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Stacy Zellmann
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University of Minnesota Press
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Minneapolis, MN 55401-2520

Provides a historical and theoretical context for understanding the role of
subjectivity in documentary filmmaking.

Michael Renov
University of Minnesota Press | 364 pages | 2004
ISBN 0-8166-3440-8 | hardcover | $59.95
ISBN 0-8166-3441-6 | paperback | $19.95
Visible Evidence Series, volume 16

Michael Renov focuses on how documentary filmmaking has become an important
means for both examining and constructing selfhood. By looking at key
figures in documentary filmmaking as well as noncanonical video art and
avant-garde artists, Renov broadens the definition of what counts as
documentary, and explores the intersection of the personal and political,
considering how memory can create a way into asking troubling questions
about identity, oppression, and resiliency. Renov analyzes films in which
the subjectivity of the filmmaker is expressly defined, from Haskell
Wexler's Medium Cool to Jonas Mekas's Lost, Lost, Lost, and contemplates
such nontraditional modes of autobiographical practice as the essay film,
the video confession, and the personal Web page.

For more information, visit the book's webpage:

For more information on the Visible Evidence Series:

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