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Zwischen ‚Doku‘ und ‚Fiktion‘? die hybride Vielfalt der docufiction
2011Christian Hißnauer
exaly +2 more sources
2016
This chapter discusses the international film culture of the 1960s and 1970s against the backdrop of the massive urbanisation of what used to be called the ‘Third World’. During these decades not only did world cinema modernise itself in the form of numerous, highly politicised and predominantly leftist, ‘new waves’, but so, too, did many (mega)cities ...
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This chapter discusses the international film culture of the 1960s and 1970s against the backdrop of the massive urbanisation of what used to be called the ‘Third World’. During these decades not only did world cinema modernise itself in the form of numerous, highly politicised and predominantly leftist, ‘new waves’, but so, too, did many (mega)cities ...
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Docufictions: an interview with Martin Scorsese on documentary film
Film History: An International Journal, 2007Scorsese discusses the documentary impulse in his own films and the films of others, as well as classic documentaries and his own documentary work. Films dealt with include Paisan, Open City, Elephant Boy, Crisis, Who’s That Knocking on My Door, Two Rode Together, Italianamerican, Casino, Goodfellas, Memphis Belle, Battle of San Pietro, The Battle of ...
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Mars : narrations audio-visuelles d'un docufiction futurologique
International ...
Gueraud-Pinet, Guylaine, Lafon, Benoit
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Reclaiming “geballte linke Energie”: War in Alexander Kluge’s Docufiction Heidegger auf der Krim
Seminar, 2014In his docufiction Heidegger auf der Krim, the German author, director and television producer Alexander Kluge rekindles the polemical debate between two towering figures of German philosophy (Heidegger and Adorno). The nucleus of the story emerges in a discussion with Heiner Muller on the role of the intellectual faced with war and dictatorship; but ...
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