Documentary Superstars: How Today's Filmmakers Are Reinventing the Form
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Documentary Superstars How Today’s Filmmakers Are Reinventing the Form By Marsha McCreadie © 2008 Marsha McCreadie All rights reserved. Copyright under Berne Copyright Convention, Universal Copyright Convention, and Pan-American Copyright Convention. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publisher. 12 11 10 09 08
new documentary formats, 220–221 schedules and deadlines, 221 social purpose films, 220 training for filmmaking, 221–222 writing, 217 Titicut Follies, 27–28, 29, 30, 34, 35, 43, 203 To Live WiThHerds, 11 Tootsie, 22, 139, 140 Top Chef (TV), 206, 209 topics, finding, 218 Toronto International Film Festival, 70, 120, 172, 229 Totenberg, Nina, 180 training, documentary filmmaking, 221–222 travel to other lands, 20, 35, 49, 78, 102, 134, 165 Traverse City Film Festival, 71, 229
Thurman, “Where There’s a Will,” The New Yorker (March 19, 2007). Reprinted with permission of the author. 18. Matthias Schreiber, Susanne Weingarten, “Realität interessiert mich nicht,” Leni Riefenstahl über ihre Filme, thr Schönheitsideal, ihr NS-Verstrickung und. Hitlers Wirkung auf die Menschen, Der Spiegel (August 18, 1997). Also see the interview with Riefenstahl in Cahiers du Cinéma, quoted by Stefan Steinberg, World Socialist Web site. September 15, 2003. Also pertinent is her
going to turn out after the thirty-day diet: “Perhaps nothing significant would happen. We didn’t know.” In this, he is within the doc tradition of going where the film and its events take you. Spurlock’s more spontaneous methods are not the same as Moore’s, who, audacious as he very well may be, still follows a classic (if degenerated, as some feel) model of a documentary with a specific social intent. Even when it appears to be the kind of Gonzo journalism that Hunter Thompson employed, it is
Smile by Michael Ritchie. A satire of a beauty pageant which has actual stars as well as real people in it, the sly send-up rings true. “Everything in Smile is true,” Ritchie told American Film when Smile came out. “I got the idea when some Jaycees showed me 16 millimeter home movies of their last Exhausted Rooster Ceremony. The guys cracking eggs on each other, the goosing with beer bottles, all came out of that little 16 millimeter film. We showed Smile in Norfolk Virginia to a group of