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Intimate constructions of a ‘bonheur collectif’
Julia Dobson

inhabitants of Val Fourré and the conventions of self-portraiture. They foreground the inherent links between forms of documentary and fiction and the inextricable relationship between what happens to the self and what happens to others. L’Autre Côté de la mer: the politics of belonging Documentary aesthetics and a continuing interest in the relationship between place and identity

in Negotiating the auteur
The documentary legacy of Sara Gómez in three contemporary Cuban women filmmakers
María Caridad Cumaná González and Susan Lord

( London : Routledge , 1995 ), pp. 85–104 . Lesage , Julia . ‘Feminist documentary: aesthetics and politics’ , in T. Waugh (ed.), Show Us Life: Towards a History and Aesthetics of Committed Documentary ( Metuchen, NJ : Scarecrow Press , 1984 ), pp. 231–46 . López , Ana M. ‘Revolution and dreams: the Cuban documentary today’ , Studies

in Hispanic and Lusophone women filmmakers
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Keith Beattie

p. 192. Attempts to analyse Jennings’ films as poetry include J. Leach, ‘The Poetics of Propaganda: Humphrey Jennings and Listen to Britain’, in B. K. Grant and J. Sloniowski (eds), Documenting the Documentary: Close Readings of Documentary Film and Video (Detroit: Wayne State University Press, 1998), pp. 154–70, and B. Sorenssen, ‘The Documentary Aesthetics of Humphrey Jennings’, in J. Corner (ed.), Documentary and the Mass Media (London: Edward Arnold, 1986), pp. 47–64. 30 W. Empson, Seven Types of Ambiguity (Harmondsworth, Middlesex: Penguin Books in

in Humphrey Jennings
Andy Lawrence

constraints of the observational method (see p. 22 ) to interrogate the narrative choices that a filmmaker must make. Techniques learnt through such limitations can be relied upon when things get complicated in the field; they allow for quick and appropriate reaction in a fast-paced documentary scenario, and most importantly they work with a variety of editing styles and modes of documentary. Aesthetics and ethics are closely related. In my own filmmaking I reveal my presence reflexively at moments that are ‘risky’, transgressive and ethically problematic in terms of my own

in Filmmaking for fieldwork
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Racial politics
Paul Newland

, then, is a formally inventive piece of work which draws upon realist traditions while at the same time choosing to subvert them. But Horace Ové has demonstrated a mastery of documentary aesthetics elsewhere. He has made a range of factual documentary and realist fiction films including Reggae (1970); King Carnival (1973) – a film made for the World About Us television series on BBC2; and The Skateboard Kings (1978), made for the same series. A Hole in Babylon, co-written by Ové and Jim Hawkins, was broadcast on BBC television as part of the Play for Today series in

in British films of the 1970s
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Suspect identities
Julia Dobson

notre société’ 6 (Beugnet 2000 : 198). The stylistic influences are clear and persist throughout Masson’s oeuvre to date, yet there remain important differences also in the context and import of their use. Her captions do not feature abstractions or political maxims, as is common in Godard, but rather assert the recognisable geographical setting of the action and thus reinforce documentary aesthetics

in Negotiating the auteur