Post-1990 Documentary: Reconfiguring Independence
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Presents in depth case studies focusing on major aspects of post 1990 documentary practices and styles This book questions the meanings of 'independence' for documentaries made in the post 1990 context, a period of unrivalled disruption and creativity in the field. Based upon a reasoned selection of contributions, it is the first collection of in depth case studies cutting across formats, media, subject matters, purposes and national divides. Writing from a wide range of academic perspectives, the contributors shed new light on historical, theoretical and empirical issues pertaining to the independent documentary, in order to better comprehend the radical transformations of the form over the past twenty years. Compared to existing studies, this volume focuses on works and practitioners existing at the margins of the traditional media, the mainstream film industry and the prevailing economic and socio political systems; yet greatly contributing to changing our perception of documentaries. And in doing so, it addresses an important gap in the global understanding of documentary practices and styles. It provides critical and detailed insights into contemporary independent documentary makers and their varied works, practices and uses and offers a variety of perspectives and interpretations of under studied contemporary subject matters and styles, as well as production, distribution and exhibition strategies. Title page Copyright Contents Figures Acknowledgements Introduction PART I History and Spaces of Resistance Chapter 1 Post-unification (East) German Documentary and the Contradictions of Identity Chapter 2 No Going Back: Continuity and Change in Australian Documentary Chapter 3 A Space in Between: The Legacy of the Activist Documentary Film in India Chapter 4 Languages, Speech and Voice: The Heritage of Jean Rouch and Pier Paolo Pasolini in Convention: Black Wall/White Holes Chapter 5 Chris Marker: Interactive Screen and Memory PART II The Personal Experience Chapter 6 The Survivor-Perpetrator Encounter and the Truth Archive in Rithy Panh’s Documentaries Chapter 7 Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries Chapter 8 ‘We All Invented Our Own Algeria’:1 Habiba Djahnine’s Letter to My Sister as Memory-Narrative Chapter 9 From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa Chapter 10 A Personal Vision of the Hong Kong Cityscape in Anson Mak’s Essayistic Documentary Films One Way Street on a Turntable and On the Edge of a Floating City, We Sing PART III Displacement, Participation and Spectatorship Chapter 11 Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace Chapter 12 Material Traces of Lebanon: A Documentary Aesthetics of Feeling in the Art Gallery Chapter 13 Autonomous Navigation? Multiplicity and Self-reflexive Aesthetics in Sergio Basso’s Documentary Film Giallo a Milano and Web Documentary Made in Chinatown Chapter 14 Fukushima and the Shifting Conventions of Documentary: From Broadcast to Social Media Netizenship Chapter 15 Independent Documentaries and Online Uses in China: From Cinephilia to Activism Conclusion Notes on the Contributors Index
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