vOLUME i: Film Theory/History/Documentary in general, Part 1 1. Ian Aitken, ''Physical Reality: The Role of the Empirical in the Film Theory of Siegfried Kracauer, John Grierson, André Bazin and Georg Lukács'', Studies in Documentary Film, 2007, 1, 2, 105-21. 2. Ian Aitken, ''Introduction'', in Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 1-61. 3. Ian Aitken, ''The Documentary Film Movement'', Alberto Cavalcanti: Realism, Surrealism and National Cinemas (Flicks Books, 2000), pp.

42-65. 4. Ian Aitken, ''"What is There Really in the World?"--Forms of Theory, Evidence and Truth in Fahrenheit 9/11: A Philosophical and Intuitionist Realist Approach'', in Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies (Routledge, 2009), pp. 310-30. 5. Dan Armstrong, ''Wiseman''s Model and the Documentary Project: Towards a Radical Film Practice'', Film Quarterly, 1983-4, 37, 2, 2-10. 6.

Michael Balcon, ''The Feature Carries on the Documentary Tradition'', Quarterly of Film, Radio, and Television, 1952, 6, 4, 351-3. 7. Charles Bane, ''Russia/Soviet Union'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 3 (Routledge, 2006), pp. 1159-66. 8. Roger A.

Beaumont, ''Images of War: Films as Documentary History'', Military Affairs, 1971. 35, 1, 5-7. 9. William A. Bluem, ''Documentary in a Nuclear Age'', Journal of the University Film Producers Association, 1965, 17, 4, 12-16. 10. William Brown, ''Man Without a Movie Camera--Movies Without Men: Towards a Posthumanist Cinema'', in Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies (Routledge, 2009), pp.

66-85. 11. Noel Burch, ''Four Recent French Documentaries'', Film Quarterly, 1959, 13, 1, 56-61. 12. Alberto Cavalcanti, ''The British Contribution (1952)'', in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 205-14. 13.

Elizabeth Coffman, ''Documentary and Collaboration: Placing the Camera in the Community'', Journal of Film and Video, 2009, 61, 1, 62-78. 14. Kirwan Cox, ''Canada'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 164-74. 15. Jonathan Dawson, ''Australia'', in Ian Aitken (ed.

), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 56-61. 16. Williams Deane, ''Introduction: Grierson Diminished'', Australian Post-War Documentary Film: An Arc of Mirrors (Intellect Books, 2008), pp. 11-20. 17. Willard Van Dyke, ''Documentaries of the Thirties'', Journal of the University Film Association, 1973, 25, 3, 45-6.

18. Jack C. Ellis, ''Postmortem: Assessments (1972-2000)'', John Grierson: Life, Contributions, Influence (Southern Illinois University Press, 2000), pp. 332-62. 19. Douglas W. Gallez, ''Patterns in Wartime Documentaries'', Quarterly of Film, Radio, and Television, 1955, 10, 2, 125-35. 20.

Jill Godmilow, ''How Real is the Reality in Documentary Film?'', History and Theory, 1997, 36, 4, 80-101. 21. John Grierson, ''First Principles of Documentary'', Cinema Quarterly, Winter 1932, Spring 1933 and Summer 1933. 22. John Grierson, ''The Russian Example'', The Clarion, August 1930 and November 1930. 23. John Grierson, ''The E. M.

B. Film Unit'', Cinema Quarterly, Summer 1933. 24. John Grierson, ''Summary and Survey: 1935'', The Arts Today (London, 1935). 25. John Grierson, ''The Course of Realism'', Footnotes to the Film (Peter Davies, 1937). 26. John Grierson, ''The Documentary Idea: 1942'', Documentary News Letter, 1942.

27. John Grierson, ''Education and the New Order'', Pamphlet No. 7 of the ''Democracy and Citizenship'' series (Canadian Association for Adult Education, 1941). Volume II: Film Theory/History/Documentary in general, part 2 28. Sapna Gupta, ''Poland'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 3 (Routledge, 2006), pp. 1056-60.

29. Christian Hansen, Catherine Needham, and Bill Nichols, ''Pornography, Ethnography, and the Discourses of Power'', Representing Reality: Issues and Concepts in Documentary (Indiana University Press, 1991), pp. 201-28. 30. Kay Hoffman, ''Germany'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 474-8.

31. Humphrey Jennings, ''Surrealism'' [1936], in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 229-30. 32. Claire Johnston, ''Independence and the Thirties'', in Don Macpherson (ed.), Traditions of Independence: British Cinema in the Thirties (BFI Publishing, 1980), pp. 9-23.

33. Robert Katz and Nancy Katz, ''Documentary in Transition, Part I: The United States'', Hollywood Quarterly, 1948, 3, 4, 425-33. 34. Robert Katz and Nancy Katz, ''Documentary in Transition, Part II: The International Scene and the American Documentary'', Hollywood Quarterly, 1949, 4, 1, 51-6. 35. Adam Knee and Charles Musser, ''William Greaves'', Documentary Film-Making and the African-American Experience, 1992, 45, 3, 13-25. 36. Siegried Kracauer, ''The Film of Fact'', Theory of Film: The Redemption of Physical Reality (Princeton University Press, 1960), pp.

193-211. 37. Annette Kuhn, ''British Documentary in the 1930s and "Independence": Recontextualising a Film Movement'', in Don Macpherson (ed.), Traditions of Independence: British Cinema in the Thirties (BFI Publishing, 1980), pp. 24-33. 38. Andre Loiselle, ''French Canada'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol.

1 (Routledge, 2006), pp. 175-9. 39. David MacDougall, ''When Less Is Less: The Long Take in Documentary'', Film Quarterly, 1992-3, 46, 2, 36-46. 40. Bob Mielke, ''Rhetoric and Ideology in the Nuclear Test Documentary'', Film Quarterly, 2005, 58, 3, 28-37. 41. Trinh T.

Minh-ha, ''The Totalizing Quest of Meaning'', in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 90-107. 42. Bill Nichols, ''The Voice of Documentary'', Film Quarterly, 1983, 36, 3, 17-30. 43. Bill Nichols, ''History, Myth, and Narrative in Documentary'', Film Quarterly, 1987, 41, 1, 9-20. 44.

Markus Abé Nornes, ''Japan'' in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 2 (Routledge, 2006), pp. 671-6. 45. Miles Orvell, ''Documentary Film and the Interrogation: "American Dream" & "Roger and Me", Film Quarterly, 1994-5, 48, 2, 10-18. 46. Andreas Pagoulatos and Nikos Stabakis, ''Greece'', in Ian Aitken (ed.

), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 510-18. 47. Carl Plantinga, ''What a Documentary Is, After All'', Journal of Aesthetics and Art Criticism, 2005, 63, 2, 105-17. 48. Wesley F. Pratzner, ''What Has Happened to the Documentary Film?'', Public Opinion Quarterly, 1947, 11, 3, 394-401.

49. Paula Rabinowitz, ''Wreckage Upon Wreckage: History, Documentary and the Ruins of Memory'', History and Theory, 1993, 32, 2, 119-37. 50. Michael Renov, ''Introduction: The Truth About Non-Fiction'', in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 1-11. 51. Paul Rotha, ''Television and the Future of Documentary'', Quarterly of Film, Radio, and Television, 1955, 9, 4, 366-73.

52. Paul Rotha, ''Films and the Labour Party'' [1936], in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 171-8. 53. Vivian Sobchack, ''Toward a Phenomenology of Nonfictional film Experience'', in Jane M. Gaines and Michael Renov (eds.), Collecting Visible (University of Minnesota Press, 1999), pp.

241-54. 54. Pierre Sorlin, ''France'', in Ian Aitken (ed.), Encyclopedia of the Documentary Film, Vol. 1 (Routledge, 2006), pp. 434-42. 55. Pierre Sorlin, ''Italy'', in Ian Aitken (ed.

), Encyclopedia of the Documentary Film, Vol. 2 (Routledge, 2006), pp. 646-53. 56. Stephen Tallents, ''The Birth of the British Documentary (Part II)'', Journal of the University Film Association, 1968, 20, 2, 27-32. 57. Parker Tyler, ''Documentary Technique in Film Fiction'', American Quarterly, 1949, 1, 2, 99-115. 58.

Linda Williams, ''Mirrors Without Memories: Truth, History, and the New Documentary'', Film Quarterly, 1993, 46, 3, 9-21. 59. Brian Winston, ''The Documentary Film as Scientific Inscription'', in Michael Renov (ed.), Theorizing Documentary (Routledge, 1993), pp. 37-57. 60. Basil Wright, ''The Documentary Dilemma'', Hollywood Quarterly, 1951, 5, 4, 321-5. 61.

Basil Wright, ''Documentary Today (1947)'', in Ian Aitken (ed.), The Documentary Film Movement: An Anthology (Edinburgh University Press, 1998), pp. 231-6. Volume III: Music Teaching and Learning Chang/Grass, 1927. Directed by Merian C. Cooper and Ernest Beaumont Schoedsack 62. Richard Griffith, ''Grass and Chang'', in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn.

(W. W. Norton, 1979), pp. 22-4. Chronicle of a Summer, 1961. Directed by Jean Rouch and Edgar Morin 63. Ellen Freyer, ''Chronicle of a Summer: Ten Years After'', in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn.

(W. W. Norton, 1979), pp. 337-43. 64. William Rothman, ''Chronicle of a Summer'', Documentary Film Classics (Cambridge University Press, 1997), pp. 69-108. Dead Birds, 1963.

Directed by Robert Gardner 65. Robert Gardner, ''A Chronicle of the Human Experience: Dead Birds'', in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 430-6. Desert Victory, 1943.

Directed by David Macdonald 66. Manny Farber, ''One for the Ages: Desert Victory'', in Lewis Jacobs (ed.), The Documentary Tradition, 2nd edn. (W. W. Norton, 1979), pp. 211-12. <.