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Review
The prose is jargon-free, lucid, and, at its best, poignant, especially when the author writes about the now-grown child subjects of his treasured postcard collection. . . . [MacDougall] urges scholars to see the visual as a complement rather than as a substitute for the verbal, as a language with its own vocabulary and potential. Given the author's obvious accomplishments in both forms, his long and successful career stands as the best evidence for the validity of his argument. -- Richard John Ascárate, MEDIEN
Review
Embracing, generous, thought-full. David MacDougall weaves together Robbe-Grillet and Robert Flaherty, early cinema and indigenous media, films of childhood and colonial postcards to offer a fresh, compelling case for the primacy of film in the study of culture. Across a range of examples, he asks us to consider what form of knowledge cinema conveys incisively that written work grasps imperfectly. MacDougall stands as one of the great creators of, and commentators on, film working today.
(Bill Nichols, author of "Introduction to Documentary" and "Representing Reality" ) --This text refers to the Hardcover edition.
(Bill Nichols, author of "Introduction to Documentary" and "Representing Reality" ) --This text refers to the Hardcover edition.
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IN A BRITISH "anthology" film of the 1950s made up of three separate ghost stories, a museum guide becomes obsessed with a painting that hangs in one of the museum galleries. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
IN A BRITISH "anthology" film of the 1950s made up of three separate ghost stories, a museum guide becomes obsessed with a painting that hangs in one of the museum galleries. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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