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    Jim Lane - Cinema About David Holzman's Diary

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    Jim Lane - Cinema About David Holzman's Diary

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    17 tayangan25 halaman

    Autobiographical Documentary in America

    Diunggah oleh

    fernandafava
    Jim Lane - Cinema About David Holzman's Diary

    Hak Cipta:

    © All Rights Reserved
    Unduh sebagai PDF atau baca online dari Scribd
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    Wisconsin Studies The Autobiographical Documentary in America Jim Lane 820075 CoA The University of Wisconsin Press Contents strations Acknowledgments Iocrction 1 The Convergence of Autobiography and Documentary Hisorical Conaectons 2 Dovid Hotemavs Diy: An Uniey Begining 3) The Jounal Entry Approach: Narrative, Chronology, and Autobiographical Chins 44, Autobiographical Poraitue: Fly an Slt 5 Women and tte Autobiographical Documentary: Historical Intervention, Weng, Alenty andthe Disloie Engagement Anerwond us ma = a Introduction [cars who happened tobe chanel suring in June 1993 and who came swt broadest of PBS Pot of Vw documentary series oay have ob ‘ree the following scene, As somone sang, "You are my sunshine, hy ‘ay suscine” from behind the camera, viewers sw Tor oli, who ad ‘nents lore ded of complications of AIDS, The cucordr teed Mark Mass attempted o hep his partner’ close-up in frame. Weeping etal ho camer, Mas tod emer tht sin a js di an that he ol fosin vey much. Viewers may have been shocked, deep) moved oF "oma why they had bee ined to watchsuch a pate moment "hw Sie Le The View from Here (e999 teat xa sh Amrianautobiographial documentary Since thelas 196s Amer. us dusonarite have mad fms abd vidos about the ext of thir Ines ave presented them a5 examples of cultural experience. Such as atl vader ave noenced the way that We think about the coe of «is antary sn atobigraphy in comtempotery Amica fe. The tine woes ght ore on WHat has happened to documentary, tab: ‘erat sal thn stwaen pate nd publ. The inet on Stu Kaan Jdith Mita Kate write that a ‘sisal dcunnptries are about oneself or one's" "the inlet th sa Hhuakerofen begins with eve of rust ad it sary act acc eri Fr ier fm While Kat nd Kats svt bes ets uni pete menemen ofes uch ore Inteadtion ins influential charseterities mark the movement as one ofthe most sieilicent paths taken by American documesarstsin recent yea Fit these works revel how documentary an bea sto utobogtphial uy ctv, once anathema todocumentarit Send he gars plscing oF the si inthe work complate how noniction fl and video fepreent snd mae eferences tothe el woe. Ti inthe more than they sear Since the form was extabished in the lt 1950, autobiographical !nebtares ve eal an ara of formal possi (ih oa er. ry autobiography aswell as in documentary that ve chang oar tudes about what a documentary shoul look and sound ike This bok I deploy Kat and Kate's bie defntion ofthe atobio srapical documentary but explore it intra ofthe infos tat fim ‘makes have hd on subject reference and the utodocumeear fr when the tra ther cameras and sound rconeson tenses Al theone ‘ofthis exploration lis tension that hinges onthe documentary impulse o ‘objectively record a historia wold “ou ther and on te autobioaraph ‘ealimpale to subjects record private work" hre” Morcovee Te ies aercal respons that filly acknowledges the movements in- ‘uence onthe broader fed of American autobiographical practices The authors ofthe autobiographies! documentary typically ae not Publi gues They are not atts wth a lange buy etabled work "hat may engender wide recognition or vewerhin” The sutbiograhical documenta s more often maker working in soonynity, tt vy local evel under low: but constants, We enter the fl oe wio with li preconception ofthe authors history a situation aki ovch notre ‘ional wrten autobiographies aslavevaratives. cpt aaraies a ‘ie and memoirs. Such thors might gin publi recoenion afer we ing thsi text. Lie these tray authors aatobiographict dcamentariss The ‘iy theorist Paul Arthur suggests tat evant gare Hmupakes attempted tornrest cinema from the aeststic and fehoologealhegrnony of Ame an commercial cinema by creating a movement that advanced "the pos pects ofa domesticated technology universal avalabe wo personal neal tnd te spontaneous framing of commonplace, acomseqvntal” ati ‘is Forte ist ime Hmmaters began to sho and eet on their own immediate words, puting maisteam cinema on notice. Trough the ee ‘entation of autobiographical themes and te simplification ofthe modes ‘tecording, an arsanal form of autobiographical expression emerged thatinsubjst and form opposed dominant industrial cinema, Sar by theless the preseatation of the autbiopraptical hemes and the sin Plain of th recording apparatus in documentary stood in cots 0 trains! nonfiction fn "The unprecedented sutobiogaphica content ofatant-garde works jd the adil sltrnativecinemate orn, wat Bake eles to {is being “visually explored” Avant-garde fmmalers developed abstract {onrpsescntascnll forms wo sepresent the every. They en para norte forms that metspborally represen tls of mad and emo Tonal states Filmmakers consistently essed wa would be percied Feast modes of representation. Though experimentation wicinerstow rap, eiting- and sound, tbe svant-gude constituted an iprssve boy ‘ofwork that moe than ay ote fin movement, advanced the use ofa. aetion, iim, and anunareave “Thin toot Divi ames sos the American svant-garde ws taking ‘iste recone fom the metaphor of poate. ib exemplary sy ‘ary in of dai carl practice” Like poet, avantgarde is Scud orcid Mewintal ongnitionean ale be obscured ap The altar sono ial aye of Teakhage and Sco } if i i "The Contergene of Autobiography snd Documentary siverge from the mote readily discernible sounds and mage of he atobi ‘ognphicl documentary" The lye manipulation ofthe ible and au inmany ofthese avantgarde fms alps the Arsercan cinema vant ‘ade wih te anger revolution in he as at this tine, erp By the ‘ork of Jackson Polack in pling, Jha Cage mosis and Ale Gin begin teatue. Film istrins have convincingly documented the nterction of mem- ters ofthe New Aner Cincina andthe modern arin specially ‘New York. The i istrian leiey Roll write, "The vant-pde fim ‘commit maybe thought of saat word, a subset of he age com temporary art word inthe United Stites According to Reo, evan sure fitters expecially Mekas,“ulvated the appreciation oft {fincar form" These nmkessas ise artists worked an enionment onnected to the avant-garde ar wrk, where artist spared by aeathetic ‘xpeimentton, contested mimetic art ands instittions The sytorstc toe of abstract cinematic images andor sound in the ange forged & Significant distinction rom de rpresentaioal st of the stobioesph icsldocumentary “The majoity of autobiographical documentarss emerged from sep- arate tn ado, namaste American documentary. The Ries ‘thistraditon intde Rober Far, Wiad Van Dyke, Ricare Leacock. and Frederick Wiseman. Because othe legacy ofthe documentary tra ‘on datingtiom cinema eal day, autobingrphical documenta sed een approach to cinematic aesthetics han tht counterpart ine autobiographical aantgurde fm movement Forte new documenta ‘ecama and ape recede ware tol for exploring an presting thet ‘ov by lying onthe semitaly motivated stats oF th fm nd oud Inola.The Baa epresentations of hee work coal be expe Iytcal, or meditate, tut unt the arama, sounds! mage were ‘Sotnset recognizable dnt abiac. Thu the autobiographical doc Tuncay was fundamental iret from the autobiographical sv ate at ibe formal level, Cinematic estes were pu in seve moc 0 Explore the social world and les to over the traion of reesei tonal st, Tl Nichols asserts that docomentrsts use sound ad image 3 ei ence to make ay argument shoot the soil and istrical wold. Doc ‘ments mobilize sounds and mags both to ela roo about he ‘orld and through ein. structure, and etal devices, to bud an ‘ovcral psn toward the evidentiary pees exibtdi the body he Work" Because 30 many ofthese immer were rina docu. tastier inher of rec cinerno rin sch hw a Sound and nae functioned on register far ron nH so fev! Theekncy thi cmt wa aan) av ssn “The Comergence of Autobiography and Documentary oa amen ferent form, arking a significant deren wth Theautobographial avant-garde. ‘The recon of ceria documentary tations, especially diet cin- mala played an nportat cle inthe development the tobingraph- ‘documentary Before the late £960 the dominant frm of American ‘eumentais vas observational. Thefmmaker vasa nonpartcipancand do personal sak inthe profini events According to th visu a "ropaogi Jay Rub, hs category eluded many anthyopelogcl eh erp, journalistic, and diet cinema documentaries hat presctsd ooo topics o which the documenta had no attachment beyond & Profosionalone. Thisdstance gave seo an abundance documents That obtied other cultures or groupe that often had litle in common wih the documenta’ background. Ruby observes: 1 documenta ln maf onthe weir aed oer docsmet hioasRece emote conta bewols tha bee t= othe Thoth ata ate wal the poor the poser, he cahange, and {hp supe, alot se the "ee The documentary Sn thst ben sewer people earl let thir own cate ‘ven the institutional and soil acceptance ofthese documentary ad thn itis easy to understand wy docamentarss Before the lat sis svoed fring the carer and ape recorder on therelven'* (Ofthe noted "we they" documenta diet icra mos sigicanty ienced the American documentary scene of Ue siais that auton ‘raphe! docimentarsts tr rete Autobiographies! documenta ‘en ed the ochnoloy of diet ier, that Habit syochronous “nd tesbnofns bt for altogeter diferent purpos A aalsisofthis {eansormition from shsereatonal, det cinema to inert aod phic! docimentary rege several sep The labored terminological ‘turton ofthe dstntions between einema seria rst cinema the “thurs, Although he flm historian Sloper Mamber considers the ‘cent synonymous se the erm diet inna to rele t those ocumer loncedcsto by Mamberin inom Forté in Amoi Sasi Uno led Documentary (9741 wis to make distinction hewn the i tha verte Jocumentares, which provoke events ad are reflexive, such “Xin Rough nd Edgar Moris Chol f Somer 1963), the a sition of American det einma, which presents tens im an over ‘io oan way ‘Mut dstinsoi sem (orate cal civma eri) aa mode Th plea He write “The Himaker doesnot fonction ate. te ot fort te seco” Accoling fo Mane, thee ties sup ob te lvoe tiara oF ‘The Comergnce of Autobiography aod Documentary the dosumentary “Th respetin shooting fr novntrference cris over tas the determining force Inthe form of the final fm.” Maer writes “Even though ely tered through one sensibility, the Smmaker es not tosape his material on the bi iniing preconception But the bits to Yecord people visually and aural in spontaneous stuns sie ‘ianty altered the look and sound of documentary. For the fis ine flmmaters were unfeered by heavy tpods cameras and pe recone ‘nd ould eco what peopl ssid and i ia thei ow word ely, he ‘ret cinema crew observed but aver entre the aly ofthe ly, ad the documentary wis no 0 mucha rection of the Hmrakes' sens ity batof th wold ise Direct cinema documentarsts ovethled documentary style tosuehan extent that they creat new conventions of eam. The fs historians Robert Allen ané Douglas Gomery wit, “The ef o the flea to injec himself or herself nto the subject mate ofthe in beightened the persed truthfulness ofthe images captred ofl" Consequently the ‘Set cinema reine anslorid the sake alin documentary and ‘ina general Taelook and sound of det cinema blck-and- white, hundeld synchronous-sound shooting quickly became the dominant mode of cinematic els conventions, whic ever Btn ms ofthe tie appropiate fo a rals et "he later shi autobogsaphica documentary reece a fundamen: lulchangeinhow some docutestavsts and cite owed thea andp. cal fetion of documentary. While many autabiogropical documen- tacns used the new ln technology, they reed the noninerentions ston tat aivet cinema pracitoners adhered The urs to mob ‘ph in documentary necessarily conte the externally driven als ‘ict cinema and stn pare aerate documentary practice hat as {seit with tho "we they” octmentaries inthe United Stes The ial le speie generative re tat shaped the bepnings Fhe autobiographical documentary was the wideyprend move toward reflex States nfl, espcaly in Eope In Prange Jean Roch and Egat Merit celebrated Conic fa Summer became an infeti mod!f some American dosomentarits who soon afer reacted gas the est ‘eal det einoma, After pending the majority of sears ming the Dosonpeopein West Ac, Rouch and the lop Br Morin med the documentary camera on the lmmakers an their ow clr a i tory namely, Paris nthe ary sixties. sting om Ring people nom they kw or aot to know thro te redaction of the fm, Roch nd “Morin developed several intimate portraits of people who wee various ‘ssn approach tthe film, Thefimmakens precede dream ‘The Convergence of Autobiography and Documentary tae iecording apparatus were aknowlegd as determining fstrsin the is oval presentational scheme, ‘Chron of «Sumer looks and suds like few other documentaries ofthe eal satin The Bim pretnts eightene emotional ports, none ee memoraethun Marones remembrance of er fait she walls song the Place de ls Concorde Filming ts main hart ia tel stand ong take, the fmakers allowed he o wale with the tape ee Ssirderandmerophone Alone ith er thoughtsatd memory, Maesine ‘idly recalls he tag vets of er separation fom het abe, who was sent io Nazi death camp. Indramatcfishion Maren dtety addresses he absent brother and father wd taal’ remembers comets she twit ee family during those traumatic hours ouch and Morin concede lm han on-amets logue bout wlth a accompli Boh re that they have found a geil it ‘erent int radea, approach documentary Thecomerpnce of ree ‘ithe dacomentaryeamers, and personal cours crested an exer sacforwhat ny Raby sid was acing in documentary: abexauacion of “and one own cular oe welas the mening sats of doeuentary The inlonceof Croke ofa Summer aswel as oer exe los wtb ean-Lue Goats To or Tee Things UKs aout Her (1968), ive rie toa refit i n documentary sen most cary inthe Ame ‘sm autobiographical documentary The reeves inthe auto raphial documentaries aid bare the material condition uader which tom was made, pracice considered taboo det cinema.” A does nena sete en ser a tatepy that exes snd critiques ‘ownrapreeatational stem, The doubly constituted documentary nan ek: Simple of what the anthropologist Ciord Geertz has characterized a ex ia els “itself about isl The relive txt contains sgisng to hat preducesmeaning end presetsacodelermiaing etiqueo tvery ‘ine of producing meting” Refexivity secured in documentary nity a polscal respons 0 ‘insmticoonizing of others in which documentary seed exsely 09 | ‘terserntal capacity As th fm histori Jeane Allen has cbt, the ve documentary ws rection agaist the aditon of cements ‘which dete it prt that "asia he camo versie tn hoefre soccedd it facing the documentary’ deologelcond Thing" Ths pt of the pao axing rene states wt lade yet of histori ely tha teainaly were fet out of docamen tars ep theps king the ly wich ha the past been Refsnes demytied th erat ap icf espn he Meola poston of the doce ‘The Comergece of Astobiography and Docomentary In thtraiiona docimentary modes foe the ats the ie story ‘ofthe documenta wae eae a reexie se peste. Bocase the flim avant-garde had already proved the validity of autbiogaply in ‘sina the mon to reexe statin documentary lo the possi ‘ot Teerences to nt only "making proces” but lo "elfeerences” ‘Thos refeuvityin the autobiaphiealdocurentary ong a ink to the uiobiographicldtersve rae Reexnty extends to subject el rence, and autobiographical forms by ecg viewer attention to the presence ofthe autobiographies, whois fimmaker Acknostede ene of the making ofthe atobingrphicl documentary typical are 2 hark ofthe autobiographical at, forthe fimmake tention be making documentaries at east in part, aboot themselves, Because pst of the documentarist se Being filmmae,reexinity subtends feleeference. Reflex eal bsightens our avarenes ofthe constrctd stats of the documentary image and sou, yet refxvty in the autobiographical oeumentary docs not necessarily fnetion as a srategy that overthrovs the pont of histone reference in documentary. Astbiogrphicl octets use seexiity not to erazate the real as mich as 1 om sate ferential clans Ia is historical overview of her of ree, the tort Rober Stim observe "Realism and reflex are no strty ‘opposed polaris but ater interpenetrating tendencies quite capable of ‘Sooxstene within the Same ex Rely enaies the autobdiopaphi a discourse that inextricably vings together autobiographers, het me

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