Documentary display : re-viewing nonfiction film and video

Not all documentary films and videos are sober depictions of the real world. Documentary representations can present expressive, entertaining and spectacular images. This book examines such innovative approaches as they occur within the process of 'documentary display' - a practice which emphasises the visual attractions of documentary representation. Works of documentary display explore modes of exhibitionistic 'showing' in which sensation is frequently the vehicle of cognition and knowledge. Such a display is analysed within the popular and prominent forms of found-footage film, 'rockumentary', the city film, nonfiction surf film and video, and certain views of natural science topics. This accessible and informed study - with its focus on entertaining, popular, spectacular and sensational froms of nonfiction representation - makes an important contribution to theoretical analyses of documentary film and video

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.

It's not only rock and roll: rockumentary, direct cinema and performative display

The documentary form commonly referred to as rockumentary has become, since its inception in the early 1960s, a staple of American direct cinema. In keeping with its associations with observational direct cinema, rockumentary emphasizes showing over telling; that is, rockumentary privileges the visual capacities of documentary over patterns of exposition. While the ‘documentary display’ of rockumentary is comparable to certain features of  the early ‘cinema of attractions’ it exceeds such features in its focus on  performance. Typically, an emphasis within documentary theory on unmediated and unreconstructed access to the real as the basis of documentary film has not admitted a place for notions of performance before the camera. Rockumentary, with its relentless foregrounding of the performing body and the performance of musicians, revises this  understanding. This essay examines rockumentary within the context of direct cinema as a mode centred on a documentary performative display as it operates within selected works from the 1960s to the present. The film theorist Brian Winston has claimed that ‘[d]irect cinema made the rock performance/tour movie into the most popular and commercially viable documentary form thus far.’ The inverse of this assessment may be closer to the mark: the rockumentary turned direct cinema into a commercially and widely available form, one which the rockumentary has at times returned to and superseded in its scopic attention to performative display.

Cell

A 13-minute documentary film on the Woomera Detention Centre. The film,  was put together from the video scraps left over from Abe's trip to Woomera in Easter 2002.

The evidentiary strategies of Two Laws

This article examines the ways in which the documentary film Two Laws deploys a variety of strategies to represent the historical claim to land made in the early 1980s by the Borroloola people of Australia's Northern Territory. Cross-cultural collaboration between the indigenous people of Borroloola and two non-indigenous film-makers produced a film that combines a vigorous reflexivity with dramatic re-enactment and oral testimony. Importantly, the presentation of evidence in support of the land claim is achieved via a form communally devised by the Borroloola people based on their cultural needs and contingent on Borroloola social structure. In this way the so-called documentary truth claim and indigenous land claim intersect in Two Laws: for the Borroloola people, the filmic evidentiary truth claim functions in a direct way in support of their legal claim to their lands.

Sisters of the sun

A film about flows of time and language on the Volcanic Plains of Western Victoria. Directed by Simon Wilmot. Produced by Patrick West & Simon Wilmot. Script by Patrick West.

The past has its place in the future. Wombeetch Puyuun is teaching Scottish-born settler Isabella Dawson his aboriginal tongue so that her father, James Dawson, can write his book. But how can language preserve the past in a land where time overwhelms words? Meanwhile, contemporary Australians from the Volcanic Plains of Victoria’s Western District meditate over life in a place of sheep, algae, eels, lava and stars. Susan Cole and Janice Austin, descendents of Isabella and Wombeetch’s people united for the first time, reflect on Wombeetch’s friendship with James, and what it means to be ‘the last of your tribe.’

The event 'Flows and Catchments' was held at the Warrnambool Art Gallery on 2/12/2012.

Sisters of the Sun has also screened at Lake Bolac Eel Festival (March 2014) and Warnambool Art Gallery (Feb 2013)

Conversations with my mother

An intense and sometimes disturbing series of encounters between the filmmaker and his mother as they relive the traumatic years of his childhood and adolescence. Following the migration of the family to Australia from Holland in the difficult postwar years they had to grapple with problems of housing, social injustice and adjustment made more difficult by the father's mental illness. For the filmmaker 'the sentiment had to be uncompromisingly true' although he became aware that 'all film is fiction'.

The end of the rainbow

The End of the Rainbow is a documentary film about music, about community and a very special place. When the live music venue “The Rainbow Hotel” in the Melbourne suburb of Fitzroy is forced to close down publican Chickk sets out to accommodate the many musicians and customers grieving its closure with a final week of musical activity in which there is organisational chaos, dancing, laughs, beer (lots of), and great music. It is a week of celebration as musicians pay homage to mark “the End of an Era”, but it is also a statement about community places and a protest against property development at the expense of cultural heritage, specifically Australian live music. It’s also a love story with a dramatic twist...

Narratives of judgement: representations of 'privileged' Jews in Holocaust documentaries

Auschwitz survivor Primo Levi’s highly influential essay, “The Grey Zone”, explores the taboo issue of “privileged” Jews, those prisoners who were forced to cooperate with their Nazi captors in order to prolong their lives or the lives of their families. Levi argues that moral evaluations of privileged Jews should be suspended; however, judgements of these liminal figures have permeated representations of victims’ experiences. Taking Levi’s reflections on the “grey zone” as a point of departure, I analyse the ways in which a number of Holocaust documentary narratives construct problematic judgements of privileged Jews; nonetheless, it will be shown that some films engage with the issue in a nuanced manner. While Levi singles out the medium of film as particularly predisposed to simplistic judgements, I argue that documentary film has considerable potential to offer a complex representation of the extreme ethical dilemmas that privileged Jews faced.

Reworking direct cinema: performative display in rockumentary

early 1960s, a staple of American direct cinema. In keeping with its associations with observational direct cinema, rockumentary emphasizes showing over telling: that is, rockumentary privileges the visual capacities of documentary over patterns of exposition. While the ‘documentary display’ of rockumentary is comparable to certain features of the early ‘cinema of attractions’ it exceeds such features in its focus on performance. Typically, an emphasis within documentary theory on unmediated and unreconstructed access to the real as the basis of documentary film has not admitted a place for notions of performance before the camera. Rockumentary, with its relentless foregrounding of the performing body and the performance of musicians, revises this understanding. This essay examines rockumentary within the context of observational direct cinema as a mode centred on a documentary performative display as it operates within selected works from the 1960s to the early twenty-first century. The film theorist Brian Winston has claimed that ‘[d]irect cinema made the rock performance/tour movie into the most popular and commercially viable documentary form thus far.’ The inverse of this assessment is closer to the mark: the rockumentary turned direct cinema into a commercially viable and popular form, one which the rockumentary has at times returned to and innovatively superseded in its scopic attention to performative display.