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  1. 100 documentary films

    Grant, Barry Keith, 1947-
    London : BFI Press ; Houndmills, Basingstoke, Hampshire [England] ; New York : Palgrave Macmillan, 2009.

    '100 Documentary Films' provides concise & authoritative analysis of 100 key non-fiction films of world cinema, from the Lumiere brothers to Michael Moore. The volume features an introduction to the history & concerns of documentary film-making, as well as cross-referencing & a wealth of images from the films discussed.

  2. Villagers' documentary films [videorecording] : China village self-governance film project

    [Beijing : Beijing Caochangdi Art Workstation], 2005.

    Film-maker Wu Wenguang presents his latest project. Self-administration is introduced into China's villages: a completely novel step in the country's 3,000-year-old history. This process has completely changed the dynamics of public life in China's rural regions. Even though it affects some 900 million people, hardly anyone and certainly not those affected has documented this development so far. By offering the village inhabitants an opportunity to document the changes (they are given their own camera equipment), this film provides a completely new perspective on the situation. Wu Wenguang is showing a number of these films as well as photographs.

  3. Documentary films in India : critical aesthetics at work

    Sharma, Aparna Katara
    Houndmills, Basingstoke, Hampshire ; New York : Palgrave Macmillan, 2015.

    "This book introduces the diverse practices of documentary films in India. It examines the oeuvres of three non-canonical practitioners: ethnographic filmmaker, David MacDougall; northeast India-based moving-image artists group, Desire Machine Collective; and avant-garde filmmaker and cinema philosopher, Kumar Shahani. Sharma offers in-depth analysis of these practitioners' distinct documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India. The book commences with an overview of the factors that have shaped the political contours of documentary-making in India, before introducing the select practitioners as a counter-point to the dominant and canonical tendencies of documentary films in India. Three sections of the book take up one filmmaker each, whose oeuvre is studied in-depth with a view to explore and articulate how the critical discourse and aesthetic strategies of their films evolve"--This book introduces the diverse practices of documentary films in India. It examines the oeuvres of three non-canonical practitioners: ethnographic filmmaker, David MacDougall; northeast India-based moving-image artists group, Desire Machine Collective; and avant-garde filmmaker and cinema philosopher, Kumar Shahani. Sharma offers in-depth analysis of these practitioners' distinct documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.

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