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[...]the reality stuff is more like Chronicle of a Summer-the French-and has nothing to do with the American movement in the written word or in cinema. [...]after we made the film I remember browsing through Bartlett's book of quotations, and I came across a quotation by Charles Lamb, the English poet, \"There's no sound more beautiful in the world whether in the country or the city than the sound of the knocking at the door.\" [...]he says, \"Here it is, it's 9 o'clock, I get up at 8:30 every morning\" and looking back at me, he says, \"I have a full day's activities and I'm totally blind.\" Because journalists have this prejudice toward telling stories of unhappy families, they don't pay attention to the happy ones.

An abstract of Re-shaping Documentary Expectations: New Journalism and Direct Cinema by Sharon Zuber is presented. This study argues that new journalism and direct cinema movements developed as a specific response to the shift from a modern to a postmodern aesthetic, a shift away from faith in a coherent reality at a historical moment in the US.

By including David with his camera in these opening shots, McBride positions the filmmaker as author and shaper of the images. [...]this opening argument about the limitations of Direct Cinema makes it clear that what an audience sees is not unmediated reality but a world carefully selected and framed by the filmmaker.7 McBride hints at what he is up to in the opening credits-revealing the limitations of Direct Cinema. [...]Bartleby, abandoned and in prison, starves himself to death. [...]on one level, this story is about nonfiction as second-class, and \"Dead Letters\" may signify Melville's concern about the diminishing status of the Man of Letters in a changing culture. [...]after David Holzman's Diary (which cost $2,500) was released to acclaim and a few awards, McBride went into a slump and drove a taxi cab in New York City for a few years.

This video tells the story of a hardworking, self-sufficient, fiercely independent community of fishermen and women working the waters of Virginia's Chesapeake Bay. Guinea Neck, a once isolated village, must now grapple with conservationists, government regulators, and the sports fishing industry in order to preserve its way of life. This documentary not only captures the colorful, dynamic character of the Guinea \"watermen\" and the rhythms of their work and speech, but also traces the complex changes thrust upon their traditional ways by a fast-food society that threatens their ability to live off the water.

T.V.'s Promised Land could be the basis for discussing how each news channel has an agenda. Because many of the images are from documentarystyle footage, the film raises the important issue of how invisibly these \"objective\" images are manipulated. [...] students could put together their own found footage films from shows they regularly watch as a way to analyze the underlying assumptions.

New Journalism and Direct Cinema reflect a unique conjoined moment in the evolution of nonfiction writing and filmmaking in the United States. I argue that these movements developed as a specific response to the shift from a modern to a postmodern aesthetic, a shift away from faith in a coherent reality at a historical moment, the 1960s. In an attempt to capture reality using new methods that would raise the status of nonfiction, writers and filmmakers in these movements call attention to process and “style.” At first glance, these experiments with new styles appear radical; instead, New Journalism and Direct Cinema—in opposition to their “revolutionary” reputations—function to conserve traditional views of reality. Ultimately, I claim, their innovative narrative style and emphasis on process undermine their attempt to reinforce a correspondent relationship between print and film language and the “real” material world. However, the innovative methods of writers like Tom Wolfe and Truman Capote and filmmakers like Robert Drew, Albert and David Maysles, and Charlotte Zwerin sparked a discussion about genre, language, and representation that established specific expectations about nonfiction that continue to define documentary for readers and viewers into the twenty-first century.

Traces the historical development of the authority of grammar handbooks and their current status as monitors of language. Focuses on the evidence that English speakers use the \"singular they\" and the \"generic he.\" Interprets current handbooks in terms of their social roles and political constructions. (HB)