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Subjectivity, (Self-)reflexivity and Repetition in Documentary.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Subjectivity, (Self-)reflexivity and Repetition in Documentary./
作者:	Panse, Silke.
面頁冊數:	1 online resource (305 pages)
附註:	Source: Dissertations Abstracts International, Volume: 70-12, Section: A.
Contained By:	Dissertations Abstracts International70-12A.
標題:	Subjectivity. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=U232577click for full text (PQDT)
ISBN:	9798790670848

Subjectivity, (Self-)reflexivity and Repetition in Documentary.
Panse, Silke.

Subjectivity, (Self-)reflexivity and Repetition in Documentary. - 1 online resource (305 pages)

Source: Dissertations Abstracts International, Volume: 70-12, Section: A.

Thesis (Ph.D.)--University of Kent (United Kingdom), 2007.

Includes bibliographical references

This thesis advances a deterritorialised reading of documentary on several levels: firstly, with respect to the difference between non-fiction and fiction, allowing for a fluctuation between both. As this thesis examines the movements of subjective documentary between self-reflexivity and reflexivity, it argues against an understanding of reflexivity as something that is emotionally distanced from its object and thus relies on a strict separation from both the subject and what it documents, such as for instance the stable irony in many found footage or mock-documentaries. In Werner Herzog's documentaries by contrast, irony manifests referential instability. This 'deterritorialised reading' concerns their oscillation between different levels of fiction and non-fiction as well as between authorship and agency. As his documentaries frequently do not assert a final interpretation and keep the decision about their truth value suspended infinitely, they assure a fluctuation, which concurs with what the early Romantic theorist Friedrich Schlegel says about the oscillation in Romantic irony between self-reflection and its object. However, the belief in the documentary status of a film is necessary to experience this fluctuation in referentiality. Another suggestion this thesis makes concerns the division between filmmaker and protagonist. It argues for a protagonist based reading of documentary that takes account of the diverse stages the protagonists operate on - instead of a purely author-filmmaker or reader-viewer based interpretation. One can then account for, the directions and performances the protagonists have already submitted to before the film team enters their stage. In contrast to a protagonist observed as an isolatable 'being' in a documentary conventionally taking place in front of the lens, and a voice reflecting in the commentary about a closed 'reality', this study examines documentary works where the filmmakers are not separated from what they comment upon. It is also the re-enactments that the protagonists undergo that deterritorialises the authorial status of the film. Against a conventional notion of documentary, that excludes unacknowledged repetitions instigated by the filmmaker, I argue that the repetitions discussed in this thesis' documentaries manifest a forward movement. A documentary re-enactment of a concrete and finished event can be the start of a new process, a 'forward recollection.' Re-enactments by the very protagonists who have experienced the events in the first place challenge representation in documentary.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798790670848Subjects--Topical Terms:

525978
Subjectivity.
Index Terms--Genre/Form:

542853
Electronic books.

Subjectivity, (Self-)reflexivity and Repetition in Documentary.
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520 $a This thesis advances a deterritorialised reading of documentary on several levels: firstly, with respect to the difference between non-fiction and fiction, allowing for a fluctuation between both. As this thesis examines the movements of subjective documentary between self-reflexivity and reflexivity, it argues against an understanding of reflexivity as something that is emotionally distanced from its object and thus relies on a strict separation from both the subject and what it documents, such as for instance the stable irony in many found footage or mock-documentaries. In Werner Herzog's documentaries by contrast, irony manifests referential instability. This 'deterritorialised reading' concerns their oscillation between different levels of fiction and non-fiction as well as between authorship and agency. As his documentaries frequently do not assert a final interpretation and keep the decision about their truth value suspended infinitely, they assure a fluctuation, which concurs with what the early Romantic theorist Friedrich Schlegel says about the oscillation in Romantic irony between self-reflection and its object. However, the belief in the documentary status of a film is necessary to experience this fluctuation in referentiality. Another suggestion this thesis makes concerns the division between filmmaker and protagonist. It argues for a protagonist based reading of documentary that takes account of the diverse stages the protagonists operate on - instead of a purely author-filmmaker or reader-viewer based interpretation. One can then account for, the directions and performances the protagonists have already submitted to before the film team enters their stage. In contrast to a protagonist observed as an isolatable 'being' in a documentary conventionally taking place in front of the lens, and a voice reflecting in the commentary about a closed 'reality', this study examines documentary works where the filmmakers are not separated from what they comment upon. It is also the re-enactments that the protagonists undergo that deterritorialises the authorial status of the film. Against a conventional notion of documentary, that excludes unacknowledged repetitions instigated by the filmmaker, I argue that the repetitions discussed in this thesis' documentaries manifest a forward movement. A documentary re-enactment of a concrete and finished event can be the start of a new process, a 'forward recollection.' Re-enactments by the very protagonists who have experienced the events in the first place challenge representation in documentary.
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650 4 $a Motion picture directors & producers. $3 3556301
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