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A study of longitudinal documentary
Author: Richard Kilborn

This book is a study of documentary series such as Michael Apted's world-famous Seven Up films that set out to trace the life-journeys of individuals from their earliest schooldays till they are fully grown adults. In addition to Seven Up, the book provides extended accounts of the two other best known longitudinal series to have been produced in the last three or four decades. It includes Winifred and Barbara Junge's The Children of Golzow and Swedish director Rainer Hartleb's The Children of Jordbro. The book first examines some of the principal generic features of long docs and considers the highly significant role that particular institutions have had on their production, promotion and dissemination. It then explores a study of how the individual works originated, with a special emphasis on the nurturing role of particular institutions. The book also explores the affinities that long docs have with soap opera texts, which have similar aspirations to neverendingness. Both long docs and soaps rely on an episodic mode of delivery and both seek to persuade their audience that they are attempting to chronicle real-time developments. Finally, the book explores the variety of ways in which long doc filmmakers contrive to bring their work to a satisfactory conclusion.

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Histories, documents, archives
Declan Long

representations of history and histories of representation in the changing (though in some respects unchanging) Northern Ireland, there are numerous works by other artists, many of which bear Doherty’s direct influence, that struggle with anxieties of remembering and forgetting, testing means of recording or seeking evidence, investigating archives and exploring the ‘potentiality’ of testimony. Against the grain of the officially upbeat post-​Agreement era, artists from different generations (among them Duncan Campbell, Miriam de Búrca, Una Walker, Aisling O’Beirn, John Duncan

in Ghost-haunted land
Jane Roscoe and Craig Hight

which he adheres to despite the frustrations of its explicit failure, and an apparent understanding of the complexity of photographic ‘reality’. Throughout the film he acts especially on Godard’s statement that the camera is capable of recording the true nature of people and events, 2 and implicitly appears to believe that his life has no meaning outside of these recordings. The film consists mainly of extended monologues to

in Faking it
Jane Roscoe and Craig Hight

documentary which we outline in the following chapter. Things we know about documentary There are a number of cultural assumptions, and underlying discourses, which serve to reinforce documentary’s privileged position. Importantly, documentary has attempted to present itself as being engaged in a coherent project, that of objectively recording reality. It has sought to present itself as a unified

in Faking it
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Ann Hamilton’s myein
Julie Phillips Brown

. Once inside, visitors heard a low, ambient sound – a recording of the artist as she whispered the words of Lincoln’s ‘Second Inaugural Address’, letter by letter. Moving gradually from gallery to gallery, visitors encountered stark white walls studded with small plaster 9 162 Mixed messages nodules – Braille encodings of excerpts from both volumes of Charles Reznikoff’s serial documentary poem, Testimony, The United States, 1885–1915: Recitative (hereafter, Testimony). In each gallery, a continuous fall of bright fuchsia powder sifted down from the four edges of

in Mixed messages
Lez Cooke

editor in 1975, ‘We didn’t shoot them live, but you shot great chunks, if not the whole piece occasionally, in a multi-camera set up, continuously.’5 While shooting on location, on film, was more time-consuming and more expensive, studio recording was equally demanding, requiring different skills, and in studio production the role of the director was central, as Ansorge explains: Studio drama is almost a lost form now. It wasn’t theatre, although obviously it’s quite close to theatre in some ways, and it wasn’t film, but we did think of these little studio dramas as

in A sense of place
Tijana Vujošević

recording of a scene in “The Magnanimous Cuckold,” a theatrical, transformed version of everyday life. The plot is rather banal. A village scribe and miller, Bruno, is so jealous of his wife, Stella, that he forces her to make love to all the men in his village so that he can discover who her “real” lover is.The village descends into chaos, and jealous women chase Stella. In the end she leaves with one of her partners. Meyerhold succeeds in transforming this romantic farce into a presentation of proletarian “force,” an expression of the spirit of efficient factory work

in Modernism and the making of the Soviet New Man
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Reappraising nineteenth-century stained glass
Jasmine Allen

 world reflected this shift in attitude, editing Pevsner’s original entries to include notes on post-​medieval stained glass, and recording stained glass designers, makers, and dates of windows (where known). Although there is still much work to be done before post-​medieval stained glass is fully (and critically) appreciated, this book has demonstrated how new approaches to nineteenth-​century stained glass in an international context can have value and significance for a deeper and more precise understanding of global histories of nineteenth-​century art and culture. Notes

in Windows for the world
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Jane Roscoe and Craig Hight

draw upon the notion that documentary is able to use the camera as a scientific recording instrument. As briefly outlined in Chapter 1 , this is one of the fundamental pillars supporting the privileged cultural status of the documentary form. In Zelig , however, there is an interesting tension between these appropriations and the suggestion that even the camera cannot discover the reality of Zelig – because he physically changes according to every

in Faking it
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Anna Dahlgren

phases of the event: a video recording taken on the bridge on 21 January, excerpts from the written medical records, a sound recording from the hospital and filmed interviews with experts on law and medicine. The part of Odell’s installation most praised by art critics was the video taken on the Liljeholms Bridge.65 This part also played a vital role in the trial as Odell argued that, due to the fact that she had been video recorded by her co-worker, she could not be held legally responsible for her acts.66 Both for the court and for the viewer in the art gallery, the

in Travelling images