A Companion to Documentary Film History. Группа авторов
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15 Matuszewski, B. (1898). Une Nouvelle Source de l'Histoire. Paris: Noizette et cie.
16 Most, M. G. (2007). The Squabble and the Penguin: Icy Relations and Lawsuits over Credit for Oscar‐winning Doc. International Documentary Association (1 July). https://www.documentary.org/feature/squabble‐and‐penguin‐icy‐relations‐and‐lawsuits‐over‐credit‐oscar‐winning‐doc.
17 Nesbit, M. (1987). What Was an Author? Yale French Studies 73: 229–257.
18 Pang, L. (2013). Authorship Versus Ownership: the Case of Socialist China. In: Media Authorship (eds. C. Chris and D.A. Gerstner), 72–86. New York: Routledge.
19 Renov, M. (2004). The Subject of Documentary. Minneapolis: University of Minnesota Press.
20 Rosen, P. (2001). Change Mummified: Cinema, Historicity, Theory. Minneapolis: University of Minnesota Press.
21 Vulser, N. (2006). La Marche de l'empereur a‐t‐elle deux réalisateurs? Le Monde (December 13). https://www.lemonde.fr/cinema/article/2006/12/13/la‐marche‐de‐l‐empereur‐a‐t‐elle‐deux‐realisateurs_845151_3476.html.
Notes
1 1 Tedesco's Vieux‐Colombier programming of newsreels, documentaries, pre‐war comedies, animal and science films, and experimental films had a strong historiographical dimension: he believed viewers would be educated and inspired by the accumulated history of film styles to not only become more demanding and informed spectators, but electrified makers of cinema's future. For more on the occluded history of the Vieux‐Colombier, see Cahill (2015).
2 2 No such image‐right courtesies were extended to his patients, including the famous conjoined twins Radica and Doodica whom Doyen separated on film in a headline grabbing operation.
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