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oapen-20.500.12657-862532023-12-20T02:40:43Z Chapter 17 Live Documentary Nelson, Kim Communications; Television; Historiography; Media history; Cinema; Historical films; Media studies; Digital screen culture; Film bic Book Industry Communication::H Humanities bic Book Industry Communication::H Humanities::HB History::HBA History: theory & methods::HBAH Historiography bic Book Industry Communication::H Humanities::HB History::HBG General & world history bic Book Industry Communication::H Humanities::HB History::HBT History: specific events & topics::HBTB Social & cultural history bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFN Film: styles & genres bic Book Industry Communication::A The arts::AP Film, TV & radio::APT Television Frank Ankersmit tells historians of their mission: “You can approximate objectivity only as long as you sincerely despair of approximating it.” It follows that it is incumbent upon anyone who represents the past to enter that struggle. Whether by keyboard or camera, historians who do not probe and question their suppositions may seek to represent the past, but they do not make history. A prime question for historiophoty is to ask what this struggle looks and sounds like projected off the page. This chapter considers the cinepoetics of historical objectivity through a model of moving images that rewinds the clock to the emergence of film on screens and traces a new path for cinema through to a digital reimagining of what Tom Gunning calls the “cinema of attractions.” It explores the documentary methods of narration and reenactment in Sam Green’s Live Documentary practice and analyzes the methods by which filmmakers become cine-historians through articulating the historians’ dilemma by audiovisual means in the creation of moving history of shared experience and public spectacle. 2023-12-19T13:29:39Z 2023-12-19T13:29:39Z 2024 chapter 9781032203317 9781032203324 https://library.oapen.org/handle/20.500.12657/86253 eng application/pdf Attribution-NonCommercial-NoDerivatives 4.0 International 9781003263234_10.4324_9781003263234-22.pdf Taylor & Francis The Routledge Companion to History and the Moving Image Routledge 10.4324/9781003263234-22 10.4324/9781003263234-22 7b3c7b10-5b1e-40b3-860e-c6dd5197f0bb 80300736-5dce-4d77-acce-e014bd991912 69a6eefb-5830-4623-b7d8-3d7a62b760ea 9781032203317 9781032203324 Routledge 19 Social Sciences and Humanities Research Council of Canada Conseil de recherches en sciences humaines du Canada open access
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Frank Ankersmit tells historians of their mission: “You can approximate objectivity only as long as you sincerely despair of approximating it.” It follows that it is incumbent upon anyone who represents the past to enter that struggle. Whether by keyboard or camera, historians who do not probe and question their suppositions may seek to represent the past, but they do not make history. A prime question for historiophoty is to ask what this struggle looks and sounds like projected off the page. This chapter considers the cinepoetics of historical objectivity through a model of moving images that rewinds the clock to the emergence of film on screens and traces a new path for cinema through to a digital reimagining of what Tom Gunning calls the “cinema of attractions.” It explores the documentary methods of narration and reenactment in Sam Green’s Live Documentary practice and analyzes the methods by which filmmakers become cine-historians through articulating the historians’ dilemma by audiovisual means in the creation of moving history of shared experience and public spectacle.
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Taylor & Francis
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2023
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