full text]
  • ZDOK.11 Stella Bruzzi: Documentary, Performace
    ZDOK.11 Stella Me, Myself Bruzzi: and Documentary, I Performace ... www.zdok.ch 1 Stella Bruzzi Documentary, Performace and Questions of Authenticity On British FIlmmakers Molly Dineen and Nick Broomfield This article will examine some aspects of the work of two British documentary filmmakers who are frequently bracketed together – Mol- ly Dineen and Nick Broomfield. Although they hardly constitute a movement, Broom- field and Dineen do represent an important historical moment in British documentary filmmaking. They both attended the National Film and Television School (Broomfield in the early 1970s, Dineen in the early 1980s) and were taught by Colin Young, who in turn influenced their style of filmmaking. In an interview coinciding with the UK release of Nick Broomfield in DRIVING ME CRAZY1988 BIGGIE AND TUPAC (2002) Broomfield argued: «There’s no point in pretending the camera’s not there. I think what’s impor- tant is the interaction between the film-makers and those being filmed, and that the audience is aware of the interaction so they can make decisions of their own. When I was at the National Film School, Colin Young, who was my teacher, said that the problem with cinema verité is that you don’t know the film-makers behind the camera. The audience doesn’t have that infor- mation so they don’t know what the interaction is. That’s the variable that’s most influential – it’s not the presence of the camera that changes people’s behavior, it’s the relationship they have with the people behind it (Wood 2005).» Following on from this, the principal reason Molly Dineen and Nick Broomfield are frequently discussed in tandem is that they both make documentaries that give their audiences a sense of < the film-makers behind the camera > by becoming active presences in otherwise largely observati- onal documentaries.
    [Show full text]
  • 03 DECEMBER 2006 Cine-City.CO
    CINE-CITY.CO.UK 16 NOVEMBER - 03 DECEMBER 2006 16 NOVEMBER - 03 DECEMBER 2006 1 CINE-CITY.CO.UK 16 NOVEMBER - 03 DECEMBER 2006 Welcome to the 4th edition of CINECITY and our biggest festival We open and close the festival with two previews of major and programme yet. CINECITY presents the very best in international eagerly anticipated titles: BABEL directed by Alejandro Gonzalez cinema and features a global mix of premieres and previews, Inarritu starring Brad Pitt, Cate Blanchett and Gael Garcia Bernal treasures from the archive, artists’ moving image and installations, and BLACK BOOK, Paul Verhoeven’s World War Two drama. the latest digital adventures, education events and much more. At the core of its programme each year, CINECITY CINECITY screens right across Brighton & Hove in all the city’s dedicates a strand to one celluloid city. In 2006 we explore cinemas – Duke of York’s, Cineworld, Odeon and Gardner Arts Shanghai, the first great city of the 21st Century, through Centre - and in a host of other venues. We have also again created a a diverse selection of moving images including artists’ temporary ‘micro-cinema’ to further extend the number of screens installations, features, documentaries and shorts. available during the festival. The Brighton Fringe Basement in the heart of the North Laine is home to a range of screenings We do hope you enjoy the selection of films on offer. To and events and is the centrepiece of the artists’ moving image help you see more of this year’s CINECITY there are a programme. For the first time CINECITY expands beyond the number of free screenings and events plus special ticket borders of Brighton & Hove with a weekend of screenings at the offers.
    [Show full text]
  • The Big Show: British Cinema Culture in the Great War 1914-1916
    The Big Show: British Cinema Culture in the Great War 1914-1916 By Michael Hammond Exeter: University of Exeter Press, 2006. ISBN: 0-85989-758-3 (hbk). 16+ Illustrations + 288pp. £45.00 (hbk) A review by Brenda McDermott, York University, Canada Hammond's approach to film during the First World War marks a departure from the approach taken by current literature about early cinema history. Hammond examines the experience of film-going in the context of the war, and its resulting social changes, rather than documenting the history of its production or censorship. Southampton, not London, becomes the focus of his study of the reception and exhibition of film during the war, moving away from the assumption that major cities are a stand-in for a nation. Hammond deconstructs Sothhampton's cinema culture during the war to understand the role the social condition of the war played in the cultural acceptance of cinema as a legitimate and important source of entertainment. Rather than addressing a single genre or style of film, Hammond addresses a variety of films, mirroring the programs of theatres in Southampton, while using the progression of war as his master theme. Hammond's discussion begins with films that educated the public about the war, topical films, particularly The Battle of the Somme (1916). Epic or super-films, as Hammond describes them, are examined to discuss the manner in which American films had a different reception in Britain, as a result of social conditions and exhibition practice. He concludes with an examination of the social acceptance of comedy, particularly that of Chaplin.
    [Show full text]
  • Performing Identity in Contemporary Documentary Film
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Performing Identity in Contemporary Biographical Documentary by Adam James Vaughan ORCID ID: 0000-0003-1780-3603 Thesis for the degree of Doctor of Philosophy May 2019 University of Southampton Abstract Faculty of Arts and Humanities Film Studies Thesis for the degree of Doctor of Philosophy Performing Identity in Contemporary Biographical Documentary by Adam James Vaughan My thesis addresses the role performance plays in contemporary documentary. I focus on case studies where performance techniques (reconstruction, use of actors) are used and my discussion analyses the distinctive effects that are created. A distinction is made between performance and performative, as defined by J.L.
    [Show full text]
  • Documentary, Reality TV and 'Real Lives' - P4041 - Lizzie Thynne | Sussex University
    09/28/21 Documentary, Reality TV and 'Real Lives' - P4041 - Lizzie Thynne | Sussex University Documentary, Reality TV and 'Real Lives' - View Online P4041 - Lizzie Thynne [1] Nagib, Lu ́ cia and Mello, Ceci ́ lia, Realism and the Audiovisual Media. New York, N.Y.: Palgrave Macmillan, 2009 [Online]. Available: http://eu01.alma.exlibrisgroup.com/view/action/uresolver.do?operation=resolveService&pa ckage_service_id=10396743000002461&institutionId=2461&customerId=2460 [2] Ward, Paul, Documentary: the Margins of Reality, vol. Short cuts. London: Wallflower, 2005. [3] Pennebaker, D. A., ‘Don’t Look Back.’ Sony BMG Music Entertainment, [U.K.], 2006. [4] ‘Chronique d’un été.’ 27AD [Online]. Available: https://www.youtube.com/watch?v=o6dHtOc8F9I [5] S. Bruzzi, New documentary: a critical introduction, 2nd ed. Abingdon, [England]: 1/24 09/28/21 Documentary, Reality TV and 'Real Lives' - P4041 - Lizzie Thynne | Sussex University Routledge, 2006 [Online]. Available: http://sussex.etailer.dpsl.net/home/html/moreinfo.asp?isbn=0203967380&amp;whichpage =1&amp;pagename=category.asp [6] Renov, Michael, Theorizing Documentary. New York: Routledge, 1993. [7] Corner, John, The Art of Record: a Critical Introduction to Documentary. Manchester: Manchester University Press, 1996. [8] W. De Jong, T. Austin, W. De Jong, and ebrary, Inc, Rethinking documentary: new perspectives and practices. Buckingham: Open University, 2008 [Online]. Available: http://suss.eblib.com/patron/FullRecord.aspx?p=361578 [9] Austin, Thomas and Jong, Wilma de, Rethinking Documentary: a Documentary Reader. Maidenhead: Open University Press, 2008. [10] Keith Beattie, Documentary Screens: Non-Fiction Film and Television. Basingstoke: Palgrave Macmillan, 2004. [11] Chanan, Michael, The Politics of Documentary. London: BFI, 2007.
    [Show full text]