Filming history from below : microhistorical documentaries / Efrén Cuevas
Language: eng Series: NonfictionsPublication details: New York : Wallflower, an imprint of Columbia University Press, 2022Description: viii, 290 pages : illustrations ; 24 cmISBN:- 9780231195973
- 0231195974
- PN 1995.9 C965f 2022
| Item type | Current library | Home library | Collection | Shelving location | Call number | Copy number | Status | Barcode | |
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Biblioteca Juan Bosch | Biblioteca Juan Bosch | Humanidades | Humanidades (4to. Piso) | PN 1995.9 C965f 2022 (Browse shelf(Opens below)) | 1 | Available | 00000168347 |
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| PN 1995.9 C952h 2003 100 careers in film & television / | PN 1995.9 C953c 1989 Captured on film : the prison movie / | PN 1995.9 C961 2013 Cuando las películas votan : lecciones de ciencias sociales a través del cine / | PN 1995.9 C965f 2022 Filming history from below : microhistorical documentaries / | PN 1995.9 C967s 2013 Sensing the past : Hollywood stars and historical visions / | PN 1995.9 C973a 2005 The art of the documentary : ten conversations with leading directors, cinematographers, editors, and producers / | PN 1995.9 D175d 2006 The director's idea : the path to great directing / |
Includes bibliographical references and index.
Introduction : film and history
1. Microhistory and documentary film
2. The archive in the microhistorical documentary
3. Pťer Forgc̀s's home movie chronicle of the twentieth century : The Maelstrom, Free Fall, and Class Lot
4. The incarceration of Japanese Americans during World War II : Something Strong Within, A Family Gathering, From a Silk Cocoon, and History and Memory
5. Rithy Panh's autobiographical narrative of the Cambodian genocide : The Missing Picture
6. Identities and conflicts in Israel and Palestine : Israel: A Home Movie, For My Children, My Terrorist, My Land Zion, and A World Not Ours
7. The immigrant experience in Jonas Mekas's Lost, Lost, Lost
Epilogue : Looking to the Future
In recent decades, a type of historical documentary has emerged that focuses on tightly circumscribed subjects, personal archives, and first-person perspectives. Efrň Cuevas categorizes these films as "microhistorical documentaries" and examines how they push cinema's capacity as a producer of historical knowledge in new directions
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