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Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds

Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary,... Castaing-Taylor and Paravel’s GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds michael a. unger “Ethnographic film is the documentary’s avant-garde. Who is more self-conscious than an anthropologist with a movie camera?” —J. Hoberman “Film language is the language of moving, seeing, and hearing. More than any other medium or art form, film uses experience to express experience.” —Ilsa Barbash and Lucien Taylor (1) the term “e xperimental documentary,” and “observer,” among others. Barnouw’s clas­ at first glance, can be considered an oxymoron sification relates closer to “the essay, diary, at worst or a hybrid category at best that in autobiography, notebook, editorial, evocation, either case illuminates the assumed dialectical eulogy, exhortation, description or report” tensions between formal experimentation and (Nichols, Introduction 72). These conceptual, cultural representation. Experimental docu­ and largely literary, nonfiction templates pro­ mentary filmmaking con flates this dichotomy vide a reference point for how experimentation at the level of aesthetics, or as Stella Bruzzi in the popular imagination can be preconceived puts it, “aestheticization” of a given reality (9). as counterintuitive to nonfiction’s enterprise for The use of expressive, cinematic techniques, verifiable knowledge. Elsewhere, John Corner often celebrated in fictional filmmaking as an points out that http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds

Journal of Film and Video , Volume 69 (3) – Aug 30, 2017

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Castaing-Taylor and Paravel’s GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds michael a. unger “Ethnographic film is the documentary’s avant-garde. Who is more self-conscious than an anthropologist with a movie camera?” —J. Hoberman “Film language is the language of moving, seeing, and hearing. More than any other medium or art form, film uses experience to express experience.” —Ilsa Barbash and Lucien Taylor (1) the term “e xperimental documentary,” and “observer,” among others. Barnouw’s clas­ at first glance, can be considered an oxymoron sification relates closer to “the essay, diary, at worst or a hybrid category at best that in autobiography, notebook, editorial, evocation, either case illuminates the assumed dialectical eulogy, exhortation, description or report” tensions between formal experimentation and (Nichols, Introduction 72). These conceptual, cultural representation. Experimental docu­ and largely literary, nonfiction templates pro­ mentary filmmaking con flates this dichotomy vide a reference point for how experimentation at the level of aesthetics, or as Stella Bruzzi in the popular imagination can be preconceived puts it, “aestheticization” of a given reality (9). as counterintuitive to nonfiction’s enterprise for The use of expressive, cinematic techniques, verifiable knowledge. Elsewhere, John Corner often celebrated in fictional filmmaking as an points out that

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 30, 2017

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