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| 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 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
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Add Claiming the Real: The Griersonian Documentary and Its Legitimations, In Claiming the Real, Brian Winston rewrites the history of documentary film to take account of technological change. He subjects the great figures of the past—Grierson, Flaherty, Dziga-Vertov—to a searching critique, and examines both the pri, Claiming the Real: The Griersonian Documentary and Its Legitimations to the inventory that you are selling on WonderClubX
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Add Claiming the Real: The Griersonian Documentary and Its Legitimations, In Claiming the Real, Brian Winston rewrites the history of documentary film to take account of technological change. He subjects the great figures of the past—Grierson, Flaherty, Dziga-Vertov—to a searching critique, and examines both the pri, Claiming the Real: The Griersonian Documentary and Its Legitimations to your collection on WonderClub |