Crafting Truth: Documentary Form and Meaning PDF
Preview Crafting Truth: Documentary Form and Meaning
cr af ting t r u t h R5356.indb i 10/12/10 9:20:19 AM cr af ting t r u t h Documentary Form and Meaning louise spence and vinicius navarro rutgers university press new brunswick, new jersey, and london R5356.indb iii 10/12/10 9:20:20 AM Library of Congress Cataloging-in-Publication Data Spence, Louise. Craft ing truth : documentary form and meaning / Louise Spence and Vinicius Navarro. p. cm. Includes bibliographical references and index. ISBN 978–0–8135–4902–6 (hardcover : alk. paper)—ISBN 978–0–8135–4903–3 (pbk. : alk. paper) 1. Documentary fi lms—History and criticism. 2. Documentary fi lms—Production and direction. I. Navarro, Vinicius, 1967–II. Title. PN1995.9.D6S5955 2010 070.1’8—dc22 2010008406 A British Cataloging-in-Publication record for this book is available from the British Library. Copyright © 2011 by Louise Spence and Vinicius Navarro Chapter 10 Copyright © 2011 by Louise Spence, Vinicius Navarro, and Carl Lewis All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechani- cal, or by any information storage and retrieval system, without writt en permission from the publisher. Please contact Rutgers University Press, 100 Joyce Kilmer Avenue, Piscataway, NJ 08854–8099. Th e only exception to this prohibition is “fair use” as defi ned by U.S. copyright law. Visit our Web site: htt p://rutgerspress.rutgers.edu Manufactured in the United States of America R5356.indb iv 10/12/10 9:20:20 AM Para Afonso e Lourdes, and for Regina and Milton, our fi rst teachers R5356.indb v 10/12/10 9:20:20 AM Contents Acknowledgments ix Introduction 1 Part One. General Concepts 1. Authenticity 11 2. Evidence 36 3. Authority 59 4. Responsibility 83 Part Two. Structural Organization 5. Argument 113 6. Dramatic Stories, Poetic and Essay Documentaries 135 Part Three. Formal Techniques 7. Editing 161 8. Camerawork 187 9. Th e Profi lmic 213 10. Sounds (Coauthored with Carl Lewis) 239 Index 265 R5356.indb vii 10/12/10 9:20:21 AM Acknowledgments Writing acknowledgements is a most pleasurable, yet diffi cult, task. Th e thanks we owe to the people who assisted, encouraged, and endured us during the fi ve years we were working on this project are enormous. It is clear that this book was built on the wisdom and generosity of many people, especially Karen Backstein, Lemi Baruh, Melis Behlil, Julie Par Cadenhead, Dino Capone, Yunsun Chae, Mi- chael Chanan, Elizabeth Corbett , Alfredo Dias D’Almeida, Martin Duncan, Jayne Fargnoli, Joseph Goldberg, Frances Grodzinsky, Ahmet Gürata, Roger Hallas, Roald Hoff mann, Jeff rey Howlett , John L. Jackson Jr., Lynne Jackson, Aslı Kota- man, Alisa Lebow, Michael Nitsche, Augusta Palmer, Robert Sklar, Qi Wang, and Mark Wyers. We are especially grateful to Hardy Griffi n, whose keen interest in our project and insightful reading of the manuscript are unsurpassed, Doğa Aytuna (Mac ex- pert extraordinaire), who facilitated the photos, and Carl Lewis, who came to our rescue with his att entive ear for music. And we must also thank a slew of fi lm and video makers who loaned us works and answered questions, among them Kamal Aljafari, Magnus Bärtås, Alan Ber- liner, Jean Carlomusto, Kavery Dutt a, Connie Field, Richard Fung, Louis Massiah, Abraham Ravett , Larissa Sansour, and Jalal Toufi c, and a whole mess of librar- ians who helped us to fi nd material we were looking for, especially Didem Önal and Sachi Spohn. Th anks as well to Videofi lmes, Zeitgeist Films, Documentary R5356.indb ix 10/12/10 9:20:21 AM
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