Speaking Truths with Film: Evidence, Ethics, Politics in Documentary

Preface Acknowledgements Introduction PART I. DOCUMENTARY MEETS THE NEIGHBORS: THE AVANT-GARDE AND FICTION FILM 1. Documentary Film and the Modernist Avant-Garde 2. Documentary Reenactment and the Fantasmatic Subject FURTHER REFLECTIONS: EXPERIMENTAL DOCUMENTARY 3. Letter to Lynn Sachs on Investigation of a Flame 4. Breaking the Frame: Gender, Violation, and the Avant-Garde PART II. THE AUDIO IN AUDIOVISUAL 5. Documentary Film and the Coming of Sound 6. To See the World Anew: Revisiting the Voice of Documentary FURTHER REFLECTIONS: MUSIC IN DOCUMENTARY 7. The Sound of Music PART III. BEYOND "JUST THE FACTS": EVIDENCE, INTERPRETATION, AND SOCIAL CONTEXT 8. The Question of Evidence: The Power of Rhetoric and the Documentary Film 9. The Terrorist Event FURTHER REFLECTIONS: THE MANY FORMS OF EVIDENCE 10. Remaking History: Jay Leyda and the Compilation Film 11. Restrepo: A Case of Inadvertent Evidence 12. The Symptomatic Biopic: Steve Jobs: The Man in the Machine PART IV. ETHICS AND IRONY IN DOCUMENTARY 13. Documentary Ethics: Doing the Right Thing 14. Irony, Paradox, and the Documentary: Double Meanings and Double Binds FURTHER REFLECTIONS: NOTES ON TRAUMA 15. Letter to Errol Morris: Feelings of Revulsion and the Limits of Academic Discourse 16. Perpetrators, Trauma, and Film PART V. POLITICS AND THE DOCUMENTARY FILM 17. San Francisco Newsreel: Collectives, Politics, Films 18. The Political Documentary and the Question of Impact Notes Index