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This is fun! My two contributions under "not the usual subjects" are both
explicitly about film:

1. Ingmar Bergman's "The Magic Lantern" -- terrific book; convincing
depiction of the art film as an organic piece of the entire cinema
landscape, also a terrific evocation of what makes cinema so compelling for
those who become film artists, and it's enjoyable as autobiography of a
great figure in cinema

2. Amos Vogel's "Film as a Subversive Art" (1974) -- Collection of short
essays and an annotated catalog of avant-garde and New Wave films; wonderful
photos and descriptions. I love this book; it's definitely "of it's time"
(which also makes it interesting to read as an example of 1970s film
criticism and theory), and the essays are more short ruminations on a topic
than fully developed arguments, but it is just FULL of substantial
considerations of experimental narrative films. It really imparts a sense of
the range and variety of film experiments within the narrative cinema.

Under "the usual suspects," Eisenstein's essays collected in "Film Form"
would be at the top of my list.

Amy Holberg
Kailua, HI

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There are 3 messages totalling 222 lines in this issue.

Topics of the day:

  1. Books about film (2)
  2. CFP - documentary and the limits of representation at Visible Evidence

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Date:    Tue, 20 May 2008 10:49:24 -0400
From:    Patricia Aufderheide <[log in to unmask]>
Subject: Re: Books about film

This is such a rich discussion, so many great books I haven't read yet! 
Because my latest book is so new, I'm daring to mention it to the 
group--I've already mentioned it to Jim. It's Documentary Film: A Very 
Short Introduction (Oxford U Press). It just came out in Jan., and has 
garnered some nice mentions. I like Michael Rabiger's comment: 
"This is the first book about documentary I've encountered that tackles 
its identity, history, evolution, and major controversies enjoyably and in 
brief. I marvel at how much ground Pat Aufderheide covers and the clarity 
she brings to documentary's many functions, paradoxes, and contradictions. 
Maybe religion alone has more." 
It's one of those tiny little books in the Oxford Very Short Intro series, 
160 pp and $9.95.
If you need a desk copy or a review copy, I'd be happy to arrange. 

Pat Aufderheide, Professor and Director 
Center for Social Media, School of Communication
American University 
3201 New Mexico Av. NW, #395
Washington, DC 20016-8080
www.centerforsocialmedia.org
[log in to unmask]
202-885-2069



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Re: [SCREEN-L] Books about film






Because so much of film involves narrative, some materials on narrative
structure and narratology would seem to be necessary.  One of the best -
distinguished by its clarity and modesty - is Seymour Chatman's Story
and discourse: Narrative structure in fiction and film, Cornell
University Press. (1993).  And because the role of "interpretation"  has
emerged as a particularly vexed question, Susan Sontag's  essay "Against
Interpretation" would seem to be required, if only because it explores
"The fact that films have not been overrun by interpreters"  -- or at
least that seemed to be the case in the prelapsarian year of 1963.

 

mike

 

-----Original Message-----
From: Film and TV Studies Discussion List [mailto:[log in to unmask]]
On Behalf Of James Monaco
Sent: Sunday, May 18, 2008 4:41 PM
To: [log in to unmask]
Subject: [SCREEN-L] Books about film

 

For a new edition of How to Read a Film we're preparing a list of 100 

(or so) books everyone learning about the medium should read. Besides 

the obvious classics I'm looking for more obscure titles -- and not 

necessarily directly about film (or tv). (For example, I learned a 

lot about the language of film from Alexander Kira's sixties study, 

The Bathroom.)

 

If you have any suggestions for this list (even if it is your own 

work) I'd appreciate hearing them.

 

Thanks (and apologies for cross-posting).

 

 

JM

 

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New York NY 10003               http://UNET.net
http://HEPDigital.com 

 

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Date:    Wed, 21 May 2008 10:36:29 -0400
From:    David Tetzlaff <[log in to unmask]>
Subject: Re: Books about film

Highly valuable book-not-about-film film people should read:

The Railway Journey, Wolfgang Schivelbusch

(look for the original Urizen hardcover, lots of pictures left out of  
the UC reprint)

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Date:    Wed, 21 May 2008 18:21:33 +0100
From:    Annabelle Honess Roe <[log in to unmask]>
Subject: CFP - documentary and the limits of representation at Visible
Evidence

Due to a last minute drop-out, we are looking for another presenter =20
for our panel at Visible Evidence in Lincoln this August.  You can =20
find the proposal below, and we are open to wide interpretations of =20
the panel topic.  Feel free to email me ([log in to unmask]) and/or my co-=20=

panelist Patrick Sjoberg ([log in to unmask]) with any questions or =20=

to discuss paper ideas.  Due to this being somewhat last-minute, we =20
are looking to receive proposals as soon as possible - ideally by 31st =20=

May at the latest.
You can find more information about the Visible Evidence conference =20
here: =
http://www.lincoln.ac.uk/home/conferences/visibleevidence/index.htm

Abstraction Absence Animation: Documentary and the Limits of the =20
Figurative
Chair: Patrik Sj=F6berg, PhD, Karlstad University

Throughout the history of documentary film, directors have been coping =20=

and compensating for a lack of material, visual as well as acoustic. =20
This has not only lead to a wide range of conventions for dealing with =20=

this substantive absence, (for example, all the ways in which =20
compilation film uses archive material to compensate for the lack of =20
original filmed material, or the way identities are hidden in =20
interview sequences), but is has furthermore functioned as a creative =20=

obstacle for documentarists to push the boundaries of what is =20
representable within the framework of documentary media (think of =20
Errol Morris=92 Thin Blue Line (1988), Jill Godmilow=92s Far =46rom =
Poland =20
(1984) or the Channel 4 series Animated Minds (2003)). This panel =20
wishes to discuss the ways in which documentary media negotiates this =20=

tension - between the need to represent and the inability to properly =20=

do so. This not only includes the lack of footage from an event, but =20
also the difficulties involved in the representation of statistics and =20=

complex processes, emotional states of individuals, general tendencies =20=

within a culture, the passage of time, or philosophical and political =20=

assertions.=20=

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End of SCREEN-L Digest - 20 May 2008 to 21 May 2008 (#2008-68)
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