Los Angeles Documentary And The Production Of Public History 1958 1977

Los Angeles Documentary and the Production of Public History, 1958–1977 explores how documentarians working between the election of John F. Kennedy and the Bicentennial created conflicting visions of the recent and more distant American past. Drawing on a wide range of primary documents, Joshua Glick analyzes the films of Hollywood documentarians such as David Wolper and Mel Stuart, along with lesser-known independents and activists such as Kent Mackenzie, Lynne Littman, and Jesús Salvador Treviño. While the former group reinvigorated a Cold War cultural liberalism, the latter group advocated for social justice in a city plagued by severe class stratification and racial segregation. Glick examines how mainstream and alternative filmmakers turned to the archives, civic institutions, and production facilities of Los Angeles in order to both change popular understandings of the city and shape the social consciousness of the nation.

"Documentary feature films have historically existed on the margins of mainstream media. In the U.S., enterprising documentarians have spent most of the past 60 years struggling to find a larger, broader audience for their films. Often negatively associated with longform television journalism and tedious educational programming, documentaries have rarely escaped their perceived status as "cultural vegetables" - good for you, but relatively unappealing. Recently, this marginal status has shifted quite dramatically. Nearly unthinkable a decade ago, documentary films have become reliable earners at the U.S. box office. In 2018 alone, Won't You Be My Neighbor? made almost $23 million, They Shall Not Grow Old and Free Solo each earned almost $18 million, RBG netted $14 million, and Three Identical Strangers earned $12 million. In addition to their theatrical presence, documentary films are ubiquitous on cable channels and streaming video services, which have made documentary programming a key component of their offerings to subscribers. In 2019, Netflix paid the highest price for a documentary out of the Sundance Film Festival: $10 million for Knock Down the House about four working-class women, including Alexandria Ocasio-Cortez, running for Congress in the 2018 midterm elections. Longtime documentary champion and former head of HBO Documentary Sheila Nevins said that Netflix was playing with "Monopoly money" by acquiring the documentary at such a high price, but she also granted that this was a trend across the board. Industry journalists took note. This surge in popularity had made documentaries nearly ubiquitous. In 2019, think-pieces from CBS News, NPR, Los Angeles Times, and The Ringer all simultaneously proclaimed a new Golden Age of Documentary. With broad public interest and robust investment in their production, documentary films are definitively more popular and prestigious than ever before"--

A New History of Documentary Film includes new research that offers a fresh way to understand how the field began and grew. Retaining the original edition's core structure, there is added emphasis of the interplay among various approaches to documentaries and the people who made them. This edition also clearly explains the ways that interactions among the shifting forces of economics, technology, and artistry shape the form. New to this edition: - An additional chapter that brings the story of English language documentary to the present day - Increased coverage of women and people of color in documentary production - Streaming - Animated documentaries - List of documentary filmmakers, organized chronologically by the years of their activity in the field

The history of Latina/o participation and representation in American television Whose stories are told on television? Who are the heroes and heroines, held up as intriguing, lovable, and compelling? Which characters are fully realized, rather than being cardboard villains and sidekicks? And who are our storytellers? The first-ever account of Latino/a participation and representation in US English-language television, Latino TV: A History offers a sweeping study of key moments of Chicano/a and Latino/a representation and authorship since the 1950s. Drawing on archival research, interviews with dozens of media professionals who worked on or performed in these series, textual analysis of episodes and promotional materials, and analysis of news media coverage, Mary Beltrán examines Latina/o representation in everything from children’s television Westerns of the 1950s, Chicana/o and Puerto Rican activist-led public affairs series of the 1970s, and sitcoms that spanned half a century, to Latina and Latino-led series in the 2000s and 2010s on broadcast, cable, and streaming outlets, including George Lopez, Ugly Betty, One Day at a Time, and Vida. Through the exploration of the histories of Latina/o television narratives and the authors of those narratives, Mary Beltrán sheds important light on how Latina/os have been included—and, more often, not—in the television industry and in the stories of the country writ large.

"Story Movements: How Documentaries Empower People and Inspire Social Change explores the functions and public influence of social-issue documentary storytelling in the networked era. At the book's core is an argument about documentary's vital role in storytelling culture and civic practice with an impulse toward justice and equity. Intimate documentaries illuminate complex realities and stories that disrupt dominant cultural narratives and contribute new ways for publics to contemplate and engage with social challenges. Written by a documentary producer, scholar, and director of the Center for Media & Social Impact, the book features original interviews with award-winning filmmakers and field leaders to reveal the motivations and influence of some of most lauded, eye-opening stories of the evolving documentary golden age"--

This volume engages new films and modes of scholarly research in Arab cinema, and older, often neglected films and critical topics, while theorizing their structural relationship to contemporary developments in the Arab world. The volume considers the relationship of Arab cinema to transnational film production, distribution, and exhibition, in turn recontextualizing the works of acknowledged as well as new directorial figures, and country-specific phenomena. New documentary and experimental practices are referenced and critiqued, while commercial cinema is covered both as an industrial product and as one of several instances of contestation. The volume thus showcases the breadth and depth of Arab film culture and its multilayered connections to local conditions, regional affiliations, and the tendencies and aesthetics of global cinema.

The contributors to Media Crossroads examine space and place in media as they intersect with sexuality, race, ethnicity, age, class, and ability. Considering a wide range of film, television, video games, and other media, the authors show how spaces—from the large and fantastical to the intimate and virtual—are shaped by the social interactions and intersections staged within them. The highly teachable essays include analyses of media representations of urban life and gentrification, the ways video games allow users to adopt an experiential understanding of space, the intersection of the regulation of bodies and spaces, and how style and aesthetics can influence intersectional thinking. Whether interrogating the construction of Portland as a white utopia in Portlandia or the link between queerness and the spatial design and gaming mechanics in the Legend of Zelda video game series, the contributors deepen understanding of screen cultures in ways that redefine conversations around space studies in film and media. Contributors. Amy Corbin, Desirée J. Garcia, Joshua Glick, Noelle Griffis, Malini Guha, Ina Rae Hark, Peter C. Kunze, Paula J. Massood, Angel Daniel Matos, Nicole Erin Morse, Elizabeth Patton, Matthew Thomas Payne, Merrill Schleier, Jacqueline Sheean, Sarah Louise Smyth, Erica Stein, Kirsten Moana Thompson, John Vanderhoef, Pamela Robertson Wojcik