Abstract
In the early 1940s Japan, cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. The status of cinematographers as the authors of the images that they shot was particularly questioned in those conversations due to the mechanical nature of the motion picture camera. This article mainly focuses on the discussions in the journal Eiga Gijutsu (Film Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema.
Highlights
It is true that today’s new media, personal portable devices—mobile phones and digital cameras in particular—and Web 2.0 platforms of video-sharing websites have been reshaping documentary practices
Before the “fourth screen” of the mobile devices appeared, or even before the second and the third, there were times when cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices
The status of cinematographers as authors of the images they shot was questioned in those debates due to the mechanical nature of the motion picture camera
Summary
It is true that today’s new media, personal portable devices—mobile phones and digital cameras in particular—and Web 2.0 platforms of video-sharing websites have been reshaping documentary practices. The notion of immediacy, and that of authorship have been widely discussed in relation to such practices. Before the “fourth screen” of the mobile devices appeared, or even before the second (television) and the third (computer), there were times when cinematographers and critics feverishly discussed the notions of immediacy and authorship in relation to documentary practices. Technology) in 1941–1942 over the notion of culture, and examines how cinematographers imagined their new roles in documentary practices in the cinema. The journal is an appropriate data source for such filmmaking, as many cinematographers contributed to this journal and attempted to redefine their roles in filmmaking
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