The Ways of Documentary Cinema. Analysis of Three Models
Article Sidebar
Main Article Content
Abstract
The present work is a theoretical study that compares the modes of documentary representation provided by Bill Nichols, Michael Renov, and John Corner. Such paradigms correspond to the increase of documentary studies from the beginnings of nineties of 20th century. They have become prominent guides for the reinterpretation of aesthetics and history of documentary film. The critical revision proposed here includes the analysis of specific examples of Cuban documentary films produced by Cuban Institute of Art and Cinematic Industry (ICAIC) between 1959 and 1991. The three models followed identify different theoretical backgrounds over which project the image of documentary, for that reason, this study argues for the triangulation of the categories in the exam of significant volumes of documentaries.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
All contents of this electronic edition are distributed under the Creative Commons license of "Attribución-shareAlike 4.0 Internacional" (CC-BY-SA). Any total or partial reproduction of the material must mention its origin.
The rights of academic works published in this publication belong to their authors., who grant to AISTHESIS: Revista Chilena de Investigaciones Estéticas the license for its use. The management of the permits and the authorization of the publication of the images (or of any material) that contains copyright and its consequent rights of reproduction in this publication is the sole responsibility of the authors of the articles