RESEARCH GUIDE · ATLAS CROSS-INDEX
Documentary Time: Film and Phenomenology
A documentary image is both a present viewing event and a trace left by the past. How do these times meet in nonfiction cinema? How do waiting, retrospection, archival recomposition, and sound give social memory a sensible form?
CORE QUESTION
A documentary image is both a present viewing event and a trace left by the past. How do these times meet in nonfiction cinema? How do waiting, retrospection, archival recomposition, and sound give social memory a sensible form?
CONTRIBUTION
Wahlberg brings phenomenology and Deleuzian temporality into documentary studies, placing Ricoeur, Bazin, and Mitry in the same conversation. The nonfiction image's trace is no longer merely proof that something existed; it is reconfigured through screening duration, the viewing body, historical figures, and the potential archival memory of representation. Documentary time expands beyond narrative order into a joint organization of sensory experience, social memory, and historical ethics.
READING ROUTE
First secure the relation among trace, experience, and archive in the methodological chapters, then enter the classical films, video experiments, and Warhol cases. For each example, separately record the moment of recording, the present of viewing, the social past recalled, and the image's possible archival future. Finally, test a documentary scene: does its temporality arise from the event's content or from duration, sound, and recomposition?
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EDITIONS & ACCESS
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Documentary Time: Film and Phenomenology
English · University of Minnesota Press · 2008
ISBN 9780816649693Verify original editionNo verifiable published translation was located in this review.
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The work was written in English. No verifiable published full translation in Simplified or Traditional Chinese was located.