8 Part III: Films and Film Movements Introduction Films and Film Movements Connective Tissue Classification and Terminology References 10 Documentary Dreams of Activism and the “Arab Spring” The Soviet Socialist Legacy Two Media Activist Moments 80 Years Apart “That Google Guy”: Wael Ghonim The Critique of Realism and the Crisis of Historicism 1917 Coda References 11 A Culture of Reality Introduction The Neorealist Imperative Rossellini's Animals Rossellini as a Narrative Documentary Filmmaker Rouch and Rossellini Rouch and the Ethnographic Discourse Voyage to India Conclusion References 12 The Romantic Becomes Dialectic? Introduction Cold War Phase‐In 1947–1954: Reinventing Socialist Realism Lied der Ströme: Cold War Watershed? Conclusion References
9 Part IV: Media Archaeologies Introduction References 13 A Concise History and Theory of Documentaries on the Visual Arts Introduction Origins and Prewar Developments “The Golden Age,” Europe 1940–1960 and FIFA Major Figures: Emmer, Storck, and Resnais Education and Research Versus Artistic Autonomy Artists and Acts of Creation Art Book and Museum Television: Standardization and Deconstruction From the Neo‐Avant‐Garde to Post‐Cinema References 14 Documentary in the Age of Mass Mobility Introduction The Age of Documentary The Dream of Mass Mobility: Wireless Propaganda Minzu wansui (Long Live the Nation): Diary of an Artist Filmmaker The Gesture of Filming: Medium, Form, Meaning The Epic Gesture of Documentary References 15 Documentary Plasticity Introduction “The Unique Impression of Continuity” Hans Elias and Educational Embryological Cinema Plasticity, the Avant Garde, and Digital Technics References 16 Hans Richter and the Filmessay Introduction Documentary Film, Useful Cinema and the Filmessay The Filmessay in Practice and the “Problem” with Die Börse The Transatlantic Trajectory of the Filmessay Instead of a Conclusion: The Aftermath of The Filmessay References
10 Part V: Audiences and Circulation Introduction References 17 Nonfiction Film in and out of the Moving Picture Theater Introduction Nonfiction and Multipurpose Cinema Illustrated Lectures and Lecturettes Conclusion References 18 The Marginal Spectator