Research output: Chapter in Book/Report/Conference proceeding › Chapter › Research › peer-review
Document, fact, image : Towards the un-politics of documentary representation. / Давыдова, Ольга Сергеевна.
Imagination - Art, Science and Social World. ed. / ILONA BŁOCIAN; Dmitry Prokudin. Bern : Peter Lang, 2020. p. 97-106.Research output: Chapter in Book/Report/Conference proceeding › Chapter › Research › peer-review
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TY - CHAP
T1 - Document, fact, image
T2 - Towards the un-politics of documentary representation
AU - Давыдова, Ольга Сергеевна
N1 - Publisher Copyright: © Peter Lang GmbH. All rights reserved.
PY - 2020/3/19
Y1 - 2020/3/19
N2 - The article deals with a specific shift in evolution of documentary which takes place after 1960s as an opposition to conventional nonfiction film totally embedded within the politics of representation. This shift refers to a change in the understanding (both in film theory and film practice) of how sound, image, meaning, affect and truth are related to each other within an unstable situation of cinematographic representation. As stated in the article, this shift can be also described through the notion of imagination understood as "embodiment in image" and at the same time as the process of "stable imagery deformation", as Gaston Bachelard put it. Such an approach allows us to see the image within a documentary not only as a visual index inevitably connected with the idea of photographic objectivity, but as a complex entity existing in a space between a film and a spectator and formed within spectator's experience. The article is based on the concepts by Bill Nichols, Michael Renov and Vivian Sobchack, as well as on the philosophy of imagination by Gaston Bachelard; key ideas are illustrated with the examples from the films by Minh-ha Trinh and Errol Morris.
AB - The article deals with a specific shift in evolution of documentary which takes place after 1960s as an opposition to conventional nonfiction film totally embedded within the politics of representation. This shift refers to a change in the understanding (both in film theory and film practice) of how sound, image, meaning, affect and truth are related to each other within an unstable situation of cinematographic representation. As stated in the article, this shift can be also described through the notion of imagination understood as "embodiment in image" and at the same time as the process of "stable imagery deformation", as Gaston Bachelard put it. Such an approach allows us to see the image within a documentary not only as a visual index inevitably connected with the idea of photographic objectivity, but as a complex entity existing in a space between a film and a spectator and formed within spectator's experience. The article is based on the concepts by Bill Nichols, Michael Renov and Vivian Sobchack, as well as on the philosophy of imagination by Gaston Bachelard; key ideas are illustrated with the examples from the films by Minh-ha Trinh and Errol Morris.
KW - Documentary
KW - Film experience
KW - Image
KW - Imagination
KW - Nonfiction
KW - Politics of representation
UR - http://www.scopus.com/inward/record.url?scp=85111374388&partnerID=8YFLogxK
U2 - 10.3726/b16398
DO - 10.3726/b16398
M3 - Chapter
AN - SCOPUS:85111374388
SN - 9783631800928
SP - 97
EP - 106
BT - Imagination - Art, Science and Social World
A2 - BŁOCIAN, ILONA
A2 - Prokudin, Dmitry
PB - Peter Lang
CY - Bern
ER -
ID: 73735328