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A New History of Documentary Film (review)

A New History of Documentary Film (review) Book Reviews A New History of Documentary Film Jack C. Ellis and Betsy A. McLane. New York: Continuum, 2005, 385 pp. Jack C. Ellis and Betsy A. McLane have produced a survey of documentary film that updates an earlier volume by Ellis. A New History of Documentary Film includes new sections on the latest flowering of interest in the documentary-- including the box office phenomena of films by Michael Moore, Errol Morris, and Morgan Spurlock; the activist films of the women's and social progressive movements in the US; the branded television products of "the Ken Burns phenomenon"; and the more mutant and shoddy form of reality programming for television. The book is encyclopedic in its coverage of English, Canadian, and US films; it does acknowledge the early influence of Soviet and European avant-garde filmmakers but rather quickly turns to the UK and North America. It's an excellent introduction for any student wishing to understand the major trends in documentary production in the UK and North America and the major films of various eras. Chapters trace first the beginnings of the documentary form in the UK, Canada, and the US, then its institutionalization and expansion in each of those http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

A New History of Documentary Film (review)

Journal of Film and Video , Volume 60 (1) – Mar 31, 2008

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois. All rights reserved.
ISSN
1934-6018
Publisher site
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Abstract

Book Reviews A New History of Documentary Film Jack C. Ellis and Betsy A. McLane. New York: Continuum, 2005, 385 pp. Jack C. Ellis and Betsy A. McLane have produced a survey of documentary film that updates an earlier volume by Ellis. A New History of Documentary Film includes new sections on the latest flowering of interest in the documentary-- including the box office phenomena of films by Michael Moore, Errol Morris, and Morgan Spurlock; the activist films of the women's and social progressive movements in the US; the branded television products of "the Ken Burns phenomenon"; and the more mutant and shoddy form of reality programming for television. The book is encyclopedic in its coverage of English, Canadian, and US films; it does acknowledge the early influence of Soviet and European avant-garde filmmakers but rather quickly turns to the UK and North America. It's an excellent introduction for any student wishing to understand the major trends in documentary production in the UK and North America and the major films of various eras. Chapters trace first the beginnings of the documentary form in the UK, Canada, and the US, then its institutionalization and expansion in each of those

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Mar 31, 2008

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