Category Archive for: ‘Issue 14 – First Release’

While this issue does not have a theme it does, by coincidence, have a number of articles and reviews which deal with archives (Edmondson and Verhoeff) and with documentary film and television. Debate about archives has been on the cultural agenda in recent years. Issues 11.4 and 12.2 of the journal History of the Human Sciences were special issues on archives with …

Uploaded 14 September 2002 Stanley Kubrick. Eisenstein. Dziga Vertov. And ‘Kino Eye’. I mean that’s really my limitation. So my approach to films tends to be structural, formal, abstract and humanist. (Michael Mann)  [1] Michael Mann has been a writer, director, producer and an actor on a range of film and television projects spanning a period of over thirty years. …

Uploaded 20 September 2002 This article explores some issues of perception, presentation, governance and guardianship for cultural institutions, and in particular the crucial importance of a custodial institution’s name, by using the National Film and Sound Archive experience as a case study which illustrates the risks of radical renaming. For consistency, I refer to the institution throughout by the name …

Uploaded 6 November 2002 After the Fact: Truth, Testimony and the Law in Human Rights Documentaries The ugly reality of human rights abuses is that they are rarely independently witnessed. Hence, any investigation of such abuses, should it occur, relies heavily on the testimony of survivors “after the fact”. Two common arenas of investigation into human rights abuses are the …

The seven theses The five proposals Uploaded 20 September 2002 Introduction Over the past two years, I’ve been experimenting in conference papers with what I’ve called the ‘Teutonic Theses About Border Genres’ and the ‘Modest Proposals About Docudrama’. The Theses started out five in number but have expanded to seven; the Proposals were three to begin with, but are now …

Uploaded 20 September 2002 An archive is a place replete with three things: objects from the past, the mission to preserve these from disappearance, and the categorizations that make them accessible. The first engage the question of materiality, in the face of the fugitive nature of current screen culture. [1] The second is sometimes articulated in terms of cultural memory, …