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Articles 1 - 6 of 6
Full-Text Articles in Visual Studies
It’S About Us: Extinction, Contradiction, And The Mourning Of Modernity In David Attenborough: A Life On Our Planet, Alex Ventimilla
It’S About Us: Extinction, Contradiction, And The Mourning Of Modernity In David Attenborough: A Life On Our Planet, Alex Ventimilla
Animal Studies Journal
Despite their worldwide viewership, popular eco-documentary treatments of biodiversity loss and the ecological grief they evoke have received scarce attention from critics. Addressing this gap in scholarship, this article posits that understanding the grief and mourning affected by these cultural texts requires attention to the numerous contradictions inherent to the form. More concretely, this paper argues that a thorough exploration of the contradictory nature of the eco-documentary, as a media genre that is imbricated in the modernity whose impact on the natural world it critiques, renders the genre into a critical junction at which to interrogate the cultural meanings of …
Seeing And Interpreting Visions Of The Next Age In Interstellar, Nancy Wright
Seeing And Interpreting Visions Of The Next Age In Interstellar, Nancy Wright
Journal of Religion & Film
Christopher Nolan’s Interstellar (2014) uses multiple styles of cinematography – documentary, painterly and expressionistic – to guide interpretation of its apocalyptic review of history. Within the prologue and epilogue of the science fiction film, clips from interviews originally filmed for Ken Burns’s The Dust Bowl (2012) invite questions about how to interpret documentary, revisionist and eschatological reviews of history. Cinematography functions as a self-reflexive cue to spectators within and outside the mise-en-scène to engage in eschatological interpretation. The representation of spectatorship and vision reveals the challenge of interpreting prophetic visions of the last things and the next age, which are …
Frederick Wiseman's Essene (1972): The Duality Of Mary And Martha, Nilita Vachani
Frederick Wiseman's Essene (1972): The Duality Of Mary And Martha, Nilita Vachani
Journal of Religion & Film
America’s legendary documentary filmmaker Frederick Wiseman shot Essene 50 years ago at the height of the commune movement in the United States. Unlike his previous institutional films which showcase an insane asylum, a public high school, an inner city police force, a hospital, and a military training school, Essene's canvas is the far less turbulent terrain of a serene and austere Benedictine monastery devoted to the love and service of God and the divine spirit. This paper undertakes a close textual and hermeneutic analysis of Essene alongside an appraisal of Wiseman’s working methodology, his cinematic portrayals of character and dramaturgy, …
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Apocalypse And Eschatology In John Ford's The Grapes Of Wrath (1940), Nancy Wright
Journal of Religion & Film
John Ford’s The Grapes of Wrath (1940) visualizes conventions of the apocalypse genre to represent not simply a particular historical setting, the Great Depression, but also a vision of history to be interpreted in terms of eschatology. Expressionistic photography transforms the characters’ experiences into enigmatic visions that invite and guide interpretation. A comparison of montage sequences in Ford’s The Grapes of Wrath and Pare Lorentz’s The Plow That Broke The Plains (1936), a Farm Security Administration documentary, clarifies how Ford’s narrative film aligns spectators within and outside the mise-en-scène.
Book Review: Death, Image, Memory: The Genocide In Rwanda And Its Aftermath In Photography And Documentary Film, Scott Ahearn
Book Review: Death, Image, Memory: The Genocide In Rwanda And Its Aftermath In Photography And Documentary Film, Scott Ahearn
Genocide Studies and Prevention: An International Journal
As Rwanda marks the twenty-fifth anniversary of the genocide this spring, Piotr Cieplak’s book, Death, Image, Memory: The Genocide in Rwanda and its Aftermath in Photography and Documentation, is timely as an exploration of the documentary imagery developed since 1994 and its “uncomfortable coexistence with the genocide and its aftermath.” His book looks at still and video images from Westerners and Rwandans alike, and examines the ways in which these images succeed or fall short in bringing identity and remembrance to the victims of the genocide.
Green Documentary: Environmental Documentary In The 21st Century By Helen Hughes, David M. Lawrence
Green Documentary: Environmental Documentary In The 21st Century By Helen Hughes, David M. Lawrence
The Goose
David M. Lawrence reviews Green Documentary: Environmental Documentary in the 21st Century by Helen Hughes.