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Geva, Dan.

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A philosophical history of documentary, 1895-1959

Record Type:	Electronic resources : Monograph/item
Title/Author:	A philosophical history of documentary, 1895-1959/ by Dan Geva.
Author:	Geva, Dan.
Published:	Cham :Springer International Publishing : : 2021.,
Description:	xiii, 393 p. :ill., digital ;24 cm.
[NT 15003449]:	Chapter 1: Introduction. Chapter 2: 1895; The Lumiere Brothers -- Chapter 3: 1896; Georges Melies -- Chapter 4: 1898; Boleslaw Matuszewski -- Chapter 5: 1908; Burton Holmes -- Chapter 6: 1912; Edward Curtis et al -- Chapter 7: 1917-1921; Blaise Cendrars -- Chapter 8: 1922; Dziga Vertov -- Chapter 9: 1924; Robert Flaherty -- Chapter 10: 1926; John Grierson -- Chapter 11: 1927; Esphir Shub -- Chapter 12: 1928; Alexie Gan -- Chapter 13: 1928; Dziga Vertov -- Chapter 14: 1930; Jean Vigo -- Chapter 15: 1930; Joris Ivens -- Chapter 16: 1932; John Grierson -- Chapter 17: 1933; Oswell Blakeston -- Chapter 18: 1933; John Griersonv -- Chapter 19: 1933; Harry Bruce Woolfe -- Chapter 20: 1934; Leo Hurwitz -- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934 -- Chapter 22: 1935; Paul Rotha -- Chapter 23: 1939; Joris Ivens -- Chapter 24: 1941; Humphrey Jennings -- Chapter 25: 1942; Frank Capra -- Chapter 26: 1948; Amos Vogel -- Chapter 27: 1948; The World Union of Documentary -- Chapter 28: 1951; A. Nicholas Vardac -- Chapter 29: 1952; Alberto Cavalcanti -- Chapter 30: 1957; Lindsay Anderson -- Chapter 31: 1959; John Grierson.
Contained By:	Springer Nature eBook
Subject:	Documentary films - History and criticism. -
Online resource:	https://doi.org/10.1007/978-3-030-79466-8
ISBN:	9783030794668

A philosophical history of documentary, 1895-1959
Geva, Dan.

A philosophical history of documentary, 1895-1959[electronic resource] /by Dan Geva. - Cham :Springer International Publishing :2021. - xiii, 393 p. :ill., digital ;24 cm.

Chapter 1: Introduction. Chapter 2: 1895; The Lumiere Brothers -- Chapter 3: 1896; Georges Melies -- Chapter 4: 1898; Boleslaw Matuszewski -- Chapter 5: 1908; Burton Holmes -- Chapter 6: 1912; Edward Curtis et al -- Chapter 7: 1917-1921; Blaise Cendrars -- Chapter 8: 1922; Dziga Vertov -- Chapter 9: 1924; Robert Flaherty -- Chapter 10: 1926; John Grierson -- Chapter 11: 1927; Esphir Shub -- Chapter 12: 1928; Alexie Gan -- Chapter 13: 1928; Dziga Vertov -- Chapter 14: 1930; Jean Vigo -- Chapter 15: 1930; Joris Ivens -- Chapter 16: 1932; John Grierson -- Chapter 17: 1933; Oswell Blakeston -- Chapter 18: 1933; John Griersonv -- Chapter 19: 1933; Harry Bruce Woolfe -- Chapter 20: 1934; Leo Hurwitz -- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934 -- Chapter 22: 1935; Paul Rotha -- Chapter 23: 1939; Joris Ivens -- Chapter 24: 1941; Humphrey Jennings -- Chapter 25: 1942; Frank Capra -- Chapter 26: 1948; Amos Vogel -- Chapter 27: 1948; The World Union of Documentary -- Chapter 28: 1951; A. Nicholas Vardac -- Chapter 29: 1952; Alberto Cavalcanti -- Chapter 30: 1957; Lindsay Anderson -- Chapter 31: 1959; John Grierson.

"In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition-as if it functioned as an aesthetic strait-jacket-Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as 'documentariness.'" -Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva's meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." -Julia Leasage, Professor Emerita, English Department, University of Oregon, USA 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. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017)

ISBN: 9783030794668

Standard No.: 10.1007/978-3-030-79466-8doiSubjects--Topical Terms:

583801
Documentary films
--History and criticism.

LC Class. No.: PN1995.9.D6 / G48 2021

Dewey Class. No.: 070.18

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505 0 $a Chapter 1: Introduction. Chapter 2: 1895; The Lumiere Brothers -- Chapter 3: 1896; Georges Melies -- Chapter 4: 1898; Boleslaw Matuszewski -- Chapter 5: 1908; Burton Holmes -- Chapter 6: 1912; Edward Curtis et al -- Chapter 7: 1917-1921; Blaise Cendrars -- Chapter 8: 1922; Dziga Vertov -- Chapter 9: 1924; Robert Flaherty -- Chapter 10: 1926; John Grierson -- Chapter 11: 1927; Esphir Shub -- Chapter 12: 1928; Alexie Gan -- Chapter 13: 1928; Dziga Vertov -- Chapter 14: 1930; Jean Vigo -- Chapter 15: 1930; Joris Ivens -- Chapter 16: 1932; John Grierson -- Chapter 17: 1933; Oswell Blakeston -- Chapter 18: 1933; John Griersonv -- Chapter 19: 1933; Harry Bruce Woolfe -- Chapter 20: 1934; Leo Hurwitz -- Chapter 21: 1934; The All-Union Congress of Soviet Writers of 1934 -- Chapter 22: 1935; Paul Rotha -- Chapter 23: 1939; Joris Ivens -- Chapter 24: 1941; Humphrey Jennings -- Chapter 25: 1942; Frank Capra -- Chapter 26: 1948; Amos Vogel -- Chapter 27: 1948; The World Union of Documentary -- Chapter 28: 1951; A. Nicholas Vardac -- Chapter 29: 1952; Alberto Cavalcanti -- Chapter 30: 1957; Lindsay Anderson -- Chapter 31: 1959; John Grierson.
520 $a "In response to numerous assertions by filmmakers and scholars that documentary is past or beyond definition-as if it functioned as an aesthetic strait-jacket-Dan Geva offers an emphatic and compelling NO! Rather, he asserts that the issue of definition consistently hovers over both scholarship and production of documentary. In this volume, Geva opens up, through lucid philosophical investigations of filmmakers' writings and films, the definitions that emerge in their work. By attending to both their cultural and historical particularity as well as their function as a single transhistorical enunciation, Geva speaks to the extraordinary range of practices and thought that existed between 1985-1959 while maintaining that there is such a thing as 'documentariness.'" -Joshua Malitsky, Associate Professor, Cinema and Media Studies/The Media School and Director, Indiana University Center for Documentary Research and Practice, Indiana University, USA "In an age when the concepts of 'fact' and 'science' have become focal points of political controversy, Dan Geva's meticulous historical exploration of the ethical implications of the very idea of 'documentary' film are especially useful for documentarians, film historians and media theoreticians alike." -Julia Leasage, Professor Emerita, English Department, University of Oregon, USA 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. Dan Geva is an associate professor at Beit-Berl college, a research fellow at the University of Haifa, an award winning documentarian, and founder of "The Ethics Lab" (CILECT, 2017)
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