Poetics of the uncanny : Jean Painlevé, documentary display, and documentary theory

In Grierson's theory of documentary, films of the so-called cinema of attractions were relegated to the position of 'lower forms' in contrast to his description of documentary as a form of civic pedagogy. The modes and forms of a cinema of attractions, which form what is here referred to as the practice of documentary display, did not disappear with the ascendency of Griersonian documentary; instead such approaches continued to inform avant-garde film. This paper examines the connections between nonfiction documentations and avant-garde film- and the resultant implications of this meeting for documentary film theory- through an analysis of the film and critical writings of Jean Painlevé (1902-1989). Painlevé, whom, according to Bazin, 'occupies a singular and privileged place in French cinema', informed his understandings of documentary through contact with, among others, Buñuel, Man Ray, Bataille, Eisenstein, and Grierson. The analysis of Painlevé's surrealist documentary display and his extensive body of critical literature on documentary foregrounds overlooked documentary works and constructs, or resurrects, ignored perspectives on documentary film as a way of extending and revising documentary film theory and the documentary canon.

From city symphony to global city film : documentary display and the corporeal

In the introduction to his history of the relationship between the body and the city in Western civilisation, Richard Sennett includes an anecdote about attending a cinema in New York. Sennett uses the story of watching film as a way of commenting on the place of the body and senses within urban settings and is concerned to document 'physical sensations in urban space' as a way of addressing what he sees as the 'tactile sterility which afflicts the urban environment.'[1] While Sennett's work performs an important task by drawing attention to various historical conditions implicated in urban and metropolitan experience, it is possible to rework the categories he deploys - bodies, the city, and film - into a very different argument concerning representations of the city. Indeed the three categories coalesce in the so-called city film - works which include the 'city symphony' of the 1920s and subsequent documentary representations of urban spaces, among them the New York City films of the 1940s and 1950s, and films of non-Western cities produced in the decades from the 1960s to the present - within which the city is realised through a focus on people.

History, memory, and the politics of programming : the video work of Richard Fung

Richard Fung, a Toronto-based video artist and cultural critic, was born in Trinidad in 1954, and attended school in Ireland before immigrating to Canada to study at the University of Toronto. Richard Fung has taught at the Ontario College of Art and Design, and has been a visiting professor in the Department of Media Study at the State University of New York in Buffalo. He is currently the coordinator of the Centre for Media and Culture in Education, Ontario Institute for Studies in Education, University of Toronto.

Cinema of (coming) attractions : Bruce Conner's a movie and documentary display

Bruce Conner's film 'Movie' (1958) constructs an argument concerning popular media and history within and through a radical juxtaposition of images to release new and productive meanings. It also comments on the media's representation of history as violence and analyses the consequences of aggression and violence.

Staking a truth claim : Constructing a document in two laws

The documentary 'Two Laws' constitutes a legal document in support of the Borroloola claim to their land and contributes to the decolonisation of the images of Aboriginal Australia, which have circulated within ethnographic cinema, television journalism and fiction film. The 'two laws' of the film's title refer to white law and 'the Law', the system which regulates Borroloola social interactions and relationships with the land.

Cinema's new waves : an interview with Albie Thoms

Albie Thomas is a seminal figure in the history of Avant-Garde film in Australia. In the mid-1960s he helped found UBU Films, the precursor of the Sydney Film-Makers' Co-operative, and he has made a number of short and feature-length experimental films. Thoms has written on film and film cultures for an array of journals and maintains an active involvement with aspects of the surf film industry in Australia. In this interview, Thoms discusses his early UBU films, and the connections between those films and Palm Beach (1979). Styles of surf film and the influences on Thoms' filmmaking are also discussed.

It's academic : American studies in a time of crisis

My archive- the collection of resources I have drawn upon for my comments- includes, among other sources, a panel on international American studies held at the American Studies Association conference in Montreal in November 1999, the Wednesday Higher Education supplement of the Australian newspaper, and another supplement- this is one in the Derridean sense of the word- the Howard government. I hope to draw these threads together to focus on the present crisis facing American studies and, not coincidentally, this Association. To arrive at this point I take a tour through theoretical and disciplinary responses to the prevailing situation.

Anti-Americanism: recent sources

Anti-American sentiment has, it would seem, increased in the wake of the election of George Bush, jr. and the US’s response to the events of
September 11. Commentators within the US, and globally, have analysed the recent variants of a long-standing condition. Below is a review of recent coverage of the phenomenon. The entries for the print sources are divided into:

(1) analyses of anti-Americanism written in the US,
(2) accounts of international expressions of anti-Americanism.