%{search_type} search results

• You can have both love and art : Barbara Hammer
• Part 1: Antonyms of beauty
• Khavn
• Roberto Minervini
• Khalik Allah
• Shengze Zhu
• Part 2: Sonic truth: visioning with sound
• Deborah Stratman
• Michael Robinson
• Gürcan Keltek
• Dónal Foreman
• Part 3: Border crossings
• Chico Pereira
• Kaltrina Krasniqi
• Brett Story
• Part 4: Power plays: disruption
• Orwa Nyrabia
• Ramona Diaz
• Karim Aïnouz
• Travis Wilkerson
• Part 5: Memory & magic: inter-dimensionality
• Terence Nance
• Sky Hopinka
• Ja’Tovia Gary
• Mila Turajlić
• Part 6: Notes from the interior
• Ognjen Glavonić
• Maja Borg
• Maryam Tafakory
• Samira Elagoz
• Part 7: The embodied camera
• Adam and Zack Khalil
• J.P. Sniadecki
• Lynette Wallworth
• Sara Fattahi

“Lucid Dreaming is an unprecedented global collection of discussions with documentary and experimental filmmakers, giving film and video its rightful place alongside the written word as an essential medium for conveying the most urgent concerns in contemporary arts and politics. In these long-form conversations, film curator and arts journalist Cohn draws out the thinking of some of the most intriguing creators behind the rapidly developing movement of moving-image nonfiction. The collection features individuals from a variety of backgrounds who encounter the world, as Cohn says, “through a creative lens based in documentary practice.” Their inspirations encompass queer politics, racism, identity politics, and activism. The featured artists come from a multiplicity of countries and cultures including the U.S., Finland, Serbia, Syria, Kosovo, China, Iran, and Australia...Can nonfiction film be defined? How close to reality can or should documentary storytelling be, and is film and video in its less restrictive iterations “truer” than traditional narratives? How can a story be effectively conveyed? As they consider these and many other questions, these passionate, highly articulate filmmakers will inspire not only cinema enthusiasts, but activists and artists of all stripes.”--Publisher description

• Acknowledgments Introduction: Utility and Cinema / Haidee Wasson and Charles R. Acland Part I. Celluloid Classrooms "What a Power for Education!": The Cinema and Sites of Learning in the 1930s / Eric Smoodin-- "We Can See Ourselves as Others See Us": Women Workers and Western Union's Training Films in the 1920s / Stephen Groening-- Hollywood's Educators: Mark May and Teaching Film Custodians / Charles R. Acland-- UNESCO, Film, and Education: Mediating Postwar Paradigms of Communication / Zoe Druick-- Health Films, Cold War, and the Production of Patriotic Audiences: The Body Fights Bacteria (1948) / Kirsten Ostherr Part II. Civic Circuits Projecting the Promise of 16mm, 1935-45 / Gregory A. Waller-- A History Long Overdue: The Public Library and Motion Pictures / Jennifer Horne-- Big, Fast Museums / Small, Slow Movies: Film, Scale, and the Art Museum / Haidee Wasson-- Pastoral Exhibition: The YMCA Motion Picture Bureau and the Transition to 16mm, 1928-39 / Ronald Walter Greene-- "A Moving Picture of the Heavens": The Planetarium Space Show as Useful Cinema / Alison Griffiths Part III. Making Useful Films Double Vision: World War II, Racial Uplift, and the All-American Newsreel's Pedagogical Address / Joseph Clark-- Mechanical Craftsmanship: Amateurs Making Practical Films / Charles Tepperman-- Experimental Film as Useless Cinema / Michael Zryd Filmography-- Bibliography-- About the Contributors-- Index.
• (source: Nielsen Book Data)

By exploring the use of film in mid-twentieth-century institutions, including libraries, museums, classrooms, and professional organizations, the essays in Useful Cinema show how moving images became an ordinary feature of American life. In venues such as factories and community halls, people encountered industrial, educational, training, advertising, and other types of "useful cinema." Screening these films transformed unlikely spaces, conveyed ideas, and produced subjects in the service of public and private aims. Such functional motion pictures helped to shape common sense about cinema's place in contemporary life. Whether measured in terms of the number of films shown, the size of audiences, or the economic activity generated, the "non-theatrical sector" was a substantial and enduring parallel to the more spectacular realm of commercial film. In Useful Cinema, scholars examine organizations such as UNESCO, the YMCA, the Amateur Cinema League, and the Metropolitan Museum of Art. They also consider film exhibition sites in schools, businesses, and industries. As they expand understanding of this other American cinema, the contributors challenge preconceived notions about what cinema is. Contributors: Charles R. Acland, Joseph Clark, Zoe Druick, Ronald Walter Greene, Alison Griffiths, Stephen Groening, Jennifer Horne, Kirsten Ostherr, Eric Smoodin, Charles Tepperman, Gregory A. Waller, Haidee Wasson, Michael Zryd.
(source: Nielsen Book Data)

• Preface by Jeff Greenberg
• Acknowledgements
• Introduction
• Sound Basics Storytelling with Sound Preparing for Location Sound Location Sound Strategies Voiceover Narration and Story Preparing for Your Sound Mix Your Mix Session Music Licensing Music Scores Immersive Sound Accessibility
• Glossary
• Resources
• Bibliography/Filmography
• Index.
• (source: Nielsen Book Data)

This book guides nonfiction storytellers in the art of creatively and strategically using sound to engage their audience and bring stories to life. Sound is half of film and video storytelling, and yet its importance is often overlooked until a post-production emergency arises. Written by two experienced creators-one a seasoned nonfiction producer/director with a background in music, and one a sound designer who owns a well-regarded mix studio-this book teaches nonfiction producers, filmmakers, and branded content creators how to reimagine their storytelling by improving sound workflow from field to post. In addition to real-world examples from the authors' own experiences, interviews with and examples from industry professionals across many genres of nonfiction production are included throughout. Written in a conversational style, the book pinpoints practical topics and considerations like 360 video and viewer accessibility. As such, it is a vital point of reference for all nonfiction filmmakers, directors, and producers, or anyone wanting to learn how to improve their storytelling. An accompanying Companion Website offers listening exercises, production sound layout diagrams, templates, and other resources.
(source: Nielsen Book Data)

• Introduction : the dreamworld of cinematic travel
• Varieties of travel experience : Burton Holmes and the travelogue tradition
• "The living panorama of nature" : early nonfiction and the American film industry
• "The five-cent University : educational films and the drive to uplift the cinema
• Atop of the world in motion : the travelogue system
• Scenic films and the cinematic picturesque
• "A weird and affecting beauty" : watching travel films in the 1910s
• "The nation's first playground" : wilderness modernized in the American West
• Epilogue: reveries of the solitary walker.

In the earliest years of cinema, travelogues were a staple of variety film programs in commercial motion picture theaters. These short films, also known as "scenics, " depicted tourist destinations and exotic landscapes otherwise inaccessible to most viewers. Scenics were so popular that they were briefly touted as the future of film. But despite their pervasiveness during the early twentieth century, travelogues have been overlooked by film historians and critics. In Education in the School of Dreams, Jennifer Lynn Peterson recovers this lost archive. Through innovative readings of travelogues and other nonfiction films exhibited in the United States between 1907 and 1915, she offers fresh insights into the aesthetic and commercial history of early cinema and provides a new perspective on the intersection of American culture, imperialism, and modernity in the nickelodeon era. Peterson describes the travelogue's characteristic form and style and demonstrates how imperialist ideologies were realized and reshaped through the moving image. She argues that, although educational films were intended to legitimate filmgoing for middle-class audiences, they were not simply vehicles for elite ideology. As a form of instructive entertainment, these technological moving landscapes were both formulaic and also wondrous and dream-like. Considering issues of spectatorship and affect, Peterson argues that scenics produced and disrupted viewers' complacency about their own place in the world.
(source: Nielsen Book Data)

• Introduction : documenting the "residue of battle"
• "Imaging the mind" : military psychiatry meets documentary film
• Solemn venues : war trauma and the expanding nontheatrical realm
• Selling "psycho films" : trauma cinema and the military-industrial complex
• Psychodocudramatics : role-playing war trauma from the hospital to Hollywood
• "Casualties of the spirit" : Let there be light and its contexts
• Conclusion : traumatic returns.

Forced to contend with unprecedented levels of psychological trauma during World War II, the United States military began sponsoring a series of nontheatrical films designed to educate and even rehabilitate soldiers and civilians alike. Traumatic Imprints traces the development of psychiatric and psychotherapeutic approaches to wartime trauma by the United States military, along with links to formal and narrative developments in military and civilian filmmaking. Offering close readings of a series of films alongside analysis of period scholarship in psychiatry and bolstered by research in trauma theory and documentary studies, Noah Tsika argues that trauma was foundational in postwar American culture. Examining wartime and postwar debates about the use of cinema as a vehicle for studying, publicizing, and even what has been termed "working through" war trauma, this book is an original contribution to scholarship on the military-industrial complex.
(source: Nielsen Book Data)