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- W4253402293 abstract "The previous chapter centered upon a rather esoteric cinematic document, the early ethnographic research film. This chapter shirts the focus to a group of films that could fall under various generic headings: the documentary, the travel film, the documentaire romancé, the big-game expedition film, and the colonialist propaganda film. While nascent forms of these hybrid genres emerged in the 1910s, a firmer union between documentary and the exotic was forged during the interwar period and blossomed in the Weimar era. These popular films share some of the same epistemological assumptions as those of the research film. A 1928 review of Robert Flaherty’s Moana (1926) and Karl Browns Stark Love (1927) praises the way the films present the “daily life of out-of-the-way minorities” through “natural pictures with a minimum of posed and directed action.”1 Like the research film, the central tenet of these popular films was to preserve the authenticity of the image, in particular the authentic image of the primitive body." @default.
- W4253402293 created "2022-05-12" @default.
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- W4253402293 date "2001-01-01" @default.
- W4253402293 modified "2023-10-18" @default.
- W4253402293 title "Paradise Lost" @default.
- W4253402293 cites W1491330651 @default.
- W4253402293 doi "https://doi.org/10.1007/978-1-137-05687-0_4" @default.
- W4253402293 hasPublicationYear "2001" @default.
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