oN ULes STUDIES IN FILM GENERAL EDITORS: ‘william Rothman, University of Miami Dudley Andrew, University of Towa OTHER BOOKS IN THE SERIES: Another Frank Capra, by Leland Poague Film and Phenomenology, by Allan Casebier Film at he Intersection of High and Mass Culture, by Paul Coates Tande Soviet Film Satve: Laughter with a Lash, Andrew Horton, editor Projecting lllsion: Film Spectatorship and the Impression of Reality by Richard Allen Raastan Gritice on the Cinema of Glasnost, Michael Brashinsky and Andrew Horton, editors Theorizing the Moving Image, by Noél Carroll RHETORIC AND REPRESENTATION IN NONFICTION FILM CARL R. PLANTINGA Hollins College ff CAMBRIDGE 9 UNIveRsiTy PRESSPUBLISHED BY THE PRESS Sy NoicATE The Pie Bung, Teampiogon Steen Camo nae sNivensiry 2 Up, United Kk CAMBRIDGE UNIVERSITY PRESs The Eainburgh Building, Cambealgs cx? eu, 40 West 20th Street, New York, Se ygoq ghey Uni “1001 0 Stamford Road, Oakleign, Melbosns 2th eal Kingdom elbo. Us, wre 3166, Netatia 9 Cambridge Universiey Press 1997 This books copys. Subject co seatorom init revi tthe eavane SHE MERON ge epnetutiot of ay PAE May rake place TaUeeDSING agrecmen ‘he weiten permission of Cmbridge Uaioe nite y Press, Fest published 1997 Peited in the United Seats of America “Typeset in Sabon hero Coe ese onPston Bg Placing, Ca & nang MPMI 6 MoMBEon ny Cat indaer biogapne cfedie 8 filmy ISN Osan aRNaL eferensss and Inde, sia Hcy and eres etna a PNI995.9.D6P56 1997 Title, gethe 2- Exxpe 070.1°8 = de20 A catalog record for this book is avai ‘he British Library able Fron, ISBN 0-521-57326-2 hardback.Seay Acknowledgments Introduction 1, What Is a Nonfiction Film? ‘Why Categories, Definitions, and Distinctions? Fiction and Nonfiction: Notes on a Distinction Past Aempts at Definition Why Traditional Definitions Fail Indexing and the Assertive Stance Ambiguity and Indexing Showing and Asserting in Nonfiction 2. Exemplars and Expression The Griersonian Documentary Objectivity and the Journalistic Documentary Nonfictions as Photographic Records Robert Flaherty and Arranging Scenes Expression, Not Imitation; Rhetoric, Not Re-presentation 3. Moving Image Icons Teons, Anti-Art, and Bourgeois Ideology ‘The Referent and the “Ideology of the Visible” The Ieonic Image Perceiving Pictures: Empirical Evidence Tons and Veridical Information 4. Indices and the Uses of Images Images and Evidence Digital Imaging and Photographic Evidence Doing Things with Photographs Making Claims with Photographs ‘The Soundtrack and Sonic Information Images and Sounds in Context