Documentary Superstars: How Today's Filmmakers Are Reinventing the Form
Marsha McCreadie
Language: English
Pages: 256
ISBN: 1581155085
Format: PDF / Kindle (mobi) / ePub
Allworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.
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Cinefex, Issue 120 (January 2010)
shooting. But the camera is always there because you have to be ready to shoot. Part of the technique is to be able to go at least at a second’s notice, and the mic is always prominent. It’s quite funny to watch, and it’s amazing. People’s behavior is not different, whether the camera is on or off. I think it’s because all I ask permission for is to be present when they are going ahead doing what they ordinarily would be doing when I’m not there. Also, I don’t think that the camera really
courageous, untouched innocence on screen and of course an incredible will to survive, and struggle, against truly insurmountable odds. And he did end up in America, as has Herzog. Christian Bale, who plays Dieter in Rescue Dawn, lost thirty pounds to look like the captured flier during his imprisonment. But where his star opts for realism, and Herzog inserts fiction techniques into his documentary form, Herzog went for a more spontaneous look in the feature Rescue Dawn. For instance, the
“No one has ever been hurt on my set!” he declared, a tiny bit defensively, at the Film Form series of Q&A’s. But if indeed there is a leitmotif to be found in Herzog’s documentaries, it is the parallels between his own life and those of his subjects. In Wings of Hope, Herzog’s narrative voice-over, and sometimes his literal presence, quizzes Juliane Koepcke about her flight. But it is never very far from his (and consequently the viewer’s) mind that he might have met the same fate except for a
Me, does not point the finger at any corporation or particular group. Rather, it is a system, not one particular individual, responsible for the problem. In this way its tone is much less histrionic than the documentaries of a Michael Moore, or even the one-sided presentation of a Spurlock. Luminaries Work the Form The autobiographical narrative, whether or not it uses stunts, has become so appealing that even big-name directors are working, and working in, the form. For instance the
that our later generation of film watchers might see as resonating with the ironic commentary of Morgan Spurlock in his fast food journey. McElwee follows his route and also finds a girl. In his next film, Something To Do With the Wall, completed in 1990, the couple has married and pay a visit with their child to the Berlin Wall in its final stages of disintegration. (Just so, Where in the World is Osama bin Laden? ended up including the pregnancy of Alexandra, by that time married to Spurlock,