| Preface |
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xvii | |
| Acknowledgments |
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xix | |
| PART ONE (1820--1933) Foundations of the Nonfiction Film |
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Reality Perceived and Recorded |
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3 | (14) |
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3 | (4) |
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Persistence of Vision: Theories and Technologies |
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7 | (6) |
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The Realist Impulse in Nineteenth-Century Art |
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13 | (4) |
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17 | (25) |
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17 | (2) |
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Louis and Auguste Lumiere |
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19 | (9) |
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The Lumieres' Contribution to Technology |
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The Lumieres and Thomas A. Edison |
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The Lumieres' Overall Contribution to the Nonfiction Film |
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The Factual Film After the Lumieres |
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28 | (2) |
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The Nonfiction Film and War: 1898--1918 |
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30 | (12) |
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U.S. Government Films about World War I |
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American Commercial Films about World War I |
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Exploration, Romanticism, and the Western Avant-Garde |
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42 | (23) |
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Factual Films of Travel and Exploration |
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42 | (4) |
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Film and the American West |
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Films about Native Americans |
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The American Romantic Tradition |
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46 | (9) |
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Merian C. Cooper and Ernest Schoedsack |
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The Soviet Naturalist Tradition |
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55 | (2) |
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57 | (8) |
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The Beginnings of the Documentary Film |
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65 | (24) |
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Beginnings of the Soviet Propagandist Tradition |
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65 | (12) |
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Esther Shub and the Compilation Film |
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John Grierson and the Early British Documentary Film |
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77 | (12) |
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Empire Marketing Board Film Unit |
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| PART TWO (1933--1939) Documentary Films to Change the World |
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The British Documentary Movement: 1933--1945 |
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89 | (23) |
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General Post Office Film Unit Under John Grierson: 1933--37 |
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89 | (11) |
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Robert Flaherty and John Grierson: Industrial Britain (1933) |
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Basil Wright: The Song of Ceylon (1934) |
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Basil Wright and Harry Watt: Night Mail (1936) |
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GPO Film Unit After John Grierson: 1937--40 |
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100 | (4) |
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The Independent Documentary Film: Production Outside the GPO Film Unit |
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104 | (6) |
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Overall Achievements of British Documentary Film Movement in the 1930 |
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110 | (2) |
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European and Asian Nonfiction Film: 1930--1939 |
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112 | (25) |
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Beginnings of the Film on Art |
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113 | (2) |
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115 | (3) |
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118 | (3) |
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121 | (1) |
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122 | (1) |
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122 | (1) |
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122 | (11) |
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Organization of the Nazi Propaganda Film Effort Nazi Ideology |
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Prewar Nazi Propaganda Films |
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Triumph of the Will (1935) |
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133 | (1) |
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134 | (1) |
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135 | (2) |
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American Nonfiction Film: 1930--1939 |
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137 | (36) |
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Beginnings of the American Film on Art |
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137 | (2) |
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The Romantic Tradition Continues |
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139 | (3) |
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The European Political Documentary Comes to America |
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142 | (4) |
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American Film on the Left: 1930--42 |
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146 | (5) |
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The Workers' Film and Photo League of America (1930--35) |
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Frontier Film Group (1936--42) |
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151 | (11) |
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The Plow That Broke the Plains (1936) |
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The United States Film Service |
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The Fight for Life (1940) |
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Robert Flaherty and The Land (1942) |
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162 | (4) |
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American Newsreel During the 1930s |
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``The March of Time'' (1935--51) |
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``This is America'' (1942--51) |
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166 | (7) |
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| PART THREE (1939--1945) Nonfiction Films for World War II |
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British Films for World War II |
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173 | (27) |
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Organizing for War-Film Production |
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175 | (3) |
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Concerns of British Wartime Films |
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178 | (18) |
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Wartime Living Conditions |
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Training Films for Civilians and the Armed Forces |
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Farming, Gardening, Food, and Nutrition |
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Envisioning the Postwar World |
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Grierson and the National Film Board of Canada |
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196 | (4) |
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European and Asian Films for World War II |
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200 | (16) |
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200 | (7) |
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Wartime Nazi Propaganda Films |
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207 | (4) |
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French Cinema of the Occupation and Resistance |
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211 | (5) |
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Vichy Government Propaganda Films |
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Films of the French Resistance |
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American Films for World War II |
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216 | (25) |
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American Propaganda and Counter-Propaganda for World War II |
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218 | (23) |
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United States Office of War Information |
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Frank Capra: Military Training and Civilian |
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The ``Why We Fight'' Series |
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Films on the Effects of War |
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| PART FOUR (1945--1960) Nonfiction Films After World War II |
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British Nonfiction Film After World War II |
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241 | (14) |
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Great Britain After the War |
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241 | (8) |
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The British Film Industry |
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The Continuing Documentary Tradition |
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British Free Cinema: 1956--59 |
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249 | (6) |
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European, Asian, and Canadian Nonfiction Film after World War II |
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255 | (21) |
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255 | (15) |
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Films on Domestic Subjects |
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Films on Colonial Subjects |
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270 | (2) |
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272 | (4) |
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The National Film Board of Canada |
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American Nonfiction Film After World War II |
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276 | (23) |
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Postwar Government Film Production |
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277 | (3) |
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The United States Information Agency |
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280 | (1) |
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Postwar Independent Film Production |
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281 | (18) |
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Robert Flaherty and Louisiana Story (1948) |
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Independent Films of the 1950s |
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Random Observations of American Life |
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Ethnographic Film Records of Foreign Cultures |
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| PART FIVE (1960--1985) Continuing Traditions and New Directions |
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American Renaissance in the 1960s: The New Nonfiction Film |
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299 | (30) |
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Cinema Verite and Direct Cinema |
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300 | (4) |
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Cinema Verite: Historical and Theoretical Origins |
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Cinema Verite and Direct Cinema: A Comparison and Contrast |
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304 | (6) |
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Major Direct Cinema Filmmakers and Films |
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American Nonfiction Film Outside the Direct Cinema Movement |
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310 | (13) |
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National Politics, Elections, and Leaders |
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323 | (6) |
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Canadian Arts, Culture, and Personalities |
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Tradition and Change in the 1970s |
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329 | (28) |
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New American and European Masters of the Nonfiction Film |
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329 | (20) |
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American Independent Filmmaking |
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349 | (2) |
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British and European Independent Filmmaking |
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351 | (2) |
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American and European Films on Art |
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353 | (4) |
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357 | (18) |
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Issues Shaping Nonfiction Film in the 1980s |
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357 | (4) |
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361 | (9) |
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Films by Lesbians and Gay Men |
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Nonfiction Film in Third World and Non-Western Countries |
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370 | (5) |
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The Middle East and Africa |
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| Afterword: One Hundred Years of Nonfiction Film |
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375 | (6) |
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375 | (2) |
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377 | (1) |
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Financing and Distribution |
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377 | (1) |
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Film Theory and Criticism |
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378 | (3) |
| Notes |
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381 | (42) |
| Works Cited |
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423 | (18) |
| Index of Film Titles |
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441 | (26) |
| Index of Names |
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467 | |
Other versions by this Author