Looking back, looking onwards: selflessness, ethics, and French documentary

Cooper, Sarah

doi:10.1386/sfc.10.1.57/1

Cited by 11 publications

(8 citation statements)

References 3 publications

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“…The notion of the 'performance' in documentary put forward by some scholars, such as Scheibler (1993), Bruzzi (2000), Cooper (2006) another fascinating thing is that, conversely, the majority of the subjects are not happy with their representation in the finished film.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

Psychoanalysis and Ethics in Documentary Film

Piotrowska¹

2023

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Knowledge, Professor Frosh never got tired of sending out search parties when I got lost. I have learnt so much thanks to him and from him during the last three years.I am also grateful to Laura Mulvey for keeping an eye on my film theory and for encouraging me to explore transference outside the clinic, and to Amber Jacobs for her productive challenges. I must say 'thank you' to Bernard Burgoyne, Denise Riley, Noga Wine, Elizabeth Cowie for their generous encouragement and probing discussions, and last but not least, to Mladen Dolar, who somehow has become a friend through the debates about his work and mine. My studies have been supported by a Birkbeck College Scholarship for which I am indebted. The extraordinary intellectual opportunities at the College and at the Department of Psychosocial Studies have been an important invaluable resource. In particular, I am grateful to Lisa Baraitser, Sasha Roseneil and Lynne Segal as well as Anna Strhan for their kind and wise words at key moments. I am also thankful to Polona Curk for her friendship and insightful comments on an earlier draft of the thesis. I wish to acknowledge the generosity and tolerance of my new institution, University of Bedfordshire, and in particular that of Peter Dean, in allowing me the time necessary to complete this work. My family, my husband Stewart Cornes and my son Leo Michelmore in particular, and friends all over the world, have endured the three long years of my obsessing about this work with humour and affection. It is probably unfair to single out anybody and yet I would like to say how grateful I am for the support and love of my two great women friends -not just throughout this research but over the decades of my life, namely to Ania Libertowska and Clare Riley.'There are women producers but sometimes they become more like men' (ibid.: 52). See also Kaja Silverman about female voice and authorship (1988).

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Section: Concluding Thoughtsmentioning

confidence: 99%

Psychoanalysis and Ethics in Documentary Film

Piotrowska¹

2023

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“…Si une bonne partie des discussions au sujet du cinéma portent sur la nécessité de l'indépendance du langage cinématographique par rapport au théâtre et à la littérature, dans le domaine plus spécifique du documentaire, on argumente autour du problème de l'authenticité de ce et de ceux qui se trouvent devant la caméra, l'un des thèmes les plus débattus dans le domaine du cinéma documentaire de toute époque (Cooper 2006(Cooper , 2010Niney 2009). Comme en témoigne déjà un article d'Edmond Épar-daud paru dans Cinéa (1922), en France la sortie de Nanouk l'esquimau/Nanook of the North (Robert Flaherty, 1922) fait surgir une série de réflexions concernant ce sujet, qui considèrent le film de Flaherty exemplaire pour sa façon de concilier l'authenticité avec la narration, la dimension pédagogique avec les dimensions ludique et esthétique.…”

Section: Studies In French Cinema 235unclassified

“…En effet, il est nécessaire de préciser qu'il ne s'agît, à ce moment-là, que d'un début de réflexion sur l'approximation au réel et que des thèmes considérés aujourd'hui proprement éthiques -notamment la question de l' « altérité » (Cooper 2006(Cooper , 2010 -et liés à la vision personnelle et à la réflexion d'un cinéaste ne sont pratiquement pas abordés.…”

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Le documentaire, libérateur du cinéma et source de photogénie

Vichi¹

2014

Studies in French Cinema

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“…The type of documentary I focus on in this thesis is a film in which a verbal testimony of the other is at the heart of the work 11 . In an important book on ethics in documentary film, Sarah Cooper (2006) conceptualizes 'an ethics of an image' (Cooper 2006: 91). She puts her work in some opposition to psychoanalysis as used in psychoanalytically based film theory post-1968.…”

Section: The Objects Of My Interrogations: Documentary On Trauma and mentioning

confidence: 99%

Psychoanalysis and Ethics in Documentary Film

Piotrowska

2013

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Looking back, looking onwards: selflessness, ethics, and French documentary

Cited by 11 publications

References 3 publications

Psychoanalysis and Ethics in Documentary Film

Psychoanalysis and Ethics in Documentary Film

Le documentaire, libérateur du cinéma et source de photogénie

Psychoanalysis and Ethics in Documentary Film

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