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COMM3130
Module Reading List

The Documentary and Reality, 2021/22, Semester 1
Dr David Lee
d.j.lee@leeds.ac.uk
Tutor information is taken from the Module Catalogue

Aitken, I. (1990). Film and reform: John Grierson and the documentary film movement. London: Routledge.

Aitken, I. (1998) The Documentary Film Movement: An Anthology. Edinburgh University Press. (Sections on Grierson and early context)

Austin, T., & De Jong, W. (Eds.). (2008). Rethinking documentary: new perspectives and practices. McGraw-Hill International.

Barnouw, E (1993) Documentary: A history of the non-fiction film

Barr, C. (Ed.). (1986). All Our Yesterdays: 90 Years of British Cinema. British Film Institute.

Bruzzi, S. (2000). ‘New British observational documentary – “docusoaps”’. In New documentary: a critical introduction. London: Routledge, pp. 75-98.

Bruzzi, S. (2006) 'The legacy of direct cinema', in New Documentary, London: Routledge, p.73-80.

Bruzzi, S. (2006). New documentary. London: Routledge.

Chapman, J. (2007). Documentary in practice: filmmakers and production choices. Polity.

Christensen (2009) Political documentary, online organization and activist synergies, Studies in Documentary Film 3(2): 77-94

Corner, J. (1991).  Popular television in Britain: studies in cultural history. British Film Institute.

Corner, J. (1995). Television form and public address. London: Edward Arnold.

Corner, J. (1996) The Art of Record. Manchester: Manchester University Press. Chs. 1 & 3.

Corner, J. (1996). The Art of Record. Manchester: Manchester University Press, pp. 43-55.

Corner, J. (Ed.). (1986). Documentary and the mass media. London: Edward Arnold.

Corner, John (2002) Performing the real: documentary diversions. Television and New Media. 3(3), pp.255-269.

Corner, John (2009) ‘Documenting the Political’ in Studies in Documentary Film 3.2.

Couldry, Nick and Jo Littler (2008) ‘The work of work: reality TV and the negotiation of neo-liberal labour in The Apprentice’, in Austin and de Jong (eds.) Rethinking Documentary: New Perspectives, New Practices, pp. 258-268.

Daniel, S. (2012) ‘On politics and aesthetics: A case study of Public Secrets and Blood Sugar’, Studies in Documentary Film, 6(2), pp. 215-227.

Dovey, J. (2000). Freakshow: First person media and factual television. London: Pluto Press.

Dovey, Jon (2000) Freakshow: First Person Media and Factual Television. Chapter 6

Dovey, Jon (2000) Freakshow: First Person Media and Factual Television. London: Pluto.

Ellis, J. C. (2005). A new history of documentary film. Continuum International Publishing Group.

Gains, J (1999) Political Mimesis in Gains and Renov (eds) Collecting Visible Evidence. Minnesota University Press, pp. 84-102.

Gaudenzie, S. (2016) Strategies of Participation: The Who, What and When of Collaborative Documentaries. In Nash, Hight and Summerhayes (eds) New Documentary Ecologies (provided on Minerva)

Hardy, F. (Ed.). (1946). Grierson on documentary (pp. 209-209). London: Collins.

Izod, J., Kilborn, R. W., & Hibberd, M. (Eds.). (2000). From Grierson to the docu-soap: breaking the boundaries. Indiana University Press.

Keat, Russell (1999) Market boundaries and the commodfication of culture. In: Larry Ray and Andrew Sayers (eds) Culture and economy: after the cultural turn. London: Sage, pp.92-111.

Kilborn, R. (1997), ‘Fly-on-the-wall documentarists: a dying breed ?’ in John Corner & Michael O’Shaughnessy (eds.), Reality Bytes, Approaches to Documentary. London: Continuum, pp. 43-53. 

Kilborn, R. W., & Izod, J. (1998). An introduction to television documentary: confronting reality. Manchester University Press.

Kilborn, Richard (2008) Playing the reality card: factual TV programming for a new broadcasting age. Zeitschrift für Anglistik und Amerikanistik. 56(2), pp.143-151

McKnight, G. (1997). Agent of challenge and defiance: the films of Ken Loach. Greenwood Pub Group.

Mintz, Steven (1953) ‘Michael Moore and the Re-Birth of the Documentary’ Film & History: An Interdisciplinary Journal of Film and Television Studies - Volume 35.2, pp. 10-11

Nash, K. (2012) ‘Modes of interactivity: Analysing the webdoc’, Media, Culture and Society, 34:2, pp. 195-210.

Nash, K. (2012). Modes of interactivity: analysing the webdoc. Media, Culture & Society, 34(2), 195-210.

Nash, K. (2014). What is interactivity for? The social dimension of web-documentary participation. Continuum, 28(3), 383-395.

Nash, K., & Corner, J. (2016). Strategic impact documentary: Contexts of production and social intervention. European Journal of Communication, 0267323116635831

Nichols, B. (1991). Representing Reality: Issues and Concepts is Documentary. Indiana University Press.

Nichols, B. (2001) 'Documentary Films and the Modernist Avant Garde', Critical Inquiry, Vol. 27, no. 4: 580-610.

Nolley, Ken (2005) Fahrenheit 9/11: Documentary, Truth-telling, and Politics Film & History: An Interdisciplinary Journal of Film and Television Studies. 35.2 , pp. 12-16

O’Flynn, S. (2012), ‘Documentary’s metamorphic form: Webdoc, Interactive, transmedia, participatory and beyond’, Studies in Documentary Film, 6:2, pp. 141-157.

Paget, D. (1998). No other way to tell it: Dramadoc/docudrama on television. Manchester University Press.

Petty (1998) Silence and Its Opposite: Expressions of Race in Tongues Untied In Grant and Sloniowski (eds) Documenting the Documentary: Close Readings of Documentary Film and Video.

Raessens, J.F.F. (2006). Reality Play: Documentary Computer Games Beyond Fact and Fiction. Popular Communication, 4(3), 213-224.

Renov (1999)’New Subjectivities: Documentary and Self-Representation in the Post-Verite Age’ In Waldman and Walker (eds) Feminism and Documentary. University of Minnesota Press

Renov, M. (Ed.). (1993). Theorizing documentary. London: Routledge.

Rhoads, Kelton (2004) on Fahrenheit 9/11 and Propaganda (webpaper at http://www.workingpsychology.com/download_folder/Propaganda_And_Fahrenheit.pdf)

Rosenthal, A. (Ed.). (1999). Why docudrama?: fact-fiction on film and TV. SIU Press.

Rosenthal, A., & Corner, J. (Eds.). (2005). New challenges for documentary. Manchester University Press.

Screenonline Political Film http://www.screenonline.org.uk/film/id/976967/

Sussex, E. (Ed.). (1975). The Rise and fall of British documentary: the story of the film movement founded by John Grierson. Berkeley: University of California Press.

Sussex, E. (Ed.). (1975). The Rise and fall of British documentary: the story of the film movement founded by John Grierson. Berkeley: University of California Press.

Swann, P. (1989). The British documentary film movement, 1926-1946. Cambridge University Press.

Tinker, R. (2018). Guilty Pleasure: A Case Study of True Crime’s Resurgence in a Binge Consumption Era. ELON JOURNAL, 95. Available at: https://www.elon.edu/u/academics/communications/journal/wp-content/uploads/sites/153/2018/05/Spring2018Journal.pdf#page=95

Waugh, T (2011/1984) ‘Why documentary filmmakers keep trying to change the world, or why people changing the world keep making documentaries’ In The Right to Play Oneself: Looking back on documentary Film Minnesota University Press

Whiteman (2004) Out of the theatres and into the Streets: A coalition model of the political impact of documentary film and video’, Political Communication 21: 51-69

Winston, B. (1995) Claiming the Real. London: BFI. Chapters, 32 and 33.

Winston, B. (1995). Claiming the real: The Griersonian documentary and its legitimations. London: British Film Institute.

Winston, B. (1996). Claiming the Real: The Documentary Film Revisited.MEDIA CULTURE AND SOCIETY18, 511-513.

Winston, B. (2000). Lies, damn lies and documentaries. London: British Film Institute.

Winston, B. (2013). The documentary film book. London: British Film Institute.

This list was last updated on 26/08/2021