Documentary

The Routledge Companion to Philosophy and Film

Volumn , Issue , 2008, Pages 494-504

  Plantinga, Carl ^a  

^a CALVIN COLLEGE   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 85105650246     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203879320-53     Document Type: Chapter

References (26)

1. Anderson, C., and Benson, T. (1988) “Direct Cinema and the Myth of Informed Consent,” in L. Gross, J. Katz, and J. Ruby (eds.) Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television, New York: Oxford University Press.
2. Aumont, J., Bergala, A., Marie, M., and Vernet, M. (1992) Aesthetics of Film, rev. trans. R. Neupert, Austin: University of Texas Press.
3. Benson, T., and Anderson, C. (1989) Reality Fictions: The Films of Frederick Wiseman, Carbondale, IL: Southern Illinois University Press.
4. Branigan, E. (1992) Narrative Comprehension and Film, London and New York: Routledge.
5. Carroll, N. (1996) Theorizing the Moving Image, Cambridge and New York: Cambridge University Press.
6. Carroll, N. (1997) “Fiction, Non-Fiction, and the Film of Presumptive Assertion: A Conceptual Analysis,” in R. Allen and M. Smith (eds.) Film Theory and Philosophy, New York: Oxford University Press.
7. Carroll, N. (2003) Engaging the Moving Image, New Haven, CT: Yale University Press.
8. Choi, J. (2001) “A Reply to Gregory Currie on Documentaries,” Journal of Aesthetics and Art Criticism 59: 317-19.
9. Currie, G. (1999) “Visible Traces: Documentary and the Contents of Photographs,” Journal of Aesthetics and Art Criticism 57: 285-97.
10. Eitzen, D. (1992) “When is a Documentary?: Documentary as a Mode of Reception,” Cinema Journal 35: 81-102.
11. Grierson, J. (1932) “Documentary (1),” Cinema Quarterly 4: 67-72.
12. Gross, L., Katz, J., and Ruby, J. (1988) “Introduction: A Moral Pause,” in L. Gross, J. Katz, and J. Ruby (eds.) Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television, New York: Oxford University Press.
13. Moore, M. (1989) “Michael and Me” (interview by Harlan Jacobson), Film Comment 25(6): 16-18, 20, 22-6.
14. Nichols, B. (1991) Representing Reality, Bloomington: Indiana University Press.
15. Plantinga, C. (1987) “Defining Documentary: Fiction, Nonfiction, and Projected Worlds,” Persistence of Vision 5: 44-54.
16. Plantinga, C. (1996) “Moving Pictures and the Rhetoric of Nonfiction: Two Approaches,” in D. Bordwell and N. Carroll (eds.) Post-Theory: Reconstructing Film Studies, Madison: University of Wisconsin Press.
17. Plantinga, C. (1997) Rhetoric and Representation in Nonfiction Film, Cambridge: Cambridge University Press.
18. Plantinga, C. (2000) “The Limits of Appropriation: Subjectivist Accounts of the Fiction/Nonfiction Distinction,” in I. Bondebjerg (ed.) Moving Images, Culture, and the Mind, Luton, UK: University of Luton Press.
19. Plantinga, C. (2005) “What a Documentary Is, After All,” Journal of Aesthetics and Art Criticism 63: 105-17.
20. Ponech, T. (1997) “What Is Non-Fiction Cinema?,” in R. Allen and M. Smith (eds.) Film Theory and Philosophy, New York: Oxford University Press.
21. Ponech, T. (1999) What Is Non-Fiction Cinema?: On the Very Idea of Motion Picture Communication, Boulder, CO: Westview Press.
22. Pryluck, C. (1988) “Ultimately We Are All Outsiders: The Ethics of Documentary Filming,” in A. Rosenthal (ed.) New Challenges for Documentary, Berkeley: University of California Press.
23. Renov, M. (1993) “Introduction: The Truth about Non-Fiction,” in M. Renov (ed.) Theorizing Documentary, New York: Routledge.
24. Renov, M. (2004) The Subject of Documentary, Minneapolis: University of Minnesota Press.
25. Ruby, J. (1988) “The Image Mirrored: Reflexivity and the Documentary Film,” in A. Rosenthal (ed.) New Challenges for Documentary, Berkeley: University of California Press.
26. Winston, B. (1995) Claiming the Real: The Documentary Film Revisited, London: British Film Institute.