Documentary Film
Page 17
Hara, Kazuo, 99
Harlan County, U.S. A., 88
Hearts and Minds, 62
Helfand, Judith, 8
Helmrich, Leonard Retel, 108–9
Hemmingway, Ernest, 80
Hennebelle, Guy, 54
Herzog, Werner
on cinema verité, 52
Grizzly Man and, 122
Hiding and Seeking, 104
Hiroshima-Nagasaki, August 1945, 73–74
historical documentary
biographies and, 95–97
challenges facing, 91–92
copyright issues facing, 94–95
Holocaust and, 104
personal films and, 100–105
print historians v., 91–92
responsibilities when making, 105–6
revisionism and, 97–100
stories and, 92–95
Hoberman, J., 129
Hollywood: The Golden Years, 94
Home for Life, 88
Honkasalo, Pirjo, x, 9
Hoop Dreams, 54, 54–55, 88
Horne, Lena, 83
Hôtel des Invalides, 46
Hour of the Furnaces (La Hora de los hornos), 84–85, 90–91
Housing Problems, 34
Houston, Bobby, 23
How the Myth Was Made, 31
Hudson, Robert, 23
The Hunters, 110
Hunting the White Bear, 118
Huston, John, 73
I
Ichikawa, Kon, 49
Images d’Ostende, 15
IMAX, 120–21
India 67, 49
Industrial Britain, 34
In Search of the Edge, 13
Inside North Vietnam, 61
interviews
ethics of, 98–99
Murrow and famous, 60–61
In the King of Prussia, 24
In the Land of the War Canoes, 28
In the Year of the Pig, 62
Into the Arms of Strangers, 100
Iraq for Sale, 90–91
Irwin, Steve, 119, 124
Isaacs, Jeremy, 97–98
Iskra group, 82
Ivens, Joris, 1, 15, 128
advocacy film and, 79
on cinema verité, 52
Cuba filmmakers and, 83
Guzmán and, 85
legacy of, 80–81
Iwasaki, Akira, 73–74
J
Jabor, Arnaldo, 51
Jacobs, Lewis, 131
Jacobson, Harlan, 4
Jacquet, Luc, 121
James, Steve, 88, 90
Jarecki, Eugene, 7
Jaszi, Peter, 95
Jennings, Humphrey, 69, 72
Johnson, Martin, 118–19
Johnson, Osa, 118–19
Julien, Isaac, 101
K
Kartemquin Films, 88–90
Kaufman, Boris, 15
Kaufman, Mikhail, 40
Kaul, Mani, 17
Kearton, Cherry, 118
Kieslowski, Krzysztof, 86
Kildea, Gary, 114
King, Allan, 50, 128, 130
King Kong, 107
Kino-Pravda, 39
Kirkman, Larry, x
Klawans, Stuart, 129
Koenig, Wolf, 53
Kofman, Amy Ziering, 96–97
Kopple, Barbara, 88, 128
Koyaanisqatsi, 15
L
Land without Bread (Las Hurdes: Tierra sin Pan), 13
Lanzmann, Claude, 98–99
The Last Waltz, 135
Leach, Jerry, 114
Leacock, Richard, 46–47, 110, 130
legacy
of advocacy film, 87–91
of Flaherty, Robert, 32
of government propaganda documentary, 75–77
of Grierson, John, 37–38
of Ivens, 80–81
of Rouch, 112–13
of third cinema, 87–91
of Vertov, 43–44
of Wiseman, 50
Legacy of the Tundra, 116
Lewis, Chris, x
Lewis, Mark, 122
Leyda, Jay, 43
The Life and Times of Rosie the Riveter, 99
Linden, Adrienne, 110
Lippman, Walter, 33
Listen to Britain, 69
success of, 72–73
The Living Desert, 120
The Living Earth, 121
Loader, Jayne, 75
London Can Take It, 72
London FilmMakers Co-op, 82
London Women’s Film Co-op, 82
Lonely Boy, 47
Lonelygirl 15, 126–27
Longinotto, Kim, 45
Loose Change, 126
Lorentz, Pare, 6, 130
government propaganda documentary and, 67
Los Angeles Plays Itself, 15–16
Louisiana Story, 30
The Lovely May, 51
Lumumba: Death of a Prophet, 102
M
MacDougall, David
approach to filmmaking of, 113
on memory and film, 100
MacDougall, Judith, 113
Maclear, Michael, 61
The Mad Twenties, 94
Les Maítres Fous, 111–12
Manhatta, 14
manipulation, reality v., 2, 24–25
Man of Aran, 29–30
myth of, 31
Man with a Movie Camera, 1, 15, 43
commentary of, 41–42
March of the Penguins, 6
synopsis of, 121
Marker, Chris
advocacy film group of, 82
new techniques of, 51
Sans Soleil and, 24
Valparaiso, Mi Amor and, 85
Marshall, Herbert, 43
Marshall, John, 110
Marx, Leo, 30
Maysles, Albert, 46–47, 130, 132
critical opinion on work of, 55
Maysles, David, 46–47, 130, 132
critical opinion on work of, 55
McAllister, Stewart, 69
McKibben, Bill, 124
McLane, Betsy, 131
McNab, David, 23
Mekas, Jonas, 16
Michaels, Eric, 114
Michelson, Annette, 43
Middletown, 53–54
Mighty Times: Volume 2: The Children’s March, 23
A Mighty Wind, 14
Minamata, 86
Mitmann, Gregg, 123
Moana, 3, 29, 33
mockumentary, 13–14
Moffat, Tracey, 116
Moi, un Noir, 112
Momma Don’t Allow, 46
Mondo Cane, 107
Montagu, Ivor, 31
Moore, Michael, 4
advocacy film v., 78
propaganda v., 7
Morawski, Piotr, 76
Morin, Edgar, 51
Morley Safer’s Vietnam, 61
Morris, Errol, 3–4
approach to biography of, 97
on cinema verité, 52
Mothlight, 16, 17
Moyers, Bill, 59–60
Murrow, Edward R.
on balance in film, 2
corporate funding and, 20
famous interviews by, 60–61
personality of, 62
N
N!ai: The Story of a !Kung Woman, 110
Nanook of the North, 2, 29, 107
cultural impact of, 27–28
making of, 27
nobility in, 30
National Film Board (NFB). See Canadian National Film Board
Native Land, 81
Natural History of Chicken, 122
Nature, 120
nature documentary, 117
beginnings of, 118–19
blue chip and, 120
environmental movement in, 121–23
ethics and, 123–24
IMAX and, 120–21
Walt Disney studios and, 119–20
Navajo Film Project, 106–7
Nejvesti Prani, 51
Nelson, Joyce, on Grierson, John, 37
The New Americans, 88–90, 89
NFB. See National Film Board
Nichols, Bill
on documentary and postmodernism, 133
ethics and, 22
on personal documentaries, 105
techniques of, 132
Nicht löschbares Feuer (The Indistinguishable Fire), 24
Night Mail, 34, 34–35
Nixon, Richard, 59
Nonfiction Film: A Critical History (Barsam), 131
Nornes, Markus, 134
Noujaim, Jehane, 125
Nova, 56
Now, 83
Nykino, 81
O
O Dreamland, 46
Ogawa, Shinsuke, 85–86
Oil on Ice, 90
One Sixth of the World, 42
Onwurah, Ngozi, 102
Ophuls, Marcel, 98
Opinião Publica (Public Opinion), 51
O’Rourke, Dennis, 114
Oshima, Nagisa, 49
Østergaard, Anders Høgsboro, 104–5
Our Wonderful World, 108
Outfoxed, 21
P
Padilha, José, 8–9
Panorama, 58
The Path to 9/11, 23
Patwardhan, Anand, 82
Peasants of the Second Fortress, 85
Peck, Raoul, 102
Pennebaker, D A, 46, 53, 110
Peralta, Stacy, 1
Dogtown and Z-Boys and, 104
Perfumed Nightmare, 24
Perlmutter, Alvin, 59–60
Perrin, Jacques, 121
personal diary format, 8
Pilger, John, 64
The Plow that Broke the Plains, 6, 67
P.O.V., 60
The Power of Nightmares, 60–61
Primary, 47
propaganda, 6–7. See also government propaganda documentary
Fahrenheit 9/11 v., 7
Moore v., 7
public affairs documentary
cinema verité and, 63
conventions of, 62–63
critical opinion on work of, 63–64
decline of, 58–59
Drew and, 63
ethics and, 63–64
format of, 56–57
government propaganda documentary v., 65
influence and significance of, 60–62
journalists and, 57–58
present state of, 64–65
public television and, 59–60
television and opportunities for, 58
Q
A Question of Equality, 99–100
Quinn, Gordon, x–xi, 88, 90
R
Rabiger, Michael, 3
Radio Bikini, 75
Rafferty, Kevin, 75
Rafferty, Pierce, 75
Rain, 1, 15
Rainer, Yvonne, 101
Raphael, Chad, 19
Rat, 122
realism, 26, 40, 133
reality
artistry v., 25–26
documentary and, 5, 9–12
manipulation v., 2, 24–25
reenactment
ethics of, 22–23
history of, 22
Reeves, Nicholas, 71
Reggio, Godfrey, 15
Reiner, Rob, 13–14
Reisz, Karel, 46
Reith, John, 33
Rejger, Katarina, 126
Renov, Michael
on personal documentary, 105
techniques of, 132
Rich, Ruby, 129
Richter, Hans, 17
Riding Giants, 1
Riefenstahl, Leni, 68, 130
Capra v., 70
on government propaganda documentary, 75
Rien que les Heures, 15
The River, 6, 67
Roger and Me, 4
Rønde, Jeppe, 24
Roosevelt in Africa, 118
Roots, 23
Rosenbaum, Jonathan, 129
Rosteck, Thomas, 64
Rotha, Paul
on documentary, 129
on Flaherty, Robert, 31
on Grierson, John, 36–37
Roth, Lorna, 114
Rouch, Jean, 128
approach to filmmaking of, 111–13
on cinema verité, 53
direct cinema of, 52
on documentary, 112
Flaherty, Robert, influence on, 111
legacy of, 112–13
process of, 50–51
Vertov influence on, 111
Rouquier, Georges, 119
Rubbo, Michael, 62
Ruby, Jay
on ethnographic film, 106
on Flaherty, Robert, 31–32
Rudavsky, Oren, 104
The Russian Miracle, 93
Ruttmann, Walther, 14–15
S
Sad Song of Yellow Skin, 62
Salesman, 47, 48
Salomon, Henry “Pete,” 93
Sankofa workshop, 101–2
Sans Soleil, 24
Schatz, Thomas, 135
Schlesinger, Arthur, 91
Schneeman, Carolee, 16
Schulberg, Budd, 74–75
Schwartzman, Stephan, xi
Scorsese, Martin, 44, 135
Sea Island, 119–20
Seavey, Nina, xi
The Secret Plot to Kill Hitler, 23
Secrets of Nature, 118
The Secret Tapes, 76
See It Now, 20, 58
famous episodes of, 60
The Selling of the Pentagon, 61–62, 75
The Seoul Visual Collective, 87
Seven Up, 63
Shamir, Yo’av, 9
Shape of the Moon, 108–9
Sheeler, Charles, 14
Shoah, 98–99
Shub, Esfir, 92–93
Sierra Club, 90
Sierra Club Chronicles, 77
Simba, 118–19
Simma, Paul-Anders, 116
60 Minutes, 58–59, 64
Skorzewski, Edward, 86
Smith, Hedrick, 59–60
Snow, Michael, 16
Solanas, Fernando, 84
Song of Ceylon, 66
The Sorrow and the Pity, 98
The Spaghetti Story, 13
Spain, Tom, 58–59
The Spanish Earth, 90–91
CP connection to, 80
Flaherty, Robert, influence on, 80
synopsis of, 80–81
Special Inquiry, 58
Spurlock, Morgan, 125
Star Wars, 1
Stone, Robert, 75
Stoney, George, xi
advocacy film and, 87–88
Flaherty, Robert influence on, 30–31
Stop Making Sense, 135
Storck, Henri, 15
on Borinage, 79
The Story of the Weeping Camel, 32, 108
Strand, Paul, 14
Stranger with a Camera, 63–64
Sucksdorff, Arne, 119
Sukhdev, S., 49
Super Size Me, 125
Sussex, Elizabeth, 37
Sutton, Ron, x
Svilova, Elizaveta, 40
The Swenkas, 24
Symphony of the Don Basin, 42
T
Taboo, 108
Tahimik, Kidlat, 24
Tak for Alt, 22
Taking Pictures, 113
Tango of Slaves, 104
Teno, Jean-Marie, 102
Thin, 50
The Thin Blue Line, 3–4
third cinema
Argentina and, 84–85
Chile and, 85
Cuba and, 83
Grierson, John, v., 84
Japan and, 85–86
legacy of, 87–91
Soviets and, 86
Taiwan and, 86
This is Spinal Tap!, 13–14
Thorndike, Andrew, 93
Thorndike, Annelie, 93
Three Rooms of Melancholia, 9
TieXi Qu, 45
Tintin and I, 104–5
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br /> Tire Dié (Throw Me a Dime), 83, 86
Titicut Follies, 49–50
Warrendale v., 50
Tokyo Olympiad, 49
Tomaselli, Keyan, 36
Triumph of the Will, 9, 72
counterpropaganda from, 73
political aims of, 68
success of, 71
Trobriand Cricket, 114, 116
Tsuchimoto, Noriaki, 86
Twentieth Century, 58–59
20/20, 58
Two Laws, 116
U
Unik, Pierre, 13
Union Maids, 100
Untold Stories (Aufderheide and Jaszi), 95
V
Valparaiso, Mi Amor, 85
van den Broek, Eric, 126
van Dongen, Helen, 80
on Flaherty, Robert, 31–32
The Vanishing Prairie, 120
Varda, Agnes, x, 45
Vaughan, Dai, x
Vertov, Dziga, 15, 25, 127, 130, 132
advocacy film influenced by, 86
on art v. realism, 40
beliefs of, 38
career beginnings of, 39–40
career decline of, 42
on communism and film, 39
critical opinion on work of, 41
on fiction v. documentary, 1, 38–39
Flaherty, Robert, v., 44
government propaganda documentary and, 67
Grierson, John, influenced by, 44
legacy of, 43–44
on love for camera, 14
Rouch influenced by, 111
Victory at Sea, 76
making of, 93
Video Diaries, 55
Video Letters project, 126
Vigo, Jean, 15
von Furstenberg, Diane, 96
W
Wal-Mart: The High Cost of Low Price, 6–7
Walt Disney studios, 119–20
Warrendale, 50
Watkins, Peter, 24
Watt, Harry, 34
Waves of Revolution, 82
The Wedding Camels: A Turkana Marriage, 113
Weisberg, Roger, 59–60
Wenguang, Wu, 87
West of Tracks, 45
What Farocki Thought, 24–25
White Paper, 58
Why We Fight, 7
political aim of, 70–71
success of, 73
Wild Man Blues, 88
Williams, Linda, 105
Winged Migration, 121
Winston, Brian
on documentary, 133
on Grierson, John, 37
Wintonick, Peter, 53
Wiseman, Fred, 110, 130
career of, 49–50
critical opinion on work of, 53
on labeling his films, 52
legacy of, 50
With Babies and Banners, 100
Wolf, Daniel, 96
Wolper, David, 94
The World at War, 97–98
World in Action, 58
Worth, Sol, 106–7
Wright, Basil, 34, 66
Y
You Are on Indian Land, 115
Z
Ziv, Ilan, 104
Zwerin, Charlotte, 47
Zwigoff, Terry, 55