Soul of the Documentary : Framing, Expression, Ethics / Ilona Hongisto.

By: Contributor(s): Material type: TextTextSeries: Book collections on Project MUSEPublisher: Amsterdam : Amsterdam University Press, [2015]Manufacturer: Baltimore, Md. : Project MUSE, 2020Copyright date: ©[2015]Description: 1 online resource (180 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9789048525294
Subject(s): Genre/Form: Online resources:
Contents:
Cover; Contents; Acknowledgments; Prologue; Imagination: Relational documents; 1. Frames of the photograph; 2. A documentary fable; Fabulation: Documentary visions; 3. Making up legends; 4. Acts of resistance; Affection: Documenting the potential; 5. Moments of affection; 6. The primacy of feeling; Epilogue: Ethics of sustainability; Notes; Works cited; Index.
Summary: In Soul of the Documentary, Ilona Hongisto stirs current thinking about documentary cinema by suggesting that the work of documentary films is not reducible to representing what already exists. By close-reading a diverse body of films - from The Last Bolshevik to Grey Gardens - Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the doumentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world. -- Provided by publisher.
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Cover; Contents; Acknowledgments; Prologue; Imagination: Relational documents; 1. Frames of the photograph; 2. A documentary fable; Fabulation: Documentary visions; 3. Making up legends; 4. Acts of resistance; Affection: Documenting the potential; 5. Moments of affection; 6. The primacy of feeling; Epilogue: Ethics of sustainability; Notes; Works cited; Index.

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In Soul of the Documentary, Ilona Hongisto stirs current thinking about documentary cinema by suggesting that the work of documentary films is not reducible to representing what already exists. By close-reading a diverse body of films - from The Last Bolshevik to Grey Gardens - Hongisto shows how documentary cinema intervenes in the real by framing it and creatively contributes to its perpetual unfolding. The emphasis on framing brings new urgency to the doumentary tradition and its objectives, and provokes significant novel possibilities for thinking about the documentary's ethical and political potentials in the contemporary world. -- Provided by publisher.

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