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Copy of Documentary Histories

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Angela Piccini

on 15 October 2012

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Transcript of Copy of Documentary Histories

City and the Cinematic Imagination Lev Kulesov said cinema is 'the organisation of subsequent images' Actuality and the city The city as medium What is documentary? Technical and aesthetic concerns led to consideration of initial photographic imprint of motion as endowed with latent possibility of becoming something more than a mere footprint of motion. 1895 1922 1935 Arrival of a Train
Auguste and Louis Lumière Nanook of the North
Robert Flaherty Housing Problems
Arthur Elston and Edgar Anstey 1929 Man with a Movie Camera
Dziga Vertov 1936 Triumph of the Will
Leni Riefenstahl Louisiana Story
Robert Flaherty 1948 1960 Chronicle of a Summer
Jean Rouch

Robert Drew 1955 Night and Fog
Alain Resnais 1967 The Things I Cannot Change Tanya Ballantyne Harlan County USA
Barbara Kopple 1976 1989 The Heart of the Angel
Molly Dineen 1983 Sans Soleil
Chris Marker 1985 Shoah
Claude Lanzmann 1986 Sherman's March
Ross McElwee 1990 Close Up
Abbas Kiarostami

The Civil War
PBS, Ken Burns 2010 Cave of Forgotten Dreams
Werner Herzog 2003 Tarnation
Jonathan Caouette 1958 Candid Eye
CBC Television 1964 Seven Up!
Granada Television, Michael Apted 1973 An American Family
PBS 1997 Driving School
BBC 1998 Divorce Iranian Style
Kim Longinotto

The Dolls' House
Bravo 2002 Bowling for Columbine
Michael Moore 2007 Up the Yangtze
Yung Chang Robert J Coady, December 1916

cinema is constituted of visual motion:

'have not these organisers [National Association of Motion Picture Producers] been censoring [the cinema] right along? Have they not been limiting its activity to 'the story', the 'photoplay' and the 'photodrama', limiting its scope in the field of visual motion?' Georg Simmel's 'The Metropolis and Mental Life' (1903):

Here, in buildings and in educational institutions, in the wonders and comforts of space-conquering technique, in the formations of social life and in the concrete institutions of the State is to be found such a tremendous richness of crystalising, depersonalised cultural accomplishments that the personality can, so to speak, scarcely maintain itself in the fact of it. Charles Baudelaire's 'The painter of modern life' (1863)

For the perfect idler, for the passionate observer it becomes an immense source of enjoyment to establish his dwelling in the throng, in the ebb and flow, the bustle, the fleeting and the infinite. To be away from home and yet to feel at home anywhere; to see the world, to be at the very centre of the world, and yet to be unseen of the world, such are some of the minor pleasures of those independent, intense and impartial spirits, who do not lend themselves easily to linguistic definitions. The observer is a prince enjoying his incognito wherever he goes.
And he watches the flow of life move by, majestic and dazzling. He admires the eternal beauty and the astonishing harmony of life in the capital cities, a harmony so providentially maintained in the tumult of human liberty. He gazes at the landscape of the great city, landscapes of stone, now swathed in the mist, now struck in full face by the sun. He enjoys handsome equipages, proud horses, the spit and polish of the grooms, the skilful handling by the page boys, the smooth rhythmical gait of the women, the beauty of the children, full of the joy of life and proud as peacocks of their pretty clothes; in short, life universal. Dziga Vertov Filippo Marinetti 'The Futurist Manifesto' (1909)

We will sing of the great crowds agitated by work, pleasure and revolt; the multi-colored and polyphonic surf of revolutions in modern capitals: the nocturnal vibration of the arsenals and the workshops beneath their violent electric moons: the gluttonous railway stations devouring smoking serpents; factories suspended from the clouds by the thread of their smoke; bridges with the leap of gymnasts flung across the diabolic cutlery of sunny rivers: adventurous steamers sniffing the horizon; great-breasted locomotives, puffing on the rails like enormous steel horses with long tubes for bridle, and the gliding flight of aeroplanes whose propeller sounds like the flapping of a flag and the applause of enthusiastic crowds. Kino Eye, 1922 Because people cannot control their movements, we will until further notice not include them as subjects in our films;
Our way takes us through the poetic machine, from the corpulent gentleman to the perfect electric man;
We reveal the soul of the machine, causing the worker to love his workplace, the peasant his tractor, the engineer his engine;
We bring joy to mechanical labour.
We make peace between man and machine.
We train the new man. Modernist elements of fragmentation, defamiliarization, collage, abstraction, relativity, anti-illusionism, rejection of transparency of realist representation
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