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The Folkloric Film Definition and Methodology Texts and Contexts
Documentation Interactional Events and Individual Portraits
A Search for Self Filmmakers Reflect on Their Work
Projecting the Self Filmic Technique and Construction
Structure Shifts and Style A Montage of Voices and Images
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activities actually American appear approach artist asked audience became become begins behavior believe Blank called camera cinema Cohen construct context create culture dance Davenport demonstrate discusses document documentary editing example experience explain express feel Ferrero Ferris filmmakers Flaherty focus folk folklore films folklorists follow footage Gardner going hand human idea images important individuals interactions interested interview issue John kind lives look material means narration narrative never notes observational performance playing Preloran present problems produced questions quilts record remarks reveal scene sense serve shoot shot singing society song sound story structure style talk tape technique tell things thought Timothy Asch traditional verite viewers visual voice Wagner wanted women Zulay
Page 11 - The eye lives and moves in time and space, perceiving and recording impressions in a way quite different from the human eye. It is not necessary for it to have a particular stance or to be limited in the number of moments to be observed per second. The movie camera is better. We cannot make our eyes better than they have been made, but the movie camera we can perfect forever.
Documents of Life 2: An Invitation to A Critical Humanism, Volume 2
Limited preview - 2001
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Identities in Motion: Asian American Film and Video
Peter X Feng
Limited preview - 2002