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ReFocus: The Films of Barbara Kopple
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Building on existing interviews, journal articles, and archival research, The Films of Barbara Kopple assesses Kopple’s entire career to date, paying particular attention historical contexts, technique, critical reception, and ongoing influence. Each chapter blends close analyses of the films with insights drawn from film history and documentary studies to demonstrate that Kopple has consistently and often doggedly pursued projects that document the experiences of the victimized, the voiceless, and those in crisis. The contributors treat the entire scope of Kopple’s career, from her work in the early 1970s as an intern for David and Albert Maysles, to her mid-career experiments with commercial television and fictional projects, and finally to her recent forays into digital streaming platforms such as YouTube. The book also provides cultural contexts for Kopple’s films, including representations of class, gender, sexuality, and race. Finally, it assesses the contours of Kopple’s critical reputation and popularity, including her influence on contemporary filmmakers. In all, the book aims to stir interest in the life and films of Barbara Kopple, reminding readers why her films continue to be culturally significant.
Edinburgh University Press
Title: ReFocus: The Films of Barbara Kopple
Description:
Building on existing interviews, journal articles, and archival research, The Films of Barbara Kopple assesses Kopple’s entire career to date, paying particular attention historical contexts, technique, critical reception, and ongoing influence.
Each chapter blends close analyses of the films with insights drawn from film history and documentary studies to demonstrate that Kopple has consistently and often doggedly pursued projects that document the experiences of the victimized, the voiceless, and those in crisis.
The contributors treat the entire scope of Kopple’s career, from her work in the early 1970s as an intern for David and Albert Maysles, to her mid-career experiments with commercial television and fictional projects, and finally to her recent forays into digital streaming platforms such as YouTube.
The book also provides cultural contexts for Kopple’s films, including representations of class, gender, sexuality, and race.
Finally, it assesses the contours of Kopple’s critical reputation and popularity, including her influence on contemporary filmmakers.
In all, the book aims to stir interest in the life and films of Barbara Kopple, reminding readers why her films continue to be culturally significant.
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