victorian dresses
Addison, Joseph (1672-1719), English essayist, poet, and statesman, whose work, particularly in the periodicals The Tatler and The Spectator, strongly influenced 18th-century English taste and opinion.
Addison was born on May 1, 1672, in Milston, Wiltshire, and educated at the University of Oxford, where he distinguished himself as a classical scholar and later became a fellow. In 1699 he was granted a government pension, which he used to travel through Europe. In 1704, about a year after his return to England, Addison was commissioned by the government to write a poem celebrating the British victory that same year at the Battle of Blenheim, in the War of the Spanish Succession. His composition, “The Campaign” (1705), was such an aid to the Whig party, which was then seeking control of the British government, that his position in both politics and letters was firmly established. From 1708 to 1710 Addison served in Parliament as a Whig. In 1709 he became a contributor to The Tatler, a periodical founded by his friend the essayist Sir Richard Steele. Two years later, Steele and Addison founded another periodical, The Spectator, for which Addison subsequently wrote the finest of his many essays. Addison's literary reputation reached its highest point in 1713, when his tragedy Cato was produced in London. It was translated into several languages, and such influential critics as the French writer and philosopher Voltaire pronounced it the finest tragedy in the English language. In the opinion of most critics today, however, this play, an artificial and undramatic work, was overestimated by Addison's contemporaries.
Addison's literary reputation has suffered a decline since his own time, when he was widely considered the most important of English authors. He influenced the literary taste of the 18th-century, in part by resurrecting the neglected ballad form in essays in The Spectator. He is now remembered mainly as one of the founders of the modern familiar essay and as a prose stylist of polish, grace, and elegance. Addison's poetry is now read mostly as a typical product of his period, and his dramatic works are rarely produced.
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Steele, Sir Richard (1672-1729), English essayist, playwright, and statesman, who founded and contributed frequently to the influential 18th-century journal the Spectator.
Steele was born in March 1672 in Dublin and educated at the University of Oxford. He entered the army in 1694 and during his term of military service wrote three comic dramas, The Funeral (1701), The Lying Lover (1703), which ran for only six nights, and The Tender Husband (1705). In 1707 Steele was appointed by the English statesman Robert Harley, 1st Earl of Oxford, to edit the London Gazette, an official government publication.
On April 12, 1709, Steele brought out, under the pseudonym of Isaac Bickerstaff, the first issue of The Tatler, a triweekly journal featuring essays and brief sketches on politics and society. In addition to his own essays, Steele published in the The Tatler a number of papers by the English essayist Joseph Addison, whom he had met during his school days and who became an important colleague and friend. This publication was succeeded on March 1, 1711, by the more famous The Spectator with both Steele and Addison as contributors. Many of the ideas for articles were Steele's, with Addison filling in the details and polishing the prose. Perhaps the best-known portion of The Spectator comprises a series of essays known as the Sir Roger de Coverley papers, which, in the person of a kindly and eccentric old country gentleman, present an idealized portrait of the 18th-century English squire. This character was conceived by Steele and named after an old English dance. When the last issue of The Spectator appeared on December 6, 1712, Steele had contributed 236 papers and Addison 274. Steele's next journalistic venture, the Guardian, started in 1713, lasted for 176 issues, and was succeeded by several periodicals, notably The Englishman (1713).
In these later undertakings, Steele, an ardent Whig, involved himself in violent controversy with the Tories, who then controlled the government. He entered Parliament as a Whig but was expelled in 1714 on the charge of having committed seditious libel in his pamphlet The Crisis, in which he advocated the succession to the British throne of the pro-Whig elector of Hanover, later King George I. Political disagreements tore apart the friendship of Addison and Steele in 1718. After the death of Queen Anne and the accession of George I later that year, Steele was re-elected to Parliament, knighted, and made a justice of the peace, surveyor of the royal stables, and governor of the Theatre Royal of Drury Lane. There his last and most successful comedy, The Conscious Lovers, was produced in 1722. Steele's taste for good living kept him in continuous financial difficulty. In 1724, because of heavy debts, he retired to Wales. He died there on September 1, 1729.
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DOCUMENTARY FILMS
Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative-based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective.
Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following:
'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould)
a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic)
a concert or rock festival (Woodstock or Altamont rock concerts (Woodstock (1970) and Gimme Shelter (1970)), The Song Remains the Same (1976), Stop Making Sense (1984), Madonna: Truth or Dare (1991))
a comedy show (Richard Pryor or Eddie Murphy shows)
a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000))
a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994))
an expose including interviews (e.g., Michael Moore's social concerns films)
a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966))
a compilation film of collected footage from government sources
a 'making of' film (such as the one regarding the filming of Apocalypse Now (1979), or Fitzcarraldo (1982))
an examination of a specific subject area (e.g., nature- or science-related themes, or historical surveys, such as The Civil War, Jazz, Baseball, or World War II, etc.)
spoof documentaries, termed 'mockumentaries' (such as This is Spinal Tap (1984), Zelig (1983), and Best in Show (2000))
The Earliest Documentaries:
Originally, the earliest documentaries in the US and France were either short newsreels, instructional pictures, records of current events, or travelogues (termed actualities) without any creative story-telling, narrative, or staging. The first attempts at film-making, by the Lumiere Brothers and others, were literal documentaries, e.g., a train entering a station, factory workers leaving a plant, etc.
The first documentary re-creation, Sigmund Lubin's one-reel The Unwritten Law (1907) (subtitled "A Thrilling Drama Based on the Thaw-White Tragedy") dramatized the true-life murder -- on June 25, 1906 -- of prominent architect Stanford White by mentally unstable and jealous millionaire husband Harry Kendall Thaw over the affections of showgirl Evelyn Nesbit (who appeared as herself). [Alluring chorine Nesbit would become a brief sensation, and the basis for Richard Fleischer's biopic film The Girl in the Red Velvet Swing (1955), portrayed by Joan Collins, and E.L. Doctorow's musical and film Ragtime (1981), portrayed by an Oscar-nominated Elizabeth McGovern.]
Documentaries during the Great War and during WWII were often propagandistic. Innovative German film-maker Leni Riefenstahl's pioneering masterwork epic Triumph of the Will (1934) was explicitly propagandistic yet historical in its spectacular yet horrifying documentation of the Nazi Party Congress rally in Nuremberg in 1934. It was a revolutionary film combining superb cinematography and editing of Third Reich propaganda. She also documented the 1936 Berlin Olympics in the stunning film Olympia (1938) - with graceful and beautiful images of 'Aryan' athletes in competition. To respond to the Nazi propaganda, Frank Capra was commissioned by the US War Department to direct seven films in a Why We Fight (1943) series of narrated WWII newsreel-style films. The first in the series, "Prelude to War," a look at the events from 1931-1939, won the Academy Award for Best Documentary in 1942. David Lean's and Noel Coward's In Which We Serve (1942, UK) was not a pure documentary film, although it boosted the wartime morale of the beleaguered Britishers.
Errol Morris' unique contributions to the documentary film category were significant with many examples of weird films with offbeat and unusual subject matter: the looney Gates of Heaven (1978) about a bankrupt N. California pet cemetery and its devoted pet-owners, Vernon, Florida (1981) about the quirky inhabitants of a backwater Floridian town, the controversial The Thin Blue Line (1988) that helped free accused and convicted murderer Randall Dale Adams on Texas' death row, the biographical A Brief History of Time (1992) with ALS-afflicted and wheelchair-bound cosmologist Stephen Hawking discussing quantum physics, the fascinating Fast, Cheap & Out of Control (1997) about four eccentric individuals (a topiary gardener, a lion tamer, a mole-rat expert, and a robotics scientist/inventor), and Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (2000) - about a caffeine-addicted specialist who designed execution equipment.
Barbara Kopple -
Director Barbara Kopple's Harlan County, USA (1976), another Academy Award winner for Best Documentary, documented a Kentucky coal miners' strike in the early 1970s against the Eastover Mining Company. She also directed a second Oscar-winning documentary film on labor struggles, American Dream (1990), about striking employees at a Hormel meat-packing plant in Austin, Minnesota. In addition, she filmed an in-depth documentary on comedian/musician/director Woody Allen and his 1996 jazz band tour of Europe, titled Wild Man Blues (1997).
Michael Moore -
Another critical expose, Moore's Fahrenheit 9/11 (2004) provided a scathing indictment of President George W. Bush's handling of the terrorist crisis and his alleged connections to Al-Qaeda leader Bin Laden's family. The documentary film was included among the Cannes Film Festival's main competition (only the second time in 48 years for a documentary) - and won the top prize - the first for a documentary in nearly 50 years. The controversial film had earlier gained further publicity and notoriety when Disney opted not to distribute the film through its Miramax subsidiary unit, and Moore accused the company of censorship. [Supposedly, Disney feared the film might endanger tax breaks Disney received in Florida where its theme parks were located, and where the president's brother, Jeb Bush, was governor at the time.] Moore's film set box-office records as the highest-grossing non-concert, non-IMAX documentary film of all time - and at the time the only one ever to win a box-office weekend during its debut showing. His next film was the searing look at the American health care system, Sicko (2007).
Stacy Peralta -
Life and culture in Southern California were the subject matter of documentary films produced by youth-oriented TV producer and skateboarding icon Stacy Peralta: Dogtown and Z-Boys (2002) surveyed the growth of skateboarding since the late 1960s by following a group of skaters off Venice Beach and their subculture, and Riding Giants (2004) was an engaging and exciting film about the evolution of the big-wave surf culture as seen through the experiences of legendary, thrill-seeking surfers. It credited blonde pre-teen star Sandra Dee and her Gidget (1959) film with the explosion of surf culture in the early 1960s.
The Prelinger Films Archives -
Prelinger Archives, founded in 1983 by Rick Prelinger would grow over the next twenty years into a collection of over 48,000 "ephemeral" (advertising, educational, industrial, and amateur) films. Included were films produced by and for many hundreds of important US corporations, non-profit organizations, trade associations, community and interest groups, and educational institutions. Some of the films were outrageous and sometimes bizarre examples of 40's and 50's US propaganda that were aimed at influencing the public. They ranged from social guidance films like Are You Popular? (1947) (which warned that only 'bad' girls park with boys in cars at night) and 'mental hygiene' films on how to engender family courtesy and etiquette like A Date with Your Family (1950). Other subjects were Cold War films like the cartoon Meet King Joe (1949) produced to convince American workers of their good fortune, and Why Play Leap Frog? (1949) that also attempted to convince workers to increase their productivity. Others were Don't Be a Sucker (1947) and Make Mine Freedom (1948) which warned against the dangers of Communism, and Brink of Disaster (1972), a Nixon-era film decrying the evils of 60's activism, and how it threatened American moral, religious and ethical principles.
Biographical Documentary Films:
The Oscar-winning documentary by Richard Kaplan, The Eleanor Roosevelt Story (1965), was a tribute to one of the most influential First Ladies in US history. Bruce Weber's Let's Get Lost (1988) was a biographical account of the life of jazz trumpeter Chet Baker. Marcel Ophuls' riveting Hotel Terminus: The Life and Times of Klaus Barbie (1988), with an extensive examination of the exploits of the infamous Nazi 'Butcher of Lyon,' won the Best Documentary Feature Oscar in its year of competition.
A compilation film from Kevin Rafferty, the cult classic The Atomic Cafe (1982), assembled 1940s-50s footage from US governmental sources about the atomic bomb to show the falsity, naivete, and absurdity of many of the statements about radiation danger during the Cold War. Rafferty used the same style in his expose of the tobacco industry, The Last Cigarette (1999). Another archival documentary, using black comedy about the Nazi's Third Reich, was Hitler's Hit Parade (2003), with an edited collage of Hitler-era propagandistic newsreel footage, advertisements, and movies (to the tune of entertaining 30s popular music) that effectively and ironically masked the horrors being perpetrated elsewhere. John Huston's once-banned Let There Be Light (1945), a war-time documentary on shell-shocked soldiers, was finally released in the early 1980s after the Army was pressured to declassify the film.
The humorous and eccentric Hands on a Hard Body (1997) explored a Texas car dealership marathon-competition to win a Nissan pickup truck by becoming the last person left touching it. Startup.com (2001) followed the entrepreneurial evolution (and ultimate demise) of a new media company (govworks.com) during the Dot.com era in the first year of the 21st century.
The BBC's expose Trouble at the Top: The People vs. Coke (2002) surveyed the New Coke debacle when the Coca Cola Company tested the new drink product with focus groups in the mid-80s and went ahead to create one of the biggest marketing and business blunders ever. Morgan Spurlock's dark comedy satire Super Size Me (2004), his debut feature documentary that won the Best Director award at Sundance, examined the reasons for US obesity, marketing ploys of fast food companies, and the frightening health after-effects of his 30-day binge of fast-food eating (at McDonalds). As a result, Spurlock experienced declining health: he gained 25 pounds, developed chest pains and bad skin, had an increase in body fat of 7%, an increase in cholesterol of 62 points, loss of sex drive, and the pain of toxic-shock withdrawal at the end of the experiment. Another expose of the irresponsibility, exploitation, and lack of accountability of global businesses, and how corporate decisions have impacted the world was contained in Jennifer Abbott's and March Achbar's The Corporation (2004).
Robert Greenwald's Uncovered: The Whole Truth about the Iraq War (2004) examined what the intelligence community knew about the claims of weapons of mass destruction in Iraq, and provided a harsh critique of the Bush administration's foreign policy and its single-minded determination to enter into war. Earlier, Greenwald had executive-produced the disturbing Unprecedented: The 2000 Presidential Election (2002) which examined the voting debacle and court abuses that took place in Florida following the last presidential election. He also released Outfoxed: Rupert Murdoch's War on Journalism (2004), which provided an insightful look at the partisan, 'unfair and unbalanced', conservative political viewpoints of FOX-News.
Filmmakers Robert Epstein and Jeffrey Friedman won an Academy Award for the emotional and compassionate Common Threads: Stories From The Quilt (1989) - about five individuals commemorated on the giant, iconic memorial quilt who battled AIDS, accompanied by a soundtrack by Bobby McFerrin. [Earlier, Epstein had won the Best Documentary Oscar for The Times of Harvey Milk (1984) about the political life of the first openly-gay politician to be elected to office in California - to the SF Board of Supervisors. Milk was brutally murdered in November 1978 by disgruntled ex-Supervisor Dan White, who was only charged with manslaughter on a junk food defense. Epstein's first documentary was the landmark feature Word is Out (1978), which told the stories of 26 gay men and lesbians from across America.] Epstein followed up with the informative The Celluloid Closet (1995), based on the 1981 landmark book by Vito Russo, which surveyed sexual myths and attitudes toward homosexuality (gay and lesbian) in Hollywood's films through interviews and film clips.
Jennie Livingston's Paris is Burning (1991) took a look at Latino and black competitors in NYC drag balls. Sick: The Life and Death of Bob Flanagan, Supermasochist (1997) honestly profiled cystic fibrosis performance artist Bob Flanagan who reveled in masochistic and S&M acts. And Andrew Jarecki's disturbing Oscar-nominated crime documentary Capturing the Friedmans (2003) graphically portrayed the issue of child sexual abuse and molestation within a dysfunctional middle-class Long Island family, while examining the elusive and conflicting questions of guilt and innocence. Southern Comfort (2001), a documentary by Kate Davis about the transgender movement in the Deep South, followed the last year of the life of Robert Eads - a female-to-male trans-sexual who died of ovarian cancer. The film won the Grand Jury Prize for documentaries at the Sundance Film Festival in 2001, but was ineligible for an Oscar because it aired on HBO's America Undercover series.
Two hard-hitting documentaries provided critical, anti-war commentaries on the Vietnam War: Emile de Antonio's powerful Vietnam: In the Year of the Pig (1968), and Peter Davis' Academy Award-winning anti-war documentary film Hearts and Minds (1974) questioned US involvement in the Vietnam War.
The Oscar-nominated Winged Migration (2001) from French director Jacques Perrin provided a breathtaking documentary about many species of migrating birds. The highest grossing nature documentary ever made (up to its time), March of the Penguins (2005), narrated by Morgan Freeman in the US release, followed the perils of emperor penguins in their quest to mate in the most inhabitable part of the world - deep in Antarctica near the South Pole. Warner Independent Films originally paid $1 million for this Sundance Festival hit when it was just a French-language nature documentary with the original title The Emperor's Journey. It cost $8 million to make and earned almost $78 million - the second-highest gross for a non-IMAX documentary.
The most straightforward, fact-based, troubling and frighteningly relevant film in recent memory was director Davis Guggenheim's An Inconvenient Truth (2006), presented by lecturer, ex-VP and Presidential candidate Al Gore - it clearly exposed the myths and misconceptions that surround global warming and actions that could prevent it, with lots of evidence: numerous charts, statistics, graphs, maps, photos, and animations. Its surprising success during the summer of 2006 was underlined by massive heat waves baking the entire United States.
Various Other Documentary Films:
Director Mel Stuart's Four Days in November (1964) provided an historical record of the difficult days surrounding the assassination of President John F. Kennedy in late November 1963. Saul Bass' partially-animated Why Man Creates (1968) won the Oscar for Best Documentary Short - for its depiction of the power of imagination and creativity in problem-solving. The Children of Theatre Street (1977) provided a 'behind-the-scenes' look at the training of Russia's top ballerinas for the Kirov Ballet in a state-supported school in St. Petersburg.
Nanook of the North (1922) is a silent documentary film by Robert J. Flaherty. In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuit Nanook and his family in the Canadian arctic. The film is considered the first feature-length documentary, though Flaherty has been criticized for staging several sequences and thereby distorting the reality of his subjects' lives.[1]
In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Contents
[hide]
1 Film
2 Criticism
3 Other works
4 See also
5 References
6 External links
[edit] Film
The film was shot near Inukjuak, on Hudson Bay in Arctic Quebec, Canada. Having worked as a prospector and explorer in Arctic Canada among the Inuit, Flaherty was familiar with his subjects and set out to document their lifestyle. Flaherty had shot film in the region prior to this period, but that footage was destroyed in a fire started when Flaherty dropped a cigarette onto the original camera negative (which was highly flammable nitrate stock). Flaherty therefore made Nanook of the North in its place. Funded by French fur company Revillon Freres, the film was shot from August 1920 to August 1921.
As the first nonfiction work of its scale, Nanook of the North was ground-breaking cinema. It captured an exotic culture in a distant location, rather than a facsimile of reality using actors and props on a studio set. Traditional Inuit methods of hunting, fishing, igloo-building, and other customs were shown with accuracy, and the compelling story of a man and his family struggling against nature met with great success in North America and abroad.
[edit] Criticism
Flaherty has been criticized for deceptively portraying staged events as reality. Much of the action was staged and gives an inaccurate view of real Inuit life during the early 20th century. "Nanook" was in fact named Allakariallak, for instance, while the "wife" shown in the film was not really his wife. And although Allakariallak normally used a gun when hunting, Flaherty encouraged him to hunt after the fashion of his ancestors in order to capture what was believed to be the way the Inuit lived before European influence. The ending, in which Nanook and his family are supposedly in peril of dying if they can't find shelter quickly enough, was implausible, given the reality of nearby French-Canadian and Inuit settlements during filming (although Allakariallak himself died of starvation two years after the film was made). On the other hand, while Flaherty made his Inuit actors use spears instead of guns during the walrus and seal hunts, the hunting itself did involve actual wild animals.
Flaherty defended his work by stating that a filmmaker must often distort a thing to catch its true spirit. Later filmmakers have pointed out that the only cameras available to Flaherty at the time were both large and immobile, making it impossible to effectively capture most interior shots or unstructured exterior scenes without significantly modifying the environment and subject action. For example, the Inuit crew had to build a special three-walled igloo for Flaherty's bulky camera so that there would be enough light for it to capture interior shots.
At the time, few documentaries had been filmed and there was little precedent to guide Flaherty's work. Since Flaherty's time both staging action and attempting to steer documentary action have come to be considered unethical amongst cinéma vérité purists, because they believe such reenactments deceive the audience.
[edit] Other works
The story of the film and the people it was made among is told in The Long Exile: A True Story of Deception and Survival Amongst the Inuit of the Canadian Arctic, by Melanie McGrath.[2]
Kabloonak is a 1995 film about the making of Nanook of the North. Charles Dance plays Flaherty and Adamie Quasiak Inukpuk (a relative of Nanook) plays Nanook.
[edit] See also
Nanook
Docudrama
[edit] References
^ Essay by Dean W. Duncan. Criterion Collection. Retrieved on May 18, 2007.
^ Amazon review of The Long Exile
[edit] External links
Nanook of the North at the Internet Movie Database
Great Movies: Nanook of the North (1922) by Roger Ebert
How I Filmed Nanook of the North by Robert J. Flaherty
Media Worlds essay by Faye D. Ginsburg
Swiss Jazz band Q3 composes a new Nanook of the North soundtrack
June 12, 1922 review of Nanook of the North in the New York Times
Lists of directors and producers of documentaries
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Contents
[hide]
1 Africa
2 Asia
3 Australia
4 Europe
5 Latin America
6 North America
[edit] Africa
Safi Faye
Sorious Samura, (Cry Freetown, Return to Freetown, Exodus, Living with Hunger, Living with Refugees)
[edit] Asia
Mikhail Vartanov Parajanov: The Last Spring (film) (Armenia)
S.N. Padhaan
Rajeev Tripathi
Suma Josson
Anand Patwardhan
Artavazd Ashoti Peleshyan
Susumu Hani
David Perlov (Israel)
Shinsuke Ogawa
Jyunichi Ushiyama
Mithaq Kazimi
Maheen Zia (Pakistan)
Iqbal Malhotra
Noriaki Tsuchimoto
Kazuo Hara
Mubasher Lucman
Ruby Yang
Wang Bing
Sadaf Foroughi (Iran)
Rajendra Joshi(India) (Producer -Director-Writer)
[edit] Australia
Wayne Coles-Janess (In the Shadow of the Palms)
George Gittoes (Soundtrack to War)
Nicholas Hansen (RASH)
(Mubasher Lucman) (Ameer Ul Momineen) On Talibaan
John Pilger (Year Zero: The Silent Death of Cambodia, Vietnam: the Last Battle, Stealing a Nation)
Matt Norman
[edit] Europe
Michael Apted (Seven Up!)
Patrice Barrat "(Algeria(s)", "Why Did You See of Sarajevo", "Pacification in Algeria")
William Bemister
Hartmut Bitomsky
Jerzy Bossak
Nick Broomfield (Aileen Wuornos: The Selling of a Serial Killer Biggie & Tupac, Kurt & Courtney, Heidi Fleiss: Hollywood Madam)
António Campos
Pedro Costa
Ricardo Costa
John Grierson
Bert Haanstra
Thomas Heise
Werner Herzog (Grizzly Man)
Heddy Honigman
Marcel Ichac (France, exploration and mountain films)
Joris Ivens
Sean Langan (Behind the Lines, Langan in Iraq, Travels of a Gringo)
Claude Lanzmann (Shoah)
Fabrizio Lazzaretti
Sean McAllister, filmmaker (Liberace of Baghdad, The Minders)
Chris Marker
Arūnas Matelis (Before Flying Back to the Earth)
James Miller (filmmaker) (Death in Gaza)
George Morrison (Mise Éire)
Marcel Ophüls
Jacques Perrin (Le Peuple Migrateur)
Jos de Putter
Sarah Jane Barnes
António Reis
Alain Resnais, (Night and Fog)
Leni Riefenstahl
Jean Rouch
Virgilio Tosi
Dziga Vertov
Klaus Wildenhahn
Leslie Woodhead (Children of Beslan, A Cry from the Grave, Godless in America)
Willy Lindwer (The Last Seven Months of Anne Frank)
David Roxendal
Kresevljakovic brothers - Nihad & Sead (Do You Remember Sarajevo)
[edit] Latin America
Tomas Gutierrez Alea
Santiago Alvarez
João Batista de Andrade
Fernando Birri
Sergio Bravo
Pachi Bustos
Patricio Guzman
Leon Hirszman
Miguel Littin
Carolina Moraes Liu
Paul Leduc
Antonio Leiva*
Jorge Leiva
Carmen Luz Parot
Marta Rodríguez
Fernando E. Solanas
Gerardo Vallejo
Juan M. Pinera
[edit] North America
Mitch Anderson
Emile de Antonio
Denys Arcand
Timothy Asch, (The Ax Fight)
Joe Berlinger and Bruce Sinofsky (Brother's Keeper, Paradise Lost: The Child Murders at Robin Hood Hills, Metallica: Some Kind of Monster)
Doug Block, (51 Birch Street, Home Page)
Michel Brault
Sam Bozzo (Can You Hack It?)
Ken Burns (Baseball, Jazz, The Civil War)
Jim Butterworth (Seoul Train)
Merian C. Cooper and Ernest B. Schoedsack
Khashyar Darvich (Dalai Lama Renaissance)
Paul Devlin (SlamNation, Power Trip)
Mithaq Kazimi (16 Days in Afghanistan)
Chris Donahue (Be Good, Smile Pretty)
Jon Else (Cadillac Desert, The Day After Trinity, Sing Faster, The Times of Harvey Milk)
Robert J. Flaherty
Elise K. Fortunato (Telegram, Last Dingo in Paris)
Su Friedrich, Hide and Seek
Robert Gardner, (Dead Birds)
Gilles Groulx
Mark Jonathan Harris, (The Long Way Home, Into the Arms of Strangers: Stories of the Kindertransport)
Tigre Hill, (The Shame of A City, Barrel of a Gun)
Deborah Hoffmann (Long Night's Journey Into Day)
Steve James (Hoop Dreams)
Kartemquin Films (Gordon Quinn, Jerry Blumenthal, Steve James, Peter Gilbert, et al.)
Tim Kirkman (Dear Jesse)
Barbara Kopple (Harlan County, USA, American Dream, both Academy Award winners)
Martin Kunert, Voices of Iraq
Richard Leacock
Allie Light, Dialogues with Madwomen
James Longley, Iraq in Fragments
Kevin Macdonald, (One Day in September, Touching the Void)
M. T. Manelski, Running in High Heels
Eric Manes, Voices of Iraq
Ron Mann (Comic Book Confidential, Twist, Grass)
Albert Maysles and David Maysles (Salesman, Grey Gardens, Gimme Shelter)
Ross McElwee, (Time Indefinite, Sherman's March)
Freida Lee Mock, (Maya Lin: A Strong Clear Vision an Academy Award Winner), (Bird by Bird with Annie a portrait of Anne Lamott)
John Marshall, (The Hunters)
Michael Moore (Roger and Me, Bowling for Columbine, Fahrenheit 9/11, The Big One, Sicko)
Errol Morris (The Thin Blue Line (documentary) , Vernon, Florida, Fast, Cheap and Out of Control, The Fog of War)
Megan Mylan (Lost Boys of Sudan)
Spencer Nakasako (AKA Don Bonus, Refugee)
Alanis Obomsawin
D. A. Pennebaker (Dont Look Back, Monterey Pop)
Pierre Perrault
Frances Reid (Long Night's Journey Into Day)
Steven Rosenbaum (7 Days in September)
Christopher Seufert
Martin Smith (Hunting bin Laden, Truth, War and Consequences)
Steven W. Solana
Lucy Walker (Devil's Playground, Blindsight
Frederick Wiseman (High School, Titicut Follies)
Ruby Yang (Citizen Hong Kong [1], China 21 [2])
Jessica Yu (Breathing Lessons: The Life and Work of Mark O'Brien)
Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative-based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective.
Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following:
'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould)
a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic)
a concert or rock festival (Woodstock or Altamont rock concerts (Woodstock (1970) and Gimme Shelter (1970)), The Song Remains the Same (1976), Stop Making Sense (1984), Madonna: Truth or Dare (1991))
a comedy show (Richard Pryor or Eddie Murphy shows)
a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000))
a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994))
an expose including interviews (e.g., Michael Moore's social concerns films)
a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966))
a compilation film of collected footage from government sources
a 'making of' film (such as the one regarding the filming of Apocalypse Now (1979), or Fitzcarraldo (1982))
an examination of a specific subject area (e.g., nature- or science-related themes, or historical surveys, such as The Civil War, Jazz, Baseball, or World War II, etc.)
spoof documentaries, termed 'mockumentaries' (such as This is Spinal Tap (1984), Zelig (1983), and Best in Show (2000))
The Earliest Documentaries:
Originally, the earliest documentaries in the US and France were either short newsreels, instructional pictures, records of current events, or travelogues (termed actualities) without any creative story-telling, narrative, or staging. The first attempts at film-making, by the Lumiere Brothers and others, were literal documentaries, e.g., a train entering a station, factory workers leaving a plant, etc.
The first documentary re-creation, Sigmund Lubin's one-reel The Unwritten Law (1907) (subtitled "A Thrilling Drama Based on the Thaw-White Tragedy") dramatized the true-life murder -- on June 25, 1906 -- of prominent architect Stanford White by mentally unstable and jealous millionaire husband Harry Kendall Thaw over the affections of showgirl Evelyn Nesbit (who appeared as herself). [Alluring chorine Nesbit would become a brief sensation, and the basis for Richard Fleischer's biopic film The Girl in the Red Velvet Swing (1955), portrayed by Joan Collins, and E.L. Doctorow's musical and film Ragtime (1981), portrayed by an Oscar-nominated Elizabeth McGovern.]
Documentaries during the Great War and during WWII were often propagandistic. Innovative German film-maker Leni Riefenstahl's pioneering masterwork epic Triumph of the Will (1934) was explicitly propagandistic yet historical in its spectacular yet horrifying documentation of the Nazi Party Congress rally in Nuremberg in 1934. It was a revolutionary film combining superb cinematography and editing of Third Reich propaganda. She also documented the 1936 Berlin Olympics in the stunning film Olympia (1938) - with graceful and beautiful images of 'Aryan' athletes in competition. To respond to the Nazi propaganda, Frank Capra was commissioned by the US War Department to direct seven films in a Why We Fight (1943) series of narrated WWII newsreel-style films. The first in the series, "Prelude to War," a look at the events from 1931-1939, won the Academy Award for Best Documentary in 1942. David Lean's and Noel Coward's In Which We Serve (1942, UK) was not a pure documentary film, although it boosted the wartime morale of the beleaguered Britishers.
Errol Morris' unique contributions to the documentary film category were significant with many examples of weird films with offbeat and unusual subject matter: the looney Gates of Heaven (1978) about a bankrupt N. California pet cemetery and its devoted pet-owners, Vernon, Florida (1981) about the quirky inhabitants of a backwater Floridian town, the controversial The Thin Blue Line (1988) that helped free accused and convicted murderer Randall Dale Adams on Texas' death row, the biographical A Brief History of Time (1992) with ALS-afflicted and wheelchair-bound cosmologist Stephen Hawking discussing quantum physics, the fascinating Fast, Cheap & Out of Control (1997) about four eccentric individuals (a topiary gardener, a lion tamer, a mole-rat expert, and a robotics scientist/inventor), and Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. (2000) - about a caffeine-addicted specialist who designed execution equipment.
Barbara Kopple -
Director Barbara Kopple's Harlan County, USA (1976), another Academy Award winner for Best Documentary, documented a Kentucky coal miners' strike in the early 1970s against the Eastover Mining Company. She also directed a second Oscar-winning documentary film on labor struggles, American Dream (1990), about striking employees at a Hormel meat-packing plant in Austin, Minnesota. In addition, she filmed an in-depth documentary on comedian/musician/director Woody Allen and his 1996 jazz band tour of Europe, titled Wild Man Blues (1997).
Michael Moore -
Another critical expose, Moore's Fahrenheit 9/11 (2004) provided a scathing indictment of President George W. Bush's handling of the terrorist crisis and his alleged connections to Al-Qaeda leader Bin Laden's family. The documentary film was included among the Cannes Film Festival's main competition (only the second time in 48 years for a documentary) - and won the top prize - the first for a documentary in nearly 50 years. The controversial film had earlier gained further publicity and notoriety when Disney opted not to distribute the film through its Miramax subsidiary unit, and Moore accused the company of censorship. [Supposedly, Disney feared the film might endanger tax breaks Disney received in Florida where its theme parks were located, and where the president's brother, Jeb Bush, was governor at the time.] Moore's film set box-office records as the highest-grossing non-concert, non-IMAX documentary film of all time - and at the time the only one ever to win a box-office weekend during its debut showing. His next film was the searing look at the American health care system, Sicko (2007).
Stacy Peralta -
Life and culture in Southern California were the subject matter of documentary films produced by youth-oriented TV producer and skateboarding icon Stacy Peralta: Dogtown and Z-Boys (2002) surveyed the growth of skateboarding since the late 1960s by following a group of skaters off Venice Beach and their subculture, and Riding Giants (2004) was an engaging and exciting film about the evolution of the big-wave surf culture as seen through the experiences of legendary, thrill-seeking surfers. It credited blonde pre-teen star Sandra Dee and her Gidget (1959) film with the explosion of surf culture in the early 1960s.
The Prelinger Films Archives -
Prelinger Archives, founded in 1983 by Rick Prelinger would grow over the next twenty years into a collection of over 48,000 "ephemeral" (advertising, educational, industrial, and amateur) films. Included were films produced by and for many hundreds of important US corporations, non-profit organizations, trade associations, community and interest groups, and educational institutions. Some of the films were outrageous and sometimes bizarre examples of 40's and 50's US propaganda that were aimed at influencing the public. They ranged from social guidance films like Are You Popular? (1947) (which warned that only 'bad' girls park with boys in cars at night) and 'mental hygiene' films on how to engender family courtesy and etiquette like A Date with Your Family (1950). Other subjects were Cold War films like the cartoon Meet King Joe (1949) produced to convince American workers of their good fortune, and Why Play Leap Frog? (1949) that also attempted to convince workers to increase their productivity. Others were Don't Be a Sucker (1947) and Make Mine Freedom (1948) which warned against the dangers of Communism, and Brink of Disaster (1972), a Nixon-era film decrying the evils of 60's activism, and how it threatened American moral, religious and ethical principles.
Biographical Documentary Films:
The Oscar-winning documentary by Richard Kaplan, The Eleanor Roosevelt Story (1965), was a tribute to one of the most influential First Ladies in US history. Bruce Weber's Let's Get Lost (1988) was a biographical account of the life of jazz trumpeter Chet Baker. Marcel Ophuls' riveting Hotel Terminus: The Life and Times of Klaus Barbie (1988), with an extensive examination of the exploits of the infamous Nazi 'Butcher of Lyon,' won the Best Documentary Feature Oscar in its year of competition.
A compilation film from Kevin Rafferty, the cult classic The Atomic Cafe (1982), assembled 1940s-50s footage from US governmental sources about the atomic bomb to show the falsity, naivete, and absurdity of many of the statements about radiation danger during the Cold War. Rafferty used the same style in his expose of the tobacco industry, The Last Cigarette (1999). Another archival documentary, using black comedy about the Nazi's Third Reich, was Hitler's Hit Parade (2003), with an edited collage of Hitler-era propagandistic newsreel footage, advertisements, and movies (to the tune of entertaining 30s popular music) that effectively and ironically masked the horrors being perpetrated elsewhere. John Huston's once-banned Let There Be Light (1945), a war-time documentary on shell-shocked soldiers, was finally released in the early 1980s after the Army was pressured to declassify the film.
The humorous and eccentric Hands on a Hard Body (1997) explored a Texas car dealership marathon-competition to win a Nissan pickup truck by becoming the last person left touching it. Startup.com (2001) followed the entrepreneurial evolution (and ultimate demise) of a new media company (govworks.com) during the Dot.com era in the first year of the 21st century.
The BBC's expose Trouble at the Top: The People vs. Coke (2002) surveyed the New Coke debacle when the Coca Cola Company tested the new drink product with focus groups in the mid-80s and went ahead to create one of the biggest marketing and business blunders ever. Morgan Spurlock's dark comedy satire Super Size Me (2004), his debut feature documentary that won the Best Director award at Sundance, examined the reasons for US obesity, marketing ploys of fast food companies, and the frightening health after-effects of his 30-day binge of fast-food eating (at McDonalds). As a result, Spurlock experienced declining health: he gained 25 pounds, developed chest pains and bad skin, had an increase in body fat of 7%, an increase in cholesterol of 62 points, loss of sex drive, and the pain of toxic-shock withdrawal at the end of the experiment. Another expose of the irresponsibility, exploitation, and lack of accountability of global businesses, and how corporate decisions have impacted the world was contained in Jennifer Abbott's and March Achbar's The Corporation (2004).
Robert Greenwald's Uncovered: The Whole Truth about the Iraq War (2004) examined what the intelligence community knew about the claims of weapons of mass destruction in Iraq, and provided a harsh critique of the Bush administration's foreign policy and its single-minded determination to enter into war. Earlier, Greenwald had executive-produced the disturbing Unprecedented: The 2000 Presidential Election (2002) which examined the voting debacle and court abuses that took place in Florida following the last presidential election. He also released Outfoxed: Rupert Murdoch's War on Journalism (2004), which provided an insightful look at the partisan, 'unfair and unbalanced', conservative political viewpoints of FOX-News.
Filmmakers Robert Epstein and Jeffrey Friedman won an Academy Award for the emotional and compassionate Common Threads: Stories From The Quilt (1989) - about five individuals commemorated on the giant, iconic memorial quilt who battled AIDS, accompanied by a soundtrack by Bobby McFerrin. [Earlier, Epstein had won the Best Documentary Oscar for The Times of Harvey Milk (1984) about the political life of the first openly-gay politician to be elected to office in California - to the SF Board of Supervisors. Milk was brutally murdered in November 1978 by disgruntled ex-Supervisor Dan White, who was only charged with manslaughter on a junk food defense. Epstein's first documentary was the landmark feature Word is Out (1978), which told the stories of 26 gay men and lesbians from across America.] Epstein followed up with the informative The Celluloid Closet (1995), based on the 1981 landmark book by Vito Russo, which surveyed sexual myths and attitudes toward homosexuality (gay and lesbian) in Hollywood's films through interviews and film clips.
Jennie Livingston's Paris is Burning (1991) took a look at Latino and black competitors in NYC drag balls. Sick: The Life and Death of Bob Flanagan, Supermasochist (1997) honestly profiled cystic fibrosis performance artist Bob Flanagan who reveled in masochistic and S&M acts. And Andrew Jarecki's disturbing Oscar-nominated crime documentary Capturing the Friedmans (2003) graphically portrayed the issue of child sexual abuse and molestation within a dysfunctional middle-class Long Island family, while examining the elusive and conflicting questions of guilt and innocence. Southern Comfort (2001), a documentary by Kate Davis about the transgender movement in the Deep South, followed the last year of the life of Robert Eads - a female-to-male trans-sexual who died of ovarian cancer. The film won the Grand Jury Prize for documentaries at the Sundance Film Festival in 2001, but was ineligible for an Oscar because it aired on HBO's America Undercover series.
Two hard-hitting documentaries provided critical, anti-war commentaries on the Vietnam War: Emile de Antonio's powerful Vietnam: In the Year of the Pig (1968), and Peter Davis' Academy Award-winning anti-war documentary film Hearts and Minds (1974) questioned US involvement in the Vietnam War.
The Oscar-nominated Winged Migration (2001) from French director Jacques Perrin provided a breathtaking documentary about many species of migrating birds. The highest grossing nature documentary ever made (up to its time), March of the Penguins (2005), narrated by Morgan Freeman in the US release, followed the perils of emperor penguins in their quest to mate in the most inhabitable part of the world - deep in Antarctica near the South Pole. Warner Independent Films originally paid $1 million for this Sundance Festival hit when it was just a French-language nature documentary with the original title The Emperor's Journey. It cost $8 million to make and earned almost $78 million - the second-highest gross for a non-IMAX documentary.
The most straightforward, fact-based, troubling and frighteningly relevant film in recent memory was director Davis Guggenheim's An Inconvenient Truth (2006), presented by lecturer, ex-VP and Presidential candidate Al Gore - it clearly exposed the myths and misconceptions that surround global warming and actions that could prevent it, with lots of evidence: numerous charts, statistics, graphs, maps, photos, and animations. Its surprising success during the summer of 2006 was underlined by massive heat waves baking the entire United States.
Various Other Documentary Films:
Director Mel Stuart's Four Days in November (1964) provided an historical record of the difficult days surrounding the assassination of President John F. Kennedy in late November 1963. Saul Bass' partially-animated Why Man Creates (1968) won the Oscar for Best Documentary Short - for its depiction of the power of imagination and creativity in problem-solving. The Children of Theatre Street (1977) provided a 'behind-the-scenes' look at the training of Russia's top ballerinas for the Kirov Ballet in a state-supported school in St. Petersburg.
Nanook of the North (1922) is a silent documentary film by Robert J. Flaherty. In the tradition of what would later be called salvage ethnography, Flaherty captured the struggles of the Inuit Nanook and his family in the Canadian arctic. The film is considered the first feature-length documentary, though Flaherty has been criticized for staging several sequences and thereby distorting the reality of his subjects' lives.[1]
In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Contents
[hide]
1 Film
2 Criticism
3 Other works
4 See also
5 References
6 External links
[edit] Film
The film was shot near Inukjuak, on Hudson Bay in Arctic Quebec, Canada. Having worked as a prospector and explorer in Arctic Canada among the Inuit, Flaherty was familiar with his subjects and set out to document their lifestyle. Flaherty had shot film in the region prior to this period, but that footage was destroyed in a fire started when Flaherty dropped a cigarette onto the original camera negative (which was highly flammable nitrate stock). Flaherty therefore made Nanook of the North in its place. Funded by French fur company Revillon Freres, the film was shot from August 1920 to August 1921.
As the first nonfiction work of its scale, Nanook of the North was ground-breaking cinema. It captured an exotic culture in a distant location, rather than a facsimile of reality using actors and props on a studio set. Traditional Inuit methods of hunting, fishing, igloo-building, and other customs were shown with accuracy, and the compelling story of a man and his family struggling against nature met with great success in North America and abroad.
[edit] Criticism
Flaherty has been criticized for deceptively portraying staged events as reality. Much of the action was staged and gives an inaccurate view of real Inuit life during the early 20th century. "Nanook" was in fact named Allakariallak, for instance, while the "wife" shown in the film was not really his wife. And although Allakariallak normally used a gun when hunting, Flaherty encouraged him to hunt after the fashion of his ancestors in order to capture what was believed to be the way the Inuit lived before European influence. The ending, in which Nanook and his family are supposedly in peril of dying if they can't find shelter quickly enough, was implausible, given the reality of nearby French-Canadian and Inuit settlements during filming (although Allakariallak himself died of starvation two years after the film was made). On the other hand, while Flaherty made his Inuit actors use spears instead of guns during the walrus and seal hunts, the hunting itself did involve actual wild animals.
Flaherty defended his work by stating that a filmmaker must often distort a thing to catch its true spirit. Later filmmakers have pointed out that the only cameras available to Flaherty at the time were both large and immobile, making it impossible to effectively capture most interior shots or unstructured exterior scenes without significantly modifying the environment and subject action. For example, the Inuit crew had to build a special three-walled igloo for Flaherty's bulky camera so that there would be enough light for it to capture interior shots.
At the time, few documentaries had been filmed and there was little precedent to guide Flaherty's work. Since Flaherty's time both staging action and attempting to steer documentary action have come to be considered unethical amongst cinéma vérité purists, because they believe such reenactments deceive the audience.
[edit] Other works
The story of the film and the people it was made among is told in The Long Exile: A True Story of Deception and Survival Amongst the Inuit of the Canadian Arctic, by Melanie McGrath.[2]
Kabloonak is a 1995 film about the making of Nanook of the North. Charles Dance plays Flaherty and Adamie Quasiak Inukpuk (a relative of Nanook) plays Nanook.
[edit] See also
Nanook
Docudrama
[edit] References
^ Essay by Dean W. Duncan. Criterion Collection. Retrieved on May 18, 2007.
^ Amazon review of The Long Exile
[edit] External links
Nanook of the North at the Internet Movie Database
Great Movies: Nanook of the North (1922) by Roger Ebert
How I Filmed Nanook of the North by Robert J. Flaherty
Media Worlds essay by Faye D. Ginsburg
Swiss Jazz band Q3 composes a new Nanook of the North soundtrack
June 12, 1922 review of Nanook of the North in the New York Times
Lists of directors and producers of documentaries
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Contents
[hide]
1 Africa
2 Asia
3 Australia
4 Europe
5 Latin America
6 North America
[edit] Africa
Safi Faye
Sorious Samura, (Cry Freetown, Return to Freetown, Exodus, Living with Hunger, Living with Refugees)
[edit] Asia
Mikhail Vartanov Parajanov: The Last Spring (film) (Armenia)
S.N. Padhaan
Rajeev Tripathi
Suma Josson
Anand Patwardhan
Artavazd Ashoti Peleshyan
Susumu Hani
David Perlov (Israel)
Shinsuke Ogawa
Jyunichi Ushiyama
Mithaq Kazimi
Maheen Zia (Pakistan)
Iqbal Malhotra
Noriaki Tsuchimoto
Kazuo Hara
Mubasher Lucman
Ruby Yang
Wang Bing
Sadaf Foroughi (Iran)
Rajendra Joshi(India) (Producer -Director-Writer)
[edit] Australia
Wayne Coles-Janess (In the Shadow of the Palms)
George Gittoes (Soundtrack to War)
Nicholas Hansen (RASH)
(Mubasher Lucman) (Ameer Ul Momineen) On Talibaan
John Pilger (Year Zero: The Silent Death of Cambodia, Vietnam: the Last Battle, Stealing a Nation)
Matt Norman
[edit] Europe
Michael Apted (Seven Up!)
Patrice Barrat "(Algeria(s)", "Why Did You See of Sarajevo", "Pacification in Algeria")
William Bemister
Hartmut Bitomsky
Jerzy Bossak
Nick Broomfield (Aileen Wuornos: The Selling of a Serial Killer Biggie & Tupac, Kurt & Courtney, Heidi Fleiss: Hollywood Madam)
António Campos
Pedro Costa
Ricardo Costa
John Grierson
Bert Haanstra
Thomas Heise
Werner Herzog (Grizzly Man)
Heddy Honigman
Marcel Ichac (France, exploration and mountain films)
Joris Ivens
Sean Langan (Behind the Lines, Langan in Iraq, Travels of a Gringo)
Claude Lanzmann (Shoah)
Fabrizio Lazzaretti
Sean McAllister, filmmaker (Liberace of Baghdad, The Minders)
Chris Marker
Arūnas Matelis (Before Flying Back to the Earth)
James Miller (filmmaker) (Death in Gaza)
George Morrison (Mise Éire)
Marcel Ophüls
Jacques Perrin (Le Peuple Migrateur)
Jos de Putter
Sarah Jane Barnes
António Reis
Alain Resnais, (Night and Fog)
Leni Riefenstahl
Jean Rouch
Virgilio Tosi
Dziga Vertov
Klaus Wildenhahn
Leslie Woodhead (Children of Beslan, A Cry from the Grave, Godless in America)
Willy Lindwer (The Last Seven Months of Anne Frank)
David Roxendal
Kresevljakovic brothers - Nihad & Sead (Do You Remember Sarajevo)
[edit] Latin America
Tomas Gutierrez Alea
Santiago Alvarez
João Batista de Andrade
Fernando Birri
Sergio Bravo
Pachi Bustos
Patricio Guzman
Leon Hirszman
Miguel Littin
Carolina Moraes Liu
Paul Leduc
Antonio Leiva*
Jorge Leiva
Carmen Luz Parot
Marta Rodríguez
Fernando E. Solanas
Gerardo Vallejo
Juan M. Pinera
[edit] North America
Mitch Anderson
Emile de Antonio
Denys Arcand
Timothy Asch, (The Ax Fight)
Joe Berlinger and Bruce Sinofsky (Brother's Keeper, Paradise Lost: The Child Murders at Robin Hood Hills, Metallica: Some Kind of Monster)
Doug Block, (51 Birch Street, Home Page)
Michel Brault
Sam Bozzo (Can You Hack It?)
Ken Burns (Baseball, Jazz, The Civil War)
Jim Butterworth (Seoul Train)
Merian C. Cooper and Ernest B. Schoedsack
Khashyar Darvich (Dalai Lama Renaissance)
Paul Devlin (SlamNation, Power Trip)
Mithaq Kazimi (16 Days in Afghanistan)
Chris Donahue (Be Good, Smile Pretty)
Jon Else (Cadillac Desert, The Day After Trinity, Sing Faster, The Times of Harvey Milk)
Robert J. Flaherty
Elise K. Fortunato (Telegram, Last Dingo in Paris)
Su Friedrich, Hide and Seek
Robert Gardner, (Dead Birds)
Gilles Groulx
Mark Jonathan Harris, (The Long Way Home, Into the Arms of Strangers: Stories of the Kindertransport)
Tigre Hill, (The Shame of A City, Barrel of a Gun)
Deborah Hoffmann (Long Night's Journey Into Day)
Steve James (Hoop Dreams)
Kartemquin Films (Gordon Quinn, Jerry Blumenthal, Steve James, Peter Gilbert, et al.)
Tim Kirkman (Dear Jesse)
Barbara Kopple (Harlan County, USA, American Dream, both Academy Award winners)
Martin Kunert, Voices of Iraq
Richard Leacock
Allie Light, Dialogues with Madwomen
James Longley, Iraq in Fragments
Kevin Macdonald, (One Day in September, Touching the Void)
M. T. Manelski, Running in High Heels
Eric Manes, Voices of Iraq
Ron Mann (Comic Book Confidential, Twist, Grass)
Albert Maysles and David Maysles (Salesman, Grey Gardens, Gimme Shelter)
Ross McElwee, (Time Indefinite, Sherman's March)
Freida Lee Mock, (Maya Lin: A Strong Clear Vision an Academy Award Winner), (Bird by Bird with Annie a portrait of Anne Lamott)
John Marshall, (The Hunters)
Michael Moore (Roger and Me, Bowling for Columbine, Fahrenheit 9/11, The Big One, Sicko)
Errol Morris (The Thin Blue Line (documentary) , Vernon, Florida, Fast, Cheap and Out of Control, The Fog of War)
Megan Mylan (Lost Boys of Sudan)
Spencer Nakasako (AKA Don Bonus, Refugee)
Alanis Obomsawin
D. A. Pennebaker (Dont Look Back, Monterey Pop)
Pierre Perrault
Frances Reid (Long Night's Journey Into Day)
Steven Rosenbaum (7 Days in September)
Christopher Seufert
Martin Smith (Hunting bin Laden, Truth, War and Consequences)
Steven W. Solana
Lucy Walker (Devil's Playground, Blindsight
Frederick Wiseman (High School, Titicut Follies)
Ruby Yang (Citizen Hong Kong [1], China 21 [2])
Jessica Yu (Breathing Lessons: The Life and Work of Mark O'Brien)
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