Screening Reality
How Documentary Filmmakers Reimagined America
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- 24,99 €
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- 24,99 €
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"A towering achievement, and a volume I know I'll be consulting on a regular basis."-Leonard Maltin
"Authoritative, accessible, and elegantly written, Screening Reality is the history of American documentary film we have been waiting for." --Kenneth Turan, Los Angeles Times film critic
From Edison to IMAX, Ken Burns to virtual environments, the first comprehensive history of American documentary film and the remarkable men and women who changed the way we view the world.
Amidst claims of a new "post-truth" era, documentary filmmaking has experienced a golden age. Today, more documentaries are made and widely viewed than ever before, illuminating our increasingly fraught relationship with what's true in politics and culture. For most of our history, Americans have depended on motion pictures to bring the realities of the world into view. And yet the richly complex, ever-evolving relationship between nonfiction movies and American history is virtually unexplored.
Screening Reality is a widescreen view of how American "truth" has been discovered, defined, projected, televised, and streamed during more than one hundred years of dramatic change, through World Wars I and II, the dawn of mass media, the social and political turmoil of the sixties and seventies, and the communications revolution that led to a twenty-first century of empowered yet divided Americans.
In the telling, professional filmmaker Jon Wilkman draws on his own experience, as well as the stories of inventors, adventurers, journalists, entrepreneurs, artists, and activists who framed and filtered the world to inform, persuade, awe, and entertain. Interweaving American and motion picture history, and an inquiry into the nature of truth on screen, Screening Reality is essential and fascinating reading for anyone looking to expand an understanding of the American experience and today's truth-challenged times.
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Filmmaker Wilkman (Floodpath) brings his love of documentary film and enthusiasm for its potential to this enthralling survey of the genre's history in America. To the book's great benefit, Wilkman does not adopt a doctrinaire definition of his subject, but includes both semistaged films such as Robert Flaherty's 1922 look at Inuit life, Nanook of the North, and pure works of cinema verit such as brothers Albert and David Maysles's 1969 film Salesman. Wilkman is also careful to recognize significant female contributions to a male-dominated field, such as from Flaherty's wife and story consultant, Frances, or from the Maysles' editor, Charlotte Zwerin (who eventually won recognition from them as a codirector, as well). Accessible and immersive, Wilkman's text is peppered with numerous unexpected revelations, including Henry Ford's role as producer of some of the earliest newsreels and educational and industrial films, and the documentary roots of such feature film directors as George Lucas and Martin Scorsese. Throughout, he skillfully weaves in historical context, such as how opposition to fascism and Nazism imparted additional urgency to documentary filmmaking, and how the 1951 introduction of videotape presaged the democratization of the field. A valuable resource for cinephiles, this sweeping history will ignite a new enthusiasm for the form among readers less well-versed in the genre.
