A Philosophical History of Documentary, 1895–1959
Autor Dan Gevaen Limba Engleză Paperback – 17 sep 2022
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Specificații
ISBN-13: 9783030794682
ISBN-10: 3030794687
Pagini: 393
Ilustrații: XIII, 393 p.
Dimensiuni: 148 x 210 mm
Greutate: 0.53 kg
Ediția:1st ed. 2021
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
ISBN-10: 3030794687
Pagini: 393
Ilustrații: XIII, 393 p.
Dimensiuni: 148 x 210 mm
Greutate: 0.53 kg
Ediția:1st ed. 2021
Editura: Springer International Publishing
Colecția Palgrave Macmillan
Locul publicării:Cham, Switzerland
Cuprins
Chapter 1: Introduction. Chapter 2: 1895; The Lumière Brothers.- Chapter 3: 1896; Georges Méliès.- Chapter 4: 1898; Bolesław Matuszewski.- Chapter 5: 1908; Burton Holmes.- Chapter 6: 1912; Edward Curtis et al.- Chapter 7: 1917-1921; Blaise Cendrars.- Chapter 8: 1922; Dziga Vertov.- Chapter 9: 1924; Robert Flaherty.- Chapter 10: 1926; John Grierson.- Chapter 11: 1927; Esphir Shub.- Chapter 12: 1928; Alexie Gan.- Chapter 13: 1928; Dziga Vertov.- Chapter 14: 1930; Jean Vigo.- Chapter 15: 1930; Joris Ivens.- Chapter 16: 1932; John Grierson.- Chapter 17: 1933; Oswell Blakeston.- Chapter 18: 1933; John Griersonv.- Chapter 19: 1933; Harry Bruce Woolfe.- Chapter 20: 1934; Leo Hurwitz.- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934.- Chapter 22: 1935; Paul Rotha.- Chapter 23: 1939; Joris Ivens.- Chapter 24: 1941; Humphrey Jennings.- Chapter25: 1942; Frank Capra.- Chapter 26: 1948; Amos Vogel.- Chapter 27: 1948; The World Union of Documentary.- Chapter 28: 1951; A. Nicholas Vardac.- Chapter 29: 1952; Alberto Cavalcanti.- Chapter 30: 1957; Lindsay Anderson.- Chapter 31: 1959; John Grierson.
Notă biografică
Dan Geva is an associate professor at Beit-Berl College, a research fellow at the University of Haifa, an award-winning documentarian, and founder of “The Ethics Lab” (CILECT, 2017). He is the author of Toward a Philosophy of the Documentarian; A Prolegomenon (Palgrave Macmillan, 2018) and The Ethics Lab Guidebook CILECT, 2019).
Textul de pe ultima copertă
"In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition—as if it functioned as an aesthetic strait-jacket—Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers’ writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as 'documentariness.'"
—Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA
"In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva’s meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA
This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of “documentary” between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis.
Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of “The Ethics Lab” (CILECT, 2017).
—Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA
"In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva’s meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." —Julia Leasage, Professor Emerita, English Department, University of Oregon, USA
This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of “documentary” between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis.
Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of “The Ethics Lab” (CILECT, 2017).
Caracteristici
Presents a chronology of definitions attributed to the concept of "Documentary" Argues that each definition is an original ethical premise of documentary Frames and re-contextualizes the signification and scope of documentary’s fragile and sophisticated ontology