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FOUND FOOTAGE RECONTEXTUALIZATION IN TWENTY-FIRST-CENTURY RUSSIAN DOCUMENTARIES: MICRO- AND MACRO-HISTORIES
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This chapter discusses found footage recontextualisation in contemporary Russian documentary cinema. It begins with the analysis of Vitaly Mansky’s Chastnye khroniki. Monolog/ Private Chronicles. A Monologue (1999) showing how contemporary Russian documentaries offer different pathways for the recontextualization of found footage. From the analog reworking of home movies in Mansky’s film it proceeds to the broader practices of borrowed digital content incorporation within webdocs using the example of Dmitry Avrorin’s HardDrive. In the final part it analyzes a family auto-ethnographic documentary by Stasya Grankovskaya, Stasya is Me (2020) by Stasya Grankovskaya, looking at how “found” home footage recontextualization works in a micro narrative.
Title: FOUND FOOTAGE RECONTEXTUALIZATION IN TWENTY-FIRST-CENTURY RUSSIAN DOCUMENTARIES: MICRO- AND MACRO-HISTORIES
Description:
This chapter discusses found footage recontextualisation in contemporary Russian documentary cinema.
It begins with the analysis of Vitaly Mansky’s Chastnye khroniki.
Monolog/ Private Chronicles.
A Monologue (1999) showing how contemporary Russian documentaries offer different pathways for the recontextualization of found footage.
From the analog reworking of home movies in Mansky’s film it proceeds to the broader practices of borrowed digital content incorporation within webdocs using the example of Dmitry Avrorin’s HardDrive.
In the final part it analyzes a family auto-ethnographic documentary by Stasya Grankovskaya, Stasya is Me (2020) by Stasya Grankovskaya, looking at how “found” home footage recontextualization works in a micro narrative.
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