By William Rothman
'Film learn has tended to regard documentary as a marginal shape, yet because the essays in 3 Documentary Filmmakers display, the movies of Jean Rouch, Ross McElwee, and Errol Morris demand, and present, this kind of feedback anticipated of such severe works in any medium.'-back hide. advent / William Rothman -- half 1. Errol Morris: or The Fog of movie -- Errol Morris's irony / Gilberto Perez -- Errol Morris's types of keep watch over / Ira Jaffe -- The philosophy of Errol Morris: ten classes / Carl Plantinga -- half 2. Ross McElwee: I movie consequently i'm -- twist of fate in Ross McElwee's documentaries / Diane Stevenson -- Reflections on vibrant leaves / Marian Keane -- Drifting in time: Ross McElwee's time indefinite / Jim Lane -- shock and soreness, writing and picture / Charles Warren -- occasionally daddies do not speak about such things as that / William Rothman -- half three. Jean Rouch: or The Filmmaker as Provocateur -- Jean Rouch and the ability of the among / Paul Stoller -- The pause of the realm / Daniel Morgan -- Jean Rouch's les maîtres fous: documentary of seduction, seduction of documentary / Alan Cholodenko -- Petit à petit and the lion hunters / Michael Laramee -- Jean Rouch as movie artist: Tourou and Bitti, The outdated Anaï, Ambara Dama / William Rothman
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Extra resources for Three documentary filmmakers : Errol Morris, Ross McElwee, Jean Rouch
Indistinct section of bluish, whiskered, cat-like face connected to bluish tubular form. 8. Vehicle resembling an immense insect-like robot, bearing a man in a hard hat, emerges from garage onto street. 9. Close-up of green plant stem with bug moving slowly on it. 10. Indistinct, often blurred images suggest TV interference, a grid, a frame, fetal life, and then mole rats (b&w). 11. Overhead shot of vehicle, similar to that in #8, but topped with a kind of umbrella. 12. Excerpt from old movie of Clyde Beatty, the wild animal trainer’s hero, attacking soldier or guard whose legs are bare and who wears a helmet and, afﬁxed to his back, a pair of wings.
He 38 Ira Jaffe adds, “Stability is death,” a remark that perhaps casts the ﬁlm’s intense ﬂux and restlessness, its impression of matter in ceaseless motion, as a strategy to fend off death. In Mr. Death, Leuchter’s obsession with killing and dying appears to be lifelong, originating in childhood visits to the prison where his father worked and where in 1957 the son ﬁrst sat in an electric chair. Although death and destruction abound in Morris’s cinema, perhaps only in Fog of War does a major character ﬁercely resist accepting them as either routine or inevitable.
Note 1. Eliot’s precise words in “Little Gidding” are: “We shall not cease from exploration / And the end of all our exploring / Will be to arrive where we started / And know the place for the ﬁrst time” (Eliot 1980, 145). 3 CARL PLANTINGA The Philosophy of Errol Morris Ten Lessons G IVEN THE FULL TITLE OF Errol Morris’s celebrated 2003 ﬁlm about Robert McNamara, The Fog of War: Eleven Lessons from the Life of Robert S. McNamara, it is easy to mistakenly assume that the lessons enumerated in the ﬁlm are McNamara’s, and at least one critic has done so (Hoberman 2004, 20–22).