Documentary: A History of the Non-fiction Film. Front Cover · Erik (Professor Emeritus of Dramatic Arts Barnouw, Columbia University), Erik Barnouw, Formerly. Now brought completely up to date, the new edition of this classic work on documentary films and filmmaking surveys the history of the genre from to the. Review: Documentary: A History of the Non-Fiction Film. User Review – Inggita – Goodreads. the ultimate documentary film reference guide. a.

Author: Shakabei Mooguk
Country: Slovenia
Language: English (Spanish)
Genre: Health and Food
Published (Last): 9 August 2009
Pages: 340
PDF File Size: 17.10 Mb
ePub File Size: 11.42 Mb
ISBN: 782-8-64031-742-9
Downloads: 61886
Price: Free* [*Free Regsitration Required]
Uploader: Zulujin

Specialists in Reconnoitring Telescopes. I have used Barnouw’s book sinceand I’m grateful for each updated edition. Vertov’s documentary ideas collided with this procedure: In films of the Charles Urban Bio- scope Expeditions, a series launched in to depict remote areas such as Borneo, we see the documentarist as popular educator.

Documentary: A History of the Non-Fiction Film – Erik Barnouw – Google Books

Coverage of “natives” gen- erally showed them to be charming, quaint, sometimes mysterious; generally loyal, grateful for the protection and guidance of Euro- peans.

One ex- ecutive explained that the public was not interested in Eskimos; it preferred people in dress suits. At the same time, Vigo wanted a personal film— point de vue documente, he called hiatory. Some of these were scientists who felt a compelling need to document some phenomenon or action, and contrived a way to do it. But the artificiality is deliberate: Oct 13, Adele rated it liked it.


The film digresses to note parallels. The run began quietly, with eruk advance notice, but soon queues waited at every performance. The child in Spanish cinema Sarah Wright. Some twenty walrus lay sleeping on the rocks. The Vitascope was also, almost instantly, dispatched on foreign promotion tours, vying with the cinematographe and off others.

He at once expressed ardent interest in buying a cinemato- graphe but was put off with various excuses by the elder Lumiere.


But it is not enough to show bits of truth on the screen, separate frames of truth. We see a gentleman eating a steak for lunch; over the center of his plate —replacing the steak— Cavalcanti superimposes a slaughterhouse scene. I, a machine, show you a world such as only I can see. And while documen- tary items in most countries outnumbered fiction films as late asthe mix was changing.

Fiction and Narrative Derek Matravers. The mission was to get out the news— unite people by keeping them informed of the ups and downs of agonizing struggle.

Documentary: A History of the Non-Fiction Film

Louis Lumiere in later years recalled the names of some of the operators; others are mentioned in memoirs— their own or those of others.

He examines as well the latest filmaking technology and the effects that video cassettes and cable television are having on the production of documentaries.

It won such barnoyw that Leger con- sidered abandoning painting for film. Crystal-clear prose that weaves the development of nonfiction film alongside human history since the late 19th century. Notes on Eskimo words and their meanings punctuate the diaries. During projection a sequence could also be reversed, for amusing or meaningful effect.

Prophet 17 a change in policy. Nanook became chief fountain- head of film sequences. As a baby is born, a dog is at hand to lick the placental fluid from its body. Most critics found it a reve- lation. Nanook, grinning over the gramophone, testing a gramophone disc with his teeth, looks at the camera as though for agreement and approval; his child, tasting castor oil, shares his pleasure with a smile to the filmm. Louis Lumiere, in his first film, Workers Leaving the Lumiere Factory, was making what would later be called an in- dustrial film, and was acting as a promoter.

By the oc of that year some hundred Lumiere operators at work throughout the world had swelled the Lumiere collection to more than films. He knew now how he must proceed. The creator of the genre and of its greatest triumph seemed himself to be edging into obscurity. Cooper and Ernest B. Felix Mesguich handled documengary in various French cities, then was sent to the United States, and later did service in Russia.


One was a growing sense that he him- self represented the cultural destruction that troubled him. Self-glorification was the keynote. In 1 he photographed a wrestling match at Bombay’s Hanging Gar- dens, marking the start documentqry Indian film activity.

His immediate response was the organizing of the Ostende cine-club, for which he recruited local painters, sculptors, writers, musicians, while seeking advice from other cine-clubs.

Documentary: a history of the non-fiction film – Erik Barnouw – Google Books

Documentary suddenly acquired a financial legitimacy it had not had for years. Sponsored by Citroen, it non-fction an unprecedented automobile journey from the northern to the southern reaches of Africa, and on to the French island colony of Madagascar.

Teresita Almodovar rated it really liked it Nov 11, During his next two Mackenzie expeditions, in andhe shot many hours of film on Eskimo life. In trying to beat out the flames he was badly burned, and landed in a hospital. Film itself, and all its technology, were products of ingenuity. All available hands were recruited. tue

However, he managed to have similar equipment built by a Copenhagen master mechanic, and began film production and public showings; early projects dealt with Greenland dogs, street scenes, and royal ceremonies. Along with colonialist tendencies, documentary film was infected with increasing fakery.