Kill The Documentary

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the “pedigree of the real” and the “pornography of the real,” they fail to activate their viewers’ engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an “us-watching-them” mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a “postrealist” cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films.

What really happened in Dallas on November 22, 1963? Was the assassination of John F. Kennedy simply the work of a warped, solitary young man, or was something more nefarious afoot? Pulling together a wealth of evidence, including rare photos, documents, and interviews, veteran Texas journalist Jim Marrs reveals the truth about that fateful day. Thoroughly revised and updated with the latest findings about the assassination, Crossfire is the most comprehensive, convincing explanation of how, why, and by whom our thirty-fifth president was killed.

One of the Best Books of the Year Time * NPR * Washington Post * Bloomberg News * Chicago Tribune * Chicago Public Library * Fortune * Los Angeles Times * E! News * The Telegraph * Apple * Library Journal In this newly updated edition of the "meticulous and devastating" (Associated Press) account of violence and espionage that spent months on the New York Times Bestsellers list, Ronan Farrow exposes serial abusers and a cabal of powerful interests hell-bent on covering up the truth, at any cost - from Hollywood to Washington and beyond. In 2017, a routine network television investigation led to a story only whispered about: one of Hollywood's most powerful producers was a predator, protected by fear, wealth, and a conspiracy of silence. As Farrow drew closer to the truth, shadowy operatives, from high-priced lawyers to elite war-hardened spies, mounted a secret campaign of intimidation, threatening his career, following his every move, and weaponizing an account of abuse in his own family. This is the untold story of the exotic tactics of surveillance and intimidation deployed by wealthy and connected men to threaten journalists, evade accountability, and silence victims of abuse. And it's the story of the women who risked everything to expose the truth and spark a global movement Los Angeles Times Book Prize Finalist Finalist for the National Book Critics Circle Award in AutobiographyIndie Bound #1 BestsellerUSA Today BestsellerWall Street Journal Bestseller

Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful Soviet propaganda piece Man with a Movie Camera to Luc Jacquet's heart-tugging wildlife epic March of the Penguins. In this concise, crisply written guide, Patricia Aufderheide takes readers along the diverse paths of documentary history and charts the lively, often fierce debates among filmmakers and scholars about the best ways to represent reality and to tell the truths worth telling. Beginning with an overview of the central issues of documentary filmmaking--its definitions and purposes, its forms and founders--Aufderheide focuses on several of its key subgenres, including public affairs films, government propaganda (particularly the works produced during World War II), historical documentaries, and nature films. Her thematic approach allows readers to enter the subject matter through the kinds of films that first attracted them to documentaries, and it permits her to make connections between eras, as well as revealing the ongoing nature of documentary's core controversies involving objectivity, advocacy, and bias. Interwoven throughout are discussions of the ethical and practical considerations that arise with every aspect of documentary production. A particularly useful feature of the book is an appended list of "100 great documentaries" that anyone with a serious interest in the genre should see. Drawing on the author's four decades of experience as a film scholar and critic, this book is the perfect introduction not just for teachers and students but also for all thoughtful filmgoers and for those who aspire to make documentaries themselves. About the Series: Combining authority with wit, accessibility, and style, Very Short Introductions offer an introduction to some of life's most interesting topics. Written by experts for the newcomer, they demonstrate the finest contemporary thinking about the central problems and issues in hundreds of key topics, from philosophy to Freud, quantum theory to Islam.

Why do some men, women and even children assault, batter, rape, mutilate and murder? In his stunning new book, the Pulitzer Prize-winner Richard Rhodes provides a startling and persuasive answer. Why They Killexplores the discoveries of a maverick American criminologist, Dr. Lonnie Athens -- himself the child of a violent family -- which challenge conventional theories about violent behavior. By interviewing violent criminals in prison, Dr. Athens has identified a pattern of social development common to all seriously violent people -- a four-stage process he calls "violentization": -- First, brutalization: A young person is forced by violence or the threat of violence to submit to an aggressive authority figure; he witnesses the violent subjugation of intimates, and the authority figure coaches him to use violence to settle disputes. -- Second, belligerency: The dispirited subject, determined to prevent his further violent subjugation, heeds his coach and resolves to resort to violence. -- Third, violent performances: His violent response to provocation succeeds, and he reads respect and fear in the eyes of others. -- Fourth, virulency: Exultant, he determines from now on to utilize serious violence as a means of dealing with people -- and he bonds with others who believe as he does. Since all four stages must be fully experienced in sequence and completed to produce a violent individual, we see how intervening to interrupt the process can prevent a tragic outcome. Rhodes supports Athens's theory with historical evidence and shows how it explains such violent careers as those of Perry Smith (the killer central to Truman Capote's narrative In Cold Blood), Mike Tyson, "preppy rapist" Alex Kelly, and Lee Harvey Oswald. Why They Kill challenges with devastating evidence the theory that violent behavior is impulsive, unconsciously motivated and predetermined. It offers compelling insights into the terrible, ongoing dilemma of criminal violence that plagues families, neighborhoods, cities and schools.

Russ Meyer's Faster, Pussycat! Kill! Kill! (1965) is an enigma. A box-office failure when initially released on the grindhouse circuit, it has since been embraced by art-house audiences, and referenced in countless films, television series, and songs. A riot of styles and story clichés lifted from biker, juvenile delinquency, and beach party movies, it has the coherence of a dream, and the improvisatory daring of a jazz solo. John Waters has called it the greatest movie ever made, and Quentin Tarantino has long promised to remake it. But what draws them, and so many other cult fans to Pussycat? To help answer that question, this book looks at the production and critical reception of the film, its place within the cultural history of the 1960s, its representations of gender and sexuality, and the specific ways it meets the criteria of a cult film.

"Kill class is based on two years of fieldwork the author conducted within combat trainings in simulated Middle Eastern villages erected by the US military across America"--