English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Open

Resume: Peu d'histoires du cinema documentaire delimitent clairement l'apparition du sujet interviewe comme dispositif rhetorique standard des films de nonfiction. En concentrant notre etude sur le developpement de la Numerous surveys of the development of documentary cinema and analyses of its transitional moments exist, especially those concerning technological evolution and shifts in representational strategy. And yet few histories clearly mark out a space for the emergence of the interview subject as one of the standard rhetorical devices in nonfiction film. These "talking heads," ranging in appearance from speaking subjects directly addressing the camera to the testimony of witnesses addressing an on-screen or off-screen interviewer, are a dominant feature of contemporary documentary cinema and a basic component of film and television language. While there are various discussions concerning the ideological dimension of interviews generally, there is little to no critical examination of when, how and why the device first emerges and subsequently evolves within specific filmmaking contexts.1 By localizing my inquiry and focusing on the development of the interview subject in the films of the National Film Board of Canada, I hope to offer a specific account of the circumstances under which talking heads become a part of film vocabulary and documentary culture. The corpus of early documentary cinema in Canada is built largely upon the compilation film in which assembled archival footage is accompanied by voiceover commentary in such a way that the spoken word establishes if not overdetermines the meaning of the images. The interview subject is first used as a testimonial contributing to the truth claims made by the image and narration in co-operation. Voice-over commentary, however, remains the dominant organizing feature of nonfiction films. Colloquially dubbed "voice of God" narration, the device is described by Charles Wolfe as "connoting a position of absolute mastery and knowledge outside of the spatial and temporal boundaries of the social world the film depicts."2 Most often male, aggressive, and rhythmic in its enunciation and delivery, this scripted voice-over organizes the text and delimits the number of possible interpretations of the material, thus securing its rhetorical position. The practice comes to define the NFB's World War II-era style while its presence in documentary film is felt internationally. Though most documentary film scholars acknowledge a decline or transformation of the "voice of God" in documentary cinema after 1950, it is the rapid parallel development of the interview device in the late 1930s through the early 1950s that holds a great interest, largely because it is during this period that talking heads begin to complicate the didactic qualities of "voice of God" narration. They represent a shift from scripted performance, to expert testimony (in support of the central argument of the film), to unscripted response. During this period, Canada's federal filmmaking institution shifted from its war-time organization to a post-war configuration accommodating an ever-broadening scope of subject matter.3 This opening up of subject matter to a number of governmental, social, and cultural concerns is accompanied by an increased experimentation in the presentation of documentary material and the practical (e. …

Dresden Story and the Emergence of the Talking Head in the NFB Documentary