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The Encyclopedia of the Documentary Film is a fully international reference work on the history of the documentary film from the Lumière brothers' Workers Leaving the Lumière Factory (1885) to Michael Moore's Fahrenheit 911 (2004). This Encyclopedia provides a resource that critically analyzes that history in all its aspects. Not only does this Encyclopedia examine individual films and the careers of individual film makers, it also provides overview articles of national and regional documentary film history. It explains concepts and themes in the study of documentary film, the techniques used in making films, and the institutions that support their production, appreciation, and preservation.
In the book establish an initial assessment on the life of cinemas belonging to the Instituts français and the Alliances françaises.
Thirty-five years of nonfiction films offer a unique lens on twentieth-century French social issues Critical Mass is the first sustained study to trace the origins of social documentary filmmaking in France back to the late 1920s. Steven Ungar argues that socially engaged nonfiction cinema produced in France between 1945 and 1963 can be seen as a delayed response to what filmmaker Jean Vigo referred to in 1930 as a social cinema whose documented point of view would open the eyes of spectators to provocative subjects of the moment. Ungar identifies Vigo’s manifesto, his 1930 short À propos de Nice, and late silent-era films by Georges Lacombe, Boris Kaufman, André Sauvage, and Marcel Carné as antecedents of postwar documentaries by Eli Lotar, René Vautier, Alain Resnais, Chris Marker, and Jean Rouch, associated with critiques of colonialism and modernization in Fourth and early Fifth Republic France. Close readings of individual films alternate with transitions to address transnational practices as well as state- and industry-wide reforms between 1935 and 1960. Critical Mass is an indispensable complement to studies of nonfiction film in France, from Georges Lacombe’s La Zone (1928) to Chris Marker’s Le Joli Mai (1963).
A nation of peacekeepers or soldiers? Honest broker, loyal ally, or chore boy for empire? Attempts to define Canada’s past, present, and proper international role have often led to contradiction and incendiary debate. Canada and the United Nations seeks to move beyond simplistic characterizations by allowing evidence, rather than ideology, to drive the inquiry. The result is a pragmatic and forthright assessment of the best practices in Canada’s UN participation. Sparked by the Harper government’s realignment of Canadian internationalism, Canada and the United Nations reappraises the mythic and often self-congratulatory assumptions that there is a distinctively Canadian way of interacting with the world, and that this approach has profited both the nation and the globe. While politicians and diplomats are given their due, this collection goes beyond many traditional analyses by including the UN-related attitudes and activities of ordinary Canadians. Contributors find that while Canadians have exhibited a broad range of responses to the UN, fundamental beliefs about the nation’s relationship with the world are shared widely among citizens of various identities and eras. While Canadians may hold inflated views of their country’s international contributions, their notions of Canada’s appropriate role in global governance correlate strongly with what experts in the field consider the most productive approaches to the Canada-UN relationship. In an era when some of the globe’s most profound challenges – climate change, refugees, terrorism, economic uncertainty – are not constrained by borders, Canada and the United Nations provides a timely primer on Canada’s diplomatic strengths.
How the French have used American culture to define a unique modern identity There are over 1,000 McDonald's on French soil. Two Disney theme parks have opened near Paris in the last two decades. And American-inspired vocabulary such as "le weekend" has been absorbed into the French language. But as former French president Jacques Chirac put it: "The U.S. finds France unbearably pretentious. And we find the U.S. unbearably hegemonic." Are the French fascinated or threatened by America? They Americanize yet are notorious for expressions of anti-Americanism. From McDonald's and Coca-Cola to free markets and foreign policy, this book looks closely at the conflicts and contradictions of France's relationship to American politics and culture. Richard Kuisel shows how the French have used America as both yardstick and foil to measure their own distinct national identity. They ask: how can we be modern like the Americans without becoming like them? France has charted its own path: it has welcomed America's products but rejected American policies; assailed America's "jungle capitalism" while liberalizing its own economy; attacked "Reaganomics'" while defending French social security; and protected French cinema, television, food, and language even while ingesting American pop culture. Kuisel examines France's role as an independent ally of the United States—in the reunification of Germany and in military involvement in the Persian Gulf and Bosnia—but he also considers the country's failures in influencing the Reagan, Bush, and Clinton administrations. Whether investigating France's successful information technology sector or its spurning of American expertise during the AIDS epidemic, Kuisel asks if this insistence on a French way represents a growing distance between Europe and the United States or a reaction to American globalization. Exploring cultural trends, values, public opinion, and political reality, The French Way delves into the complex relationship between two modern nations.