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Immediations : The Humanitarian Impulse in Documentary /
Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human su...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Durham :
Duke University Press,
[2017]
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| Colección: | A Camera Obscura Book
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| Temas: | |
| Acceso en línea: | Texto completo Texto completo |
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| 100 | 1 | |a Rangan, Pooja, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
| 245 | 1 | 0 | |a Immediations : |b The Humanitarian Impulse in Documentary / |c Pooja Rangan. |
| 264 | 1 | |a Durham : |b Duke University Press, |c [2017] | |
| 264 | 4 | |c ©2017 | |
| 300 | |a 1 online resource (272 p.) : |b 34 illustrations | ||
| 336 | |a text |b txt |2 rdacontent | ||
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| 490 | 0 | |a A Camera Obscura Book | |
| 505 | 0 | 0 | |t Frontmatter -- |t CONTENTS -- |t Illustrations -- |t Acknowledgments -- |t INTRODUCTION Immediations -- |t CHAPTER 1 Feral Innocence -- |t CHAPTER 2 Bare Liveness -- |t CHAPTER 3 "Having a Voice" -- |t CHAPTER 4 The Documentary Art of Surrender -- |t CONCLUSION -- |t Notes -- |t Bibliography -- |t Index |
| 506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
| 520 | |a Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to "give a voice to the voiceless," an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations-tropes that reinforce their status as the "other" and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other. | ||
| 538 | |a Mode of access: Internet via World Wide Web. | ||
| 546 | |a In English. | ||
| 588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Sep 2020) | |
| 650 | 0 | |a Documentary films |x Social aspects. | |
| 650 | 0 | |a Documentary films. | |
| 650 | 0 | |a Humanitarianism. | |
| 650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism. |2 bisacsh | |
| 773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t DUK eBook-Package 2017 |z 9783110696349 |
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| 856 | 4 | 0 | |u https://degruyter.uam.elogim.com/isbn/9780822373100 |z Texto completo |
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