Documentary film and the poetics of history

REFERENCES

• Banks, M. and Morphy, H. (eds) (1999), Rethinking Visual Anthropology, New Haven: Yale University Press.
   Google Scholar
• Barthes, R. (1972), Mythologies (trans. Annette Lavers), London: Paladin.
   Google Scholar
• Beattie, K. (2008), Documentary Display: Reviewing Non Fiction Film and Video, London: Wallflower Press.
   Google Scholar
• Bell, Desmond (dir.) (1989a), We'll Fight and No Surrender: Ulster Loyalism and the Protestant Sense of History, Channel Four Television, 55 minutes, Glass Machine Productions.
   Google Scholar
• Bell, Desmond (dir.) (1989b), Redeeming History: Protestant Nationalism in Ireland, Channel Four Television, 52 minutes, Faction Films/Glass Machine Productions.
   Google Scholar
• Bell, Desmond (dir.) (1999), Hard Road to Klondike/Rotha Mor an tSaoil, RTE/TG4/BBC:NI, 55 minutes, Faction Films/Glass Machine Productions (screened at the 1999 Venice Film Festival).
   Google Scholar
• Bell, Desmond (dir.) (2002a), The Last Story Teller?/An Scealai Deirenach, RTE/TG4, 52 minutes, Asylum Pictures/Besom Productions (screened at the 2002 Venice Film Festival).
   Google Scholar
• Bell, Desmond (dir.) (2002b), Out of Loyal Ulster, Channel Four Television, 52 minutes, Faction Films/Glass Machine Productions.
   Google Scholar
• Bell, Desmond (dir.) (2004), Rebel Frontier, RTE/YLE, 52/60 minutes, Asylum Pictures/Poolbeg Productions.
   Google Scholar
• Bell, Desmond (dir.) (2009), Child of the Dead End/Tachran Gan Todhchai, TG4/BBC Scotland, 73/83 minutes, Glass Machine Productions (screened at the 2009 Festival Films du Monde, Montreal).
   Google Scholar
• Bell, D. (2004), 'Shooting the past: Found footage filmmaking and popular memory, Kinema, Spring edition, pp. 74–89.
   Google Scholar
• Bell, D. (2006), ‘Creative film and media practice as research: In pursuit of that obscure object of desire’, Journal of Media Practice, 7:2, pp. 85–100.
   Google Scholar
• Bill Morrison (dir.) (2002), Decasia, 67 minutes, Hypnotic Pictures.
   Google Scholar
• Bruzzi, S. (2000), New Documentary: A Critical Introduction, London: Routledge.
   Google Scholar
• Clayton, S. (2007), ‘Visual and performative elements in screen adaptation: A film-maker's perspective’, Journal of Media Practice, 8:2, pp. 129–45.
   Google Scholar
• Cleary, J. (2002), ‘Misplaced ideas? Locating and dislocating Ireland in colonial and postcolonial studies’, in C. Bartolovich and N. Lazarus (ed.), Marxism, Modernity and Postcolonial Studies, Cambridge: Cambridge University Press, pp. 101–24.
   Google Scholar
• Dudley Edwards, O. (1986), ‘Patrick MacGill and the making of a historical source: With a handlist of his works’, The Innes Review of the Scottish Catholic Historical Association, 37:2, pp. 73–99.
   Google Scholar
• Ferguson, Bob (1985), Television on History: Representations of Ireland, London: Comedia.
   Google Scholar
• Forgács, Peter (dir.) (1996), Free Fall, 75 minutes, Hungary.
   Google Scholar
• Foucault, M. (1996), ‘Foucault live: Interviews 1961–1984’, Semiotext,
   Google Scholar
• Gunning, T. (1989), ‘The cinema of attractions: Early film, its spectator and the avant-garde’, in Thomas Elsaesser and Adam Barker (ed.), Early Film, London: British Film Institute.
   Google Scholar
• Habermas, J. (1974), Knowledge and Human Interest, London: Heineman.
   Google Scholar
• Holmes, H. (2002), ‘Remembering their history: Memories of Irish migratory agricultural workers in Scotland’, Human Affairs, 2, pp. 139–52.
   Google Scholar
• Koppel, G. (2008), ‘Documentary — the evocation of a world’, Journal of Media Practice, 8:3, pp. 305–23.
   Google Scholar
• Mac Conghail, M. (1999), ‘The hard road to Klondike’, Film West, 34, pp. 25–26.
   Google Scholar
• Nichols, B. (1991), Representing Reality — Issues and Concepts in Documentary, Bloomington: Indiana University Press.
   Google Scholar
• Nichols, B. (2001), Introduction to Documentary, Bloomington: Indiana University Press.
   Google Scholar
• Nightingale, D. J. and Cromby, J. (eds) (1999), Social Constructionist Psychology: A Critical Analysis of Theory and Practice, Buckingham: Open University Press, p. 228.
   Google Scholar
• Paech, J. (1989), ‘The mummy lives!’, in W. De Greef and W. Hesling (eds), Image, Reality, Spectator: Essays on Documentary Film and Television, Leuven: Amersfoot, pp. 57–65.
   Google Scholar
• Queenan, J. (2009), ‘Barbarians at the studio gates’, The Guardian, 4 December 2009.
   Google Scholar
• Rancière, J. (1994), The Names of History, Minneapolis: Minnesota University Press.
   Google Scholar
• Rancière, J. (2006), Film Fables (trans. Emiliano Battista), Oxford: Berg.
   Google Scholar
• Rancière, J. (2007), The Future of the Image (trans. Gregory Elliott), London: Verso.
   Google Scholar
• Rosenstone, R. (1995), Visions of the Past: Challenge of Film to Our Idea of History, Cambridge: Harvard University Press.
   Google Scholar
• Russell, C. (1999), Experimental Ethnography: The Work of Film in the Age of Video, Durham: Duke University Press.
   Google Scholar
• Willig, C. (2001), Introducing Qualitative Research in Psychology, Buckingham: Open University Press.
   Google Scholar