PUpdated and improved, with new case studies and conversations with award-winning filmmakers including Alex Gibney (iTaxi to the Dark Side/i), James Marsh (iMan on Wire/i), and Deborah Scranton (iThe War Tapes/i).PbiDocumentary Storytelling/i/b has reached filmmakers and filmgoers worldwide with its unique focus on the single most important aspect of documentary media-making#58; storytelling. Drawing on the narrative tools of the creative writer, the unique strengths of a visual and aural media, and the power of real-world content truthfully presented, biDocumentary Storytelling /i/boffers advice for producers, directors, editors, and cinematographers seeking to make ethical and effective nonfiction films, and for those who use these films to educate, inform, and inspire. Special interview chapters explore storytelling as practiced by renowned producers, directors, and editors. This third edition has been updated and expanded, with discussion of newer films including iWaltz with Bashir/i and iWhy We Fight/i.pbull; Storytelling techniques are one of the most powerful tools in the documentary filmmaker's arsenal-learn how to harness them with this book brbull; Top documentary filmmakers provide their storytelling strategies brbull; Covers a wide range of documentary styles
Emmy and Peabody Award-winning filmmaker, author, and educator, with expertise in nonfiction narrative. Most recent book, "Bring Judgment Day: Reclaiming Lead Belly's Truths from Jim Crow's Lies” (Cambridge University Press, July 2024).
Previous books include "Documentary Storytelling: Creative Nonfiction on Screen," now in its 5th edition (2022) and available in seven languages; and, with Kenn Rabin, "Archival Storytelling: Finding, Using, and Licensing Third-Party Visuals and Music," now in its 2nd edition (2020).
Films include "Slavery by Another Name" and the series "I'll Make Me a World: A Century of African American Arts" and "Eyes on the Prize II: America at the Racial Crossroads," all broadcast nationally on PBS.
منذ زمن طويل وأنا أحب مشاهدة الأفلام الوثائقية، ويتملكني الحماس عند رؤية تريلر خاص بفيلم فأقرر مشاهدته. لكن في بعض الأحيان يتملكني الملل فلا أكمل المشاهدة دون أن أستطيع تحديد سبب النقص، ناهيك عن أن أتمكن من كتابة مقال نقدي عن الفيلم.
هذا الكتاب ساعدني في فهم كيفية صناعة الفيلم الوثائقي، وعليه أصبح بإمكاني كمشاهدة تحديد مواطن القوة و الضعف من وجهة نظري، أو الكتابة عنها.
الترجمة جيدة جداً لكنها ليست ممتازة.
أنقصت نجمتين: واحدة بسبب الترجمة، والثانية بسبب حوار في القسم الثالث من الكتاب مع إحدى المُخرجات. شعرت أن الأسئلة في واد وإجاباتها في واد آخر، ومعظم كلامها فلسفي عصي على الفهم.
I originally read this book to learn the fundamentals of nonfiction film making, including writing documentary film treatments, but it turns out it's also a fantastic read for literary nonfiction writers in general. Highly recommend for anyone interested in learning to think visually and nail story structure, regardless of genre.
I have doubts about this book. It gives good, solid information and it describes many, many documentaries and uses them as great examples. But it just doesn't work for me. Reading bits and pieces about documentaries doesn't work. It doesn't grab me. It actually bores me too often. I think this would have been better as a video lecture. Or as a documentary.
Good book, for people who don't have any knowledge regarding investigation and film making. People with fundamentals on investigation, might be a little boring; the plus, are the films covered and the different points of view.