Claiming the Real : The Griersonian Documentary and Its Legitimations Book

	Preface	1
Pt. 1	The Creative Treatment of Actuality
1	The Documentary, Scitex and Harry	5
2	The Documentary Film in 1914	8
3	The Documentary as the Creative Treatment of Actuality	11
Pt. 2	Creative: Documentary as Art
4	Photography as Art	17
5	The Documentarist as Explorer/Artist	19
6	The Griersonian Artist	24
7	Documentary Film and Realist Painting	26
8	The Politics of Realism	30
9	Running Away from Social Meaning	35
10	Poor, Suffering Characters: Victims and Problem Moments	40
11	Serious-Minded Chaps: Politics and Poetics	48
12	He Never Used the Word Revolution	57
13	To Command, and Cumulatively Command, the Mind of a Generation	61
14	Running Away from Social Meaning in America	69
15	Staatspolitisch Besonders Wertvoll	74
16	To Win New Comrades for the Cause	79
17	A Curious Comment	93
Pt. 3	Treatment: Documentary as Drama
18	Life as Narrativised	99
19	Chrono-Logic	104
20	Non-Narrative: Works Better in the Head than on the Screen	113
21	Sincere and Justifiable Reconstruction	120
Pt. 4	Actuality: Documentary as Science
22	Photography as Science	127
23	Science as Inscription	130
24	Evidence in the Law	138
25	Technologising the Documentary Agenda	143
26	Documentary as Scientific Inscription: Film as Evidence	148
27	This Objective-Subjective Stuff Is a Lot of Bullshit	159
28	Kinopravda	164
29	Film as Ethnography	170
30	Film as Truth	181
31	The Principles of Visual Anthropology	189
32	Flies in the Soup: The Influence of Cinema Verite	197
33	Flies on the Wall: The Influence of Direct Cinema	205
34	What Constraints?	219
35	The Repressed in Documentary Film Studies	230
36	On the Battlefields of Epistemology	242
Pt. 5	Documentary in the Age of Digital Image Manipulation
37	Towards a Post-Griersonian Documentary	251
38	The Innocent Arrogance of Objective Fact	259
	Envoi	261
	Notes	263
	Bibliography	277
	Index	295