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Steven Ungar

The four films Jean Vigo made between 1930 and 1934 bridged transitions from silent to sound formats and from avant-garde experiments to what he called a social cinema grounded in a documented point of view. This article studies traces of this social cinema in Vigo's 1930 documentary A propos de Nice (Regarding Nice) and his 1934 feature L'Atalante (1934). Links to Parisian surrealism and to leftwing anarchism marked these films as inspiration for postwar filmmakers and critics including André Bazin, François Truffaut, Alain Resnais, and Chris Marker. The government censorship imposed on his Zéro de conduite (Zero for Conduct, 1933) was a test case for similar suppression of postwar films by Resnais, Marker, and René Vautier. Ongoing myths surrounding Vigo and his work persist in the forms of a film prize and research institute, both of which bear his name.

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“Something Outside of Ourselves”

Crossing Boundaries in New Disability Documentary Cinema

Anna Debinski

Documentary film has traditionally perpetuated damaging cultural understandings of disability. However, Astra Taylor’s Examined Life (2008) and Bonnie Sherr Klein’s Shameless: The Art of Disability (2006) utilize documentary techniques to problematize the culturally constructed boundary between disability and able-bodiedness. Spectators are dragged into simultaneously traditional and innovative relationships with the spaces, bodies, and lives inhabited by the documentaries’ disabled subjects. These relationships encourage connection and intimacy even as they contain moments of distance and alienation. The films’ ambivalent representations foster an appreciation of disabled bodies as a reflection of valuable human diversity and a denaturalization of disability’s Otherness. As examples of new disability documentary cinema, the documentaries reflect the political potential of complex and affective representations of disabled subjects.

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Trauma, Time, and the ‘Singular Plural’

The Israeli Television Series Fauda

Nurith Gertz and Raz Yosef

traumas of Hamed’s terrorist acts, while his reappearances in fictional television series and documentary cinema also point to the persistence of past traumas returning from the future. The return from the traumatic future is transmitted not only from the

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‘Are We Coming to Make a Documentary or a Surrealist Film?’

Demythifying Luis Buñuel’s Tierra sin pan in Fermín Solís’s Buñuel en el laberinto de las tortugas

Marc Ripley

ser tan surrealista como la imaginación más desbordada’ [reality itself can be as surreal as the most exaggerated imagination] (36). There are in fact echoes of Buñuel’s own thoughts on the elasticity of documentary cinema in Solís’s dialogue. In a

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The Representation of Childhood in Ethnographic Films of Siberian Indigenous Peoples

The Case of the Documentary Film Malen’kaia Katerina (Tiny Katerina)

Ivan Golovnev and Elena Golovneva

Translator : Jenanne Ferguson

develops ideas about both the production and viewing of visual anthropology and documentary cinema. He notes that the visual is a way to get to the “signified”: “Visual knowledge (as well as other forms of sensory knowledge) provides one of our primary