By Alisa Lebow
ISBN-10: 0231162154
ISBN-13: 9780231162159
When a filmmaker makes a movie with herself as an issue, she is already divided as either the subject material of the movie and the topic making the movie. the 2 senses of the notice are instantly in play -- the problem and the maker -- therefore the 2 methods of being subjectified as either topic and item. Subjectivity reveals its filmic expression, no longer unusually, in very own methods, but it really is still formed via and relating to collective expressions of id which can remodel the cinema of 'me' into the cinema of 'we'. best students and practitioners of first-person movie are introduced jointly during this groundbreaking assortment to contemplate the theoretical, ideological, and aesthetic demanding situations wrought through this kind of filmmaking in its various cultural, geographical, and political contexts.
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Additional info for The Cinema of Me: The Self and Subjectivity in First Person Documentary
Example text
García (2008) Landscapes of the Self: The Cinema of Ross McElwee/Paisajes del Yo: El cine de Ross McElwee. Madrid: Ediciones Internacionales Universitarias. Dovey, J. (2000) Freak Show: First Person Media and Factual Television. London: Pluto Press. Gabara, R. (2006) From Split to Screened Selves: French and Francophone Autobiography in the Third Person. Stanford, CA: Stanford University Press. Ishizuka, K. and P. Zimmermann (eds) (2007) Mining the Home Movie: Excavations in Histories and Memories.
Not surprisingly, I quickly learned that first person film, though perhaps most elaborated in the context of North American filmmaking at least in the 1990s, was indeed making its presence felt in geographical regions as diverse as India, Brazil, Australia, China and Guinea. While this emergence has not been uniform in all places, nor does it necessarily imply an autonomous cultural context, free from the influence of North American media and education, it did intrigue me enough to pursue the idea that subjectivity in documentary cinema might indeed find varied expression, not only due to individual filmmaker’s idiosyncrasies, but also due to differing cultural conceptions and configurations of the self.
Nancy, J. L. (2000) Being Singular Plural. Stanford, CA: Stanford University Press. Nichols, B. (1991) Representing Reality. Berkeley, CA: University of California Press. ____ (2001) Introduction to Documentary. Bloomington, IN: Indiana University Press. Rascaroli, L. (2009) The Personal Cinema: Subjective Cinema and the Essay Film. London: Wallflower Press. Renov, M. (2004a) The Subject of Documentary. Minneapolis, MN: University of Minnesota Press. ____ (2004b) ‘Domestic Ethnography and the Construction of the “Other” Self’, in The Subject of Documentary.
The Cinema of Me: The Self and Subjectivity in First Person Documentary by Alisa Lebow
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