By Alexandra Juhasz, Alisa Lebow
A significant other to modern Documentary Film offers a suite of unique essays that discover significant concerns surrounding the nation of present documentary movies and their potential to motivate and influence change.
- Presents a entire selection of essays when it comes to all features of up to date documentary films
- Includes approximately 30 unique essays by way of best documentary movie students and makers, with each one thematic grouping of essays sub-edited via significant figures within the field
- Explores quite a few issues principal to modern documentary filmmakers and the learn of documentary movie – the planet, migration, paintings, intercourse, virus, faith, battle, torture, and surveillance
- Considers a large range of documentary movies that fall outdoors standard canons, together with foreign and avant-garde documentaries awarded in numerous media
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Additional info for A Companion to Contemporary Documentary Film
Morin, E. (1999) Les sept savoirs nécessaires à l’éducation du future. Paris: UNESCO. Sachs, W. ) (1993) Global Ecology: A New Arena of Political Conflict. London: Zed Books. Introduction 27 Swyngedouw, E. (2013) Apocalypse Now! Fear and Doomsday Pleasures. Capitalism Nature Socialism, 24(1), 9–18. Szerszynski, B. and Urry, J. (2010) Changing Climates: Introduction. Theory, Culture & Society, 27(2–3), 1–8. Yusoff, K. (2009) Excess, Catastrophe, and Climate Change. Environment and Planning D: Society and Space, 27(6), 1010–1029.
1972) In a Moonlit Hermit’s Cabin. In The Fall of America: Poems of These States 1965–1971. San Francisco: City Lights Books. K. (2008) Sense of Place and Sense of Planet. Oxford: Oxford University Press. Maxwell, R. and Miller, T. (2012) Greening the Media. Oxford: Oxford University Press. Morin, E. (1999) Les sept savoirs nécessaires à l’éducation du future. Paris: UNESCO. Sachs, W. ) (1993) Global Ecology: A New Arena of Political Conflict. London: Zed Books. Introduction 27 Swyngedouw, E.
After all, if there is no pollution, then 34 Imre Szeman does it matter who owns the oil? If it were truly the case that Petroecuador has had responsibility for the site since 1992, why would Chevron be anxious about the level of pollutants in the area? And doesn’t the government bear ultimate responsibility for the Cofán if it has allowed this indigenous group to live in an area not intended for people? So why mount a defense about “safe” levels of oil in water or who owns what, when? From the perspective of the film, such confusing and overlapping arguments constitute further evidence against Chevron.
A Companion to Contemporary Documentary Film by Alexandra Juhasz, Alisa Lebow