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Visions of Development examines the Indian state's postcolonial development ideology between Independence in 1947 and the Emergency of 1975-77. Sutoris pioneers a novel methodology for the study of development thought and its cinematic representations, analysing films made by the Films Division of India between 1948 and 1975. By comparing these documentaries to late-colonial films on 'progress', his book highlights continuities with and departures from colonial notions of development in modern India. It is the first scholarly volume to be published on the history of Indian documentary film. Of the approximately 250 documentaries analysed by Peter Sutoris, many of which have never been discussed in the existing literature, most are concerned with economic planning and industrialisation, large dams, family planning, schemes aimed at the integration of tribal peoples (Adivasis) into society, and civic education. Almost all films analysed in this volume are available for free online viewing through the website of the Films Division. Links are provided on the companion website www.visionsofdevelopment.com.
This book maps a hundred years of documentary film practices in India. It demonstrates that in order to study the development of a film practice, it is necessary to go beyond the classic analysis of films and filmmakers and focus on the discourses created around and about the practice in question. The book navigates different historical moments of the growth of documentary filmmaking in India from the colonial period to the present day. In the process, it touches upon questions concerning practices and discourses about colonial films, postcolonial institutions, independent films, filmmakers and filmmaking, the influence of feminism and the articulation of concepts of performance and performativity in various films practices. It also reflects on the centrality of technological change in different historical moments and that of film festivals and film screenings across time and space. Grounded in anthropological fieldwork and archival research and adopting Foucault’s concept of ‘effective history’, this work searches for points of origin that creates ruptures and deviations taking distance from conventional ways of writing film histories. Rather than presenting a univocal set of arguments and conclusions about changes or new developments of film techniques, the originality of the book is in offering an open structure (or an open archive) to enable the reader to engage with mechanisms of creation, engagement and participation in film and art practices at large. In adopting this form, the book conceptualises ‘Anthropology’ as also an art practice, interested, through its theoretico-methodological approach, in creating an open archive of engagement rather than a representation of a distant ‘other’. Similarly, documentary filmmaking in India is seen as primarily a process of creation based on engagement and participation rather than a practice interested in representing an objective reality. Proposing an innovative way of perceiving the growth of the documentary film genre in the subcontinent, this book will be of interest to film historians and specialists in Indian cinema(s) as well as academics in the field of anthropology of art, media and visual practices and Asian media studies.
This book introduces the diverse practices of three non-canonical practitioners: David MacDougall, Desire Machine Collective and Kumar Shahani. It offers analysis of their documentary methods and aesthetics, exploring how their oeuvres constitute a critical and self-reflexive approach to documentary-making in India.
This book questions the meanings of 'independence' for documentaries made in the post-1990 context, a period of unrivalled disruption and creativity in the field. Based upon a reasoned selection of contributions, it is the first collection of in-depth case studies cutting across formats, media, subject matters, purposes and national divides. Writing from a wide range of academic perspectives, the contributors shed new light on historical, theoretical and empirical issues pertaining to the independent documentary, in order to better comprehend the radical transformations of the form over the past twenty-five years. Compared to existing studies, this volume focuses on works and practitioners existing at the margins of the traditional media, the mainstream film industry and the prevailing economic and socio-political systems; yet greatly contributing to changing our perception of documentaries. And in doing so, it addresses an important gap in the global understanding of documentary practices and styles.
Based on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a'tactical practice', contesting the normative definitions and functions assigned to culture, cultural production and producers in a neoliberal economic system.
This book is the first to bring together the most important material by and on the documentary film movement which has laid the foundations of British national film culture. It includes generous selections from the work of John Grierson as well as writings by Paul Rotha, Humphrey Jennings, Alberto Cavalcanti and Basil Wright. Each section is accompanied by short commentaries. A full introduction examines the historical development of the documentary film movement between 1927 and 1950, the types of films made by the movement, its relationship to other British film genres and to contemporary debates on British national cinema. An accessible, comprehensive and illuminating source book for courses on Documentary Film and the History of British Cinema.
Presents a history of the documentary film
The American Indian has figured prominently in many films and television shows, portrayed variously as a villain, subservient friend, or a hapless victim of progress. Many Indian stereotypes that were derived from European colonial discourse—some hundreds of years old—still exist in the media today. Even when set in the contemporary era, novels, films, and programs tend to purvey rehashed tropes such as Pocahontas or man Friday. In Native Americans on Network TV: Stereotypes, Myths, and the “Good Indian,” Michael Ray FitzGerald argues that the colonial power of the U.S. is clearly evident in network television’s portrayals of Native Americans. FitzGerald contends that these representations fit neatly into existing conceptions of colonial discourse and that their messages about the “Good Indian” have become part of viewers’ understandings of Native Americans. In this study, FitzGerald offers close examinations of such series as The Lone Ranger, Daniel Boone, Broken Arrow, Hawk, Nakia, and Walker, Texas Ranger. By examining the traditional role of stereotypes and their functions in the rhetoric of colonialism, the volume ultimately offers a critical analysis of images of the “Good Indian”—minority figures that enforce the dominant group’s norms. A long overdue discussion of this issue, Native Americans on Network TV will be of interest to scholars of television and media studies, but also those of Native American studies, subaltern studies, and media history.
An engaging read on independent documentary filmmaking in India