Direct Cinema Research Articles

Gullah Tales

Journal Article Gullah Tales. Prod. by Gary Moss and George deGolian. Office of Educational Media, Georgia State University, 1987. Two versions: 22 mins. and 28 mins. (Direct Cinema Ltd., 291 South LaCienega Blvd., Los Angeles, CA 90211) Get access John B. Boles John B. Boles Rice University Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 76, Issue 3, December 1989, Pages 1007–1008, https://doi.org/10.2307/2936563 Published: 01 December 1989

The Congress

The Congress. Prod. by Ken Burns and Stephen Ives. Florentine Productions, 1989- 88 mins. (Direct Cinema Ltd., 291 South LaCienega, Beverly Hills, CA 90211) Get access Ballard C. Campbell Ballard C. Campbell Northeastern University Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 76, Issue 3, December 1989, Pages 1005–1006, https://doi.org/10.2307/2936560 Published: 01 December 1989

Wiseman's Realm of Transgression: "Titicut Follies," the Symbolic Father, and the Spectacle of Confinement

Frederick Wiseman's documentary series constitutes a project of considerable importance toward the development of a politically effective cinema in America. To begin to appreciate the value of his films as instruments of serious political interrogation, however, it is essential to see his difference from other filmmakers with whom he is usually indiscriminately lumped in the cinema verite and direct cinema movements.' Unlike the films of Richard Leacock, D. A. Pennebaker, the Maysles brothers, and Allan King, Wiseman's are not a celebration of exceptional individuals-with all the ideological baggage that that carries within bourgeois culture. Instead, he has followed the more fruitful, critical line of investigating subjectivity as it is processed (and sometimes resists processing) by the institutional and ideological machinery of the state and marketplace. The main thrust of his documentary project has been to delineate the relations of power between the state and individuals through an interconnected and comprehensive examination of the decisive bureaucratic institutions regulating social life in America. The first ten films, from Titicut Follies in 1967 to Meat in 1976, display a particularly interesting coherence as a series within the larger documentary series, revealing an institutional matrix and political technology strikingly similar to the carceral archipelago that Michel Foucault has described.2 Wiseman thus shows in these films a continuity of institutions, spreading out from the prison to the larger society; an extensive rationality and economy of power at work shaping, normalizing, and objectifying subjects for the purposes of social utility and control. The normalizing forms of institutional power revealed in Wiseman's carceral archipelago correspond closely to Foucault's notion of dividing practices3methods of observation, classification, and objectification in which the subject is divided (both within himself or herself and from others) and regulated in some way. Institutional space is thus organized to permit a field of maximum visibility, where hierarchical surveillance and careful documentation allow relevant information to be compiled about individuals through examinations, reviews, case histories, interrogations, inspections, consultations, interviews, and other investigatory procedures. At the heart of that visible space, and further defining the political relations of looking in operation there, is a moral-juridical apparatus that seeks out anomalies, defects, delinquencies, or other deviations from the

Reviews

The Family Album. A film by Alan Berliner. 16mm, 55min, b/w. Distributed by Filmmakers Library, Inc. Beyond Words—Images from America's Concentration Camps. By Deborah Gesensway and Mindy Roseman. 1987, 176 pages, illustrated. Ithaca: Cornell University Press. Price: cloth $24.95. The Lau (Granada Television “Disappearing World” Series). A film by Leslie Woodhead, producer‐director; Jon Woods, camera; Ray French, sound; Kimball Horton, editor; David Wasson, researcher; and Pierre Maranda, anthropological consultant. 1987, video, color, 52 minutes. Dialogues: Lau. Subtitles: English. Narration: English. Distributed by Granada TV International, Suite 3468, 1221 Avenue of the Americas, New York, NY 10020, tele. 212–242–2363. Price: on application. Men's Lives: The Surfmen and Baymen of the South Fork. By Peter Matthiessen. 1986, New York: Random House. Price: hardcover $29.95; softcover $7.95 (Vintage Press); limited edition $200 (University of Washington Press, Seattle). In Her Own Time. A film by Lynne Littman with Barbara Myerhoff. 1986, 16mm, color, 60 minutes. Distributed by Direct Cinema, Ltd., P.O. Box 69589, Los Angeles, CA 90060, tele. 213–652–8000. Price: 16mm—purchase $895, rental $100; video—purchase $350, rental $50 (prices quoted are for educational institutions only). The Miracle of Intervale Avenue. A film by Irving Rappaport, producer; Ken Howard, director; and Jack Kugelmaas, associate producer. 1983, 16mm, color, 65 minutes. Catalog #430. Distributed by Ergo Media, Inc., P.O. Box 2037, Teaneck, NJ 07666, tele. 201–692–0404. Some Babies Die. A film by Martyn Landon Down. Australia, 16mm, color, 54 minutes. Distributed by The University of California Extension Media Center, 2176 Shattuck Avenue, Berkeley, CA 94704, tele. 415–642–1340. Price: 16mm—purchase $850, rental $60; video—purchase $450, rental $60. El Sebou’: The Egyptian Birth Ritual. A film by Fadwa El Guindi; produced by El Nil Research Project; co‐sponsored by the Office of Folklife, Smithsonian Institution. 1986, 16mm, color, 27 minutes. Distributed by El Nil Research Project, 1157 Beverwil Drive, Los Angeles, CA 90035, tele. 213–553–5645. Price: 16mm—purchase $570, rental $70; video—purchase $370. Screenings: Society for Visual Anthropology (1987 Award for Excellence); 1987 Margaret Mead Film Festival; Royal Anthropological Institute (1988 Commendation). The Making of El Sebou‘ Classified People. Yolande Zauberman, director; produced by OBSESSION/INA/CNC/ FR3‐TOULOUSE; Dewald Aukema, camera; Tony Bensusan, sound; Jean‐François Naudon, editor. 1987, 16mm, color, 53 minutes. Distributed by TELEMONDIS, 15, rue Mesnil, 75016, Paris, tele. 47–27–03–84, telex: 649 078 TELMOND. In U.S., distributed by Filmmaker's Library, 124 E. 40th Street, New York, NY 10016, tele. 212–355–6545. Price: 16mm—rental only $150; video (½″ or ¾″)—purchase $75, rental $75. Screenings: Festival of Women's Films at Créteil (Prix de Jury); Festival of Young Directors at Belfort (Prix de Publique); Bilan du Film Ethnographique 1988 (Prix Nanook/Grand Prix); 1988 Cinéma du Réel; 1987 Margaret Mead Film Festival; U.S. Public Television. To Cross the Border: An interview with Filmmaker Yolande Zauberman, Paris, May 1988.

Contrary Warriors: A Story of the Crow Tribe

Journal Article Contrary Warriors: A Story of the Crow Tribe Get access Contrary Warriors: A Story of the Crow Tribe, 16mm, ½″video/60 min/color/1986. Producer, Rattlesnake Productions. Distributor, Direct Cinema Limited, 445 West Main Street, Wyckoff, NJ; 1–800–345–6748; in NJ, (201) 891–8240. Sale 16mm $895, Rental $85; ½″ video $250.Broken Rainbow, 16mm, ½″ video/69 min/color/1986. Producer, Earthworks. Distributor, Direct Cinema Limited, 445 West Main Street, Wyckoff, NJ; 1–800–345–6748; in NJ, (201) 891–8240. Sale 16mm $995, Rental $175; ½″ video $350. Andrea Nevins, MPH, Andrea Nevins, MPH Audiovisual Editor Search for other works by this author on: Oxford Academic PubMed Google Scholar Marjorie M. Schweitzer, PhD Marjorie M. Schweitzer, PhD Research Anthropologist 1P.O. Box 2853, Taos, NM 87571 Search for other works by this author on: Oxford Academic PubMed Google Scholar The Gerontologist, Volume 28, Issue 3, June 1988, Pages 421–422, https://doi.org/10.1093/geront/28.3.421a Published: 01 June 1988

The Statue of Liberty

Journal Article The Statue of Liberty. Prod, by Ken Burns and Buddy Squires. Florentine Films, 1986. 56 mins. (Direct Cinema Ltd., P.O. Box 69589, Los Angeles, CA 90069) Get access John Bodnar John Bodnar Indiana University, Bloomington Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 73, Issue 3, December 1986, Page 826, https://doi.org/10.2307/1903110 Published: 01 December 1986

Aging Among America's Minorities

Journal Article Aging Among America's Minorities Get access Number Our Days, 16mm/29 min/color/1976. Producer, Lynne Littman. Distributor, Direct Cinema Limited, P.O. Box 69589, Los Angeles, CA 90069; 213/656-4700. Sale $495, rental $55.Yudie, 16mm/20 min/b&w/1974. Producer, Mirra Bank. Distributor, New Day Films, Box 315, Franklin Lakes, NJ 07417; 201/891-8240. Sale $300, rental $35. Andrea Nevins, MPH, Andrea Nevins, MPH Editor Search for other works by this author on: Oxford Academic PubMed Google Scholar Menachem Daum, PhD Menachem Daum, PhD Director of Research Brookdale Center on Aging425 East 25th Street New York, NY 10010 Search for other works by this author on: Oxford Academic PubMed Google Scholar The Gerontologist, Volume 24, Issue 6, December 1984, Pages 660–661, https://doi.org/10.1093/geront/24.6.660 Published: 01 December 1984

FEELING GOOD, FEELING PROUD(16 mm, color, 27 minutes, l982). Directed by Richard Heus. Distributed by Direct Cinema, Ltd., Box 69589, Los Angeles, California 90069. Purchase, $495; rental, $45

Back to table of contents Previous article Next article ArticleNo AccessFEELING GOOD, FEELING PROUD (16 mm, color, 27 minutes, l982). Directed by Richard Heus. Distributed by Direct Cinema, Ltd., Box 69589, Los Angeles, California 90069. Purchase, $495; rental, $45Jack NeherJack NeherSearch for more papers by this authorPublished Online:1 Apr 2006https://doi.org/10.1176/ps.33.5.396AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail "FEELING GOOD, FEELING PROUD (16 mm, color, 27 minutes, l982). Directed by Richard Heus. Distributed by Direct Cinema, Ltd., Box 69589, Los Angeles, California 90069. Purchase, $495; rental, $45." Psychiatric Services, 33(5), p. 396 Access content To read the fulltext, please use one of the options below to sign in or purchase access. Personal login Institutional Login Sign in via OpenAthens Purchase Save for later Item saved, go to cart PPV Articles - Psychiatric Services $35.00 Add to cart PPV Articles - Psychiatric Services Checkout Please login/register if you wish to pair your device and check access availability. Not a subscriber? Subscribe Now / Learn More PsychiatryOnline subscription options offer access to the DSM-5 library, books, journals, CME, and patient resources. This all-in-one virtual library provides psychiatrists and mental health professionals with key resources for diagnosis, treatment, research, and professional development. Need more help? PsychiatryOnline Customer Service may be reached by emailing [email protected] or by calling 800-368-5777 (in the U.S.) or 703-907-7322 (outside the U.S.). FiguresReferencesCited byDetailsCited byNone Volume 33Issue 5 May 1982Pages 396-396 Metrics PDF download History Published online 1 April 2006 Published in print 1 May 1982

LEAVING HOME(16 mm, color, 28 minutes, 1981). Produced and directed by Ilana Bar-Din. Distributed by Direct Cinema, Ltd., Box 315, Franklin Lakes, New Jersey 07417. Purchase, $450; rental, $40

Back to table of contents Previous article Next article ArticleNo AccessLEAVING HOME (16 mm, color, 28 minutes, 1981). Produced and directed by Ilana Bar-Din. Distributed by Direct Cinema, Ltd., Box 315, Franklin Lakes, New Jersey 07417. Purchase, $450; rental, $40Jack NeherJack NeherSearch for more papers by this authorPublished Online:1 Apr 2006https://doi.org/10.1176/ps.33.2.156AboutSectionsPDF/EPUB ToolsAdd to favoritesDownload CitationsTrack Citations ShareShare onFacebookTwitterLinked InEmail "LEAVING HOME (16 mm, color, 28 minutes, 1981). Produced and directed by Ilana Bar-Din. Distributed by Direct Cinema, Ltd., Box 315, Franklin Lakes, New Jersey 07417. Purchase, $450; rental, $40." Psychiatric Services, 33(2), p. 156 Access content To read the fulltext, please use one of the options below to sign in or purchase access. Personal login Institutional Login Sign in via OpenAthens Purchase Save for later Item saved, go to cart PPV Articles - Psychiatric Services $35.00 Add to cart PPV Articles - Psychiatric Services Checkout Please login/register if you wish to pair your device and check access availability. Not a subscriber? Subscribe Now / Learn More PsychiatryOnline subscription options offer access to the DSM-5 library, books, journals, CME, and patient resources. This all-in-one virtual library provides psychiatrists and mental health professionals with key resources for diagnosis, treatment, research, and professional development. Need more help? PsychiatryOnline Customer Service may be reached by emailing [email protected] or by calling 800-368-5777 (in the U.S.) or 703-907-7322 (outside the U.S.). FiguresReferencesCited byDetailsCited byNone Volume 33Issue 2 February 1982Pages 156-156 Metrics PDF download History Published online 1 April 2006 Published in print 1 February 1982

Cinema-Verite in America: Part II -- Direct Cinema and the Crisis Structure

Cinema-Verite in America: Part II -- Direct Cinema and the Crisis Structure

La Hora de los Hornos

When the first explorers from Europe sailed along the southeastern coast of South America, they reported seeing fires by the hundreds blazing out from the dark silhouette of the land. To one particular stretch of coast at the southern tip of what is Argentina, the Spanish explorers gave the name Tierra del Fuego-the land of fire. What they saw from their ships were the hornos, or cooking fires, of the Indians who inhabited the region; and the sight of those fires blinking on, one by one, in the evening darkness, until they blanketed the horizon like a strange new constellation, struck the imaginations of those first explorers, curious and apprehensive as they undoubtedly were about the inhabitants of this new continent. Throughout the centuries, the expression la hora de los hornos (the hour of the cooking fires) has been used by the historians and poets of Latin America, and it has recently become an anti-imperialist rallying cry taken up by Che Guevara; in calling for a socialist revolution to sweep Latin America, he proclaimed now is 'la hora de los hornos'; let them see nothing but the light of the flames. (Guevara was, of course, an Argentine.) Under the title La Hora de los Hornos, two other Argentines-Fernando Solanas and his coscenarist Ottavio Getino-have put together a remarkable film that is in, of, and for the revolutionary struggle which they see as imminent and urgently needed in contemporary Argentina. Traveling all over the country, Solanas and Getino made contact with, discussed with, and eventually filmed most of those who are actively involved (clandestinely as well as openly, outside as well as within the legal institutions of Argentina) in the struggle for a revolutionary transformation of Argentine society. At various stages in the film's growth, Solanas and Getino showed some of the footage to the different militant groups with whom they were working. On some occasions, this brought about an invaluable exchange of information and discussion between far-flung and very diverse groups that had never gotten together before-or sometimes had not even known of each other's existence. Thus, the film inserted itself in the revolutionary praxis, and the revolutionary praxis inserted itself in the film, causing the film-makers to rethink again and again their conception of the film and their conception of the revolution. The making of the film and the making of the revolution became inseparable. For those of us who are striving to come up with a working definition of revolutionary cinema, La Hora de los Hornos (along with Godard's latest films) may be the most fruitful subject we could focus our attention on at this moment. I say this not only because the very existence and structure of La Hora de los Hornos are rooted in the day-to-day practice of making the revolution, but also because such a tremendous variety of cinematic styles and materials have gone into this film. Solanas and Getino have, in effect, created a remarkable film-mosaic, in which each individual piece, as they conceived it, demanded its own particular expression that would transmit the intended ideological sense. That is to say, each sequence, each individual cell has a different style of photography or a different form. There are small cells which are little stories or narratives of their own; there are others which are free documentaries; there are some which are made up entirely of montage and counterpoint; others are absolutely descriptive scenes; others are direct cinema; still others are something like a cinematographic carnival-song. The only way to unite all this material without it all falling apart, without falling into complete chaos,

Cinema of Common Sense

Research Article| July 01 1964 Cinema of Common Sense Colin Young Colin Young Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (1964) 17 (4): 26–40. https://doi.org/10.2307/1210651 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Colin Young; Cinema of Common Sense. Film Quarterly 1 July 1964; 17 (4): 26–40. doi: https://doi.org/10.2307/1210651 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search This content is only available via PDF. Copyright 1964 The Regents of the University of California Article PDF first page preview Close Modal You do not currently have access to this content.