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Table of Contents
1 Cover
5 Introduction: Expanding Documentary Histories Documentary Film and the Documentary Tradition Writing Documentary History Thematic Strands References Acknowledgments
6 Part I: Documentary Borders and Geographies Introduction References 1 A Distant Local View Introduction Domestic Films for Overseas Consumption Motion Pictures for Occupied Territories Small‐Town Films Small‐Town Films as Local Films References 2 The Work of Displacement in Colonial Documentary Introduction Displacing Outrage and Mobilization to French West Africa: René Vautier and the Making of Afrique 50 The Work of Displacement in the Metropole: Afrique sur Seine, Paulin Vieyra, and the Groupe Africain du Cinéma References 3 Negation of the Negation Rotha, Japan, and Documentary Theory Reality and Actuality: Tsumura Hideo Cinema of Facts: Imamura Taihei Sur‐documentary: Hanada Kiyoteru Conclusion References
7 Part II: Authors, Authorship, and Authoring Agencies Introduction References 4 The Topographical Aesthetic in Late Stalinist Soviet Documentary Film Introduction Institutions and Genre Definitions Films and the “Topographical Aesthetic” Soviet Patriotism Survival Strategy Conclusion References 5 Documentality Introduction Governmentality and Modernity The Psy‐disciplines and Citizenship Mental Mechanisms and Mental Symptoms Conclusion References 6 Unmanned Capture Introduction Death of the Camera Unmanning + Capture Scene 1: Double Hit Scene 2: Racialized Capture and the Politics of Nonrecognition Coda References 7 Corporate Authorship Introduction Making a Corporate Film in the 1950s Corporate Film Conflict and the Discourse of Authorial Control Corporate Authorship in a New Authorial Context Corporate Personhood, or, Authors upon Authors in a World Without Authors References 8 A Skillful Isis Introduction Editing as Re‐editing: Revision and Preservation Editing as Collective Labor: Found Footage and Women’s Work Editing as Caretaking References 9 Now and Then
