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Robert and Frances Flaherty
This biographical study of the filmmaker Robert Flaherty and his wife Frances reveals, through unpublished diaries, their lives and careers prior to the release of his film 'Nanook of the North' in 1922.
The Odyssey of a Film-maker
The text which follows grew out of a number of talks which Frances Flaherty, during which film clips from the great Flaherty films were used to accompany her remarks. Frances Flaherty, who became his wife in 1914, shared with him the triumphs and frustrations of his creative years. Robert Joseph Flaherty, was an American filmmaker who directed and produced the first commercially successful feature-length documentary film, Nanook of the North
The Flaherty
“[A] history of this singular institution that has indelibly shaped independent and documentary filmmaking, as well as its critical reception.” —Film Quarterly This is the inspiring story of The Flaherty, one of the oldest continuously running nonprofit media arts institutions in the world, which has shaped the development of independent film, video, and emerging forms in the United States for more than sixty years. Combining the words of legendary independent filmmakers with a detailed history of The Flaherty, Patricia R. Zimmermann and Scott MacDonald showcase its history and legacy, amply demonstrating how the relationships created at the annual Flaherty seminar have been instrument...
Robert and Frances Flaherty
Robert Flaherty's groundbreaking Nanook of the North (1922) - the chronicle of one year in the life of an Inuit hunter and his family in the Hudson Bay region - was the first full-length anthropological documentary in cinematic history. Before Nanook, Flaherty endured a number of failures, disappointments, and false starts. Drawing from the unpublished diaries of Flaherty and his wife, Frances, Robert Christopher's biography fills in crucial background in the emergence of a documentary film legend. Previous biographical emphasis on Nanook has not only obscured Flaherty's early career but also neglected the critical contributions Frances made to his development as an artist. Robert and France...
Facing the Pacific
The enduring popularity of Polynesia in western literature, art, and film attests to the pleasures that Pacific islands have, over the centuries, afforded the consuming gaze of the west—connoting solitude, release from cares, and, more recently, self-renewal away from urbanized modern life. Facing the Pacific is the first study to offer a detailed look at the United States’ intense engagement with the myth of the South Seas just after the First World War, when, at home, a popular vogue for all things Polynesian seemed to echo the expansion of U.S. imperialist activities abroad. Jeffrey Geiger looks at a variety of texts that helped to invent a vision of Polynesia for U.S. audiences, focu...
Feminism and Documentary
Documentary and feminist film studies have long been separate or parallel universes that need to converse or collide. The essays in this volume, written by prominent scholars and filmmakers, demonstrate the challenges that feminist perspectives pose for documentary theory, history, and practice. They also show how fuller attention to documentary enriches and complicates feminist theory, especially regarding the relationship between gender and sexuality, race and ethnicity, class, and nation. Feminism and Documentary begins with a substantial historical introduction that highlights several of the specific areas that contributors address: debates over realism, the relationship between filmmake...
Toward a Philosophy of the Documentarian
The theme of this book is the documentarian—what the documentarian is and how we can understand it as a concept. Working from the premise that the documentarian is a special—extended—sign, the book develops a model of a quadruple sign structure for-and-of the documentarian, growing out of enduring traditions in philosophy, semiotics, psychoanalysis, and documentary theory. Dan Geva investigates the intellectual premise that allows the documentarian to show itself as an extremely sophisticated, creative, and purposeful being-in-the-world—one that is both embedded in its own history and able to manifest itself throughout its entire documentary life project, as a stand-alone conceptual phase in the history of ideas.
Facing the Pacific
The enduring popularity of Polynesia in western literature, art, and film attests to the pleasures that Pacific islands have, over the centuries, afforded the consuming gaze of the west—connoting solitude, release from cares, and, more recently, self-renewal away from urbanized modern life. Facing the Pacific is the first study to offer a detailed look at the United States’ intense engagement with the myth of the South Seas just after the First World War, when, at home, a popular vogue for all things Polynesian seemed to echo the expansion of U.S. imperialist activities abroad. Jeffrey Geiger looks at a variety of texts that helped to invent a vision of Polynesia for U.S. audiences, focu...
A Philosophical History of Documentary, 1895–1959
This book presents a chronology of thirty definitions attributed to the word, term, phrase, and concept of “documentary” between the years 1895 and 1959. The book dedicates one chapter to each of the thirty definitions, scrutinizing their idiosyncratic language games from close range while focusing on their historical roots and concealed philosophical sources of inspiration. Dan Geva's principal argument is twofold: first, that each definition is an original ethical premise of documentary; and second, that only the structured assemblage of the entire set of definitions successfully depicts the true ethical nature of documentary insofar as we agree to consider its philosophical history as a reflective object of thought in a perpetual state of being-self-defined: an ethics sui generis.
Wondrous Difference
The ethical and ideological implications of cross-cultural image-making continue to stir debate among anthropologists, film scholars, and museum professionals. This innovative book focuses on the contested origins of ethnographic film from the late nineteenth century to the 1920s, vividly depicting the dynamic visual culture of the period as it collided with the emerging discipline of anthropology and the new technology of motion pictures. Featuring more than 100 illustrations, the book examines museums of natural history, world's fairs, scientific and popular photography, and the early filmmaking efforts of anthropologists and commercial producers to investigate how cinema came to assume the role of mediator of cultural difference at the beginning of the twentieth century.
