1998
Achting voor het toeval: Over de mapjes van een documentairemaker
Publication
Publication
Tijdschrift voor Mediageschiedenis
p. 85-
92
Makers of documentaries largely determine audio visual history with their choice of subject matter and the way in which they carry out their research. How are these choices reached and does a cineaste choose from the vast amounts of material he has collected after and during his research? In his article Respect for Coincidence, the documentary film maker Hans Keiler describes the role of coincidence in his work. 'The half finished plan disappears into a file, a graveyard of new ideas from which it makes a miraculous reappearance some ten years later thanks to a coincidental meeting.'
| Additional Metadata | |
|---|---|
| Publisher | Netherlands Institute for Sound and Vision |
| Persistent URL | dx.doi.org/10.18146/tmg.69 |
| Journal | Tijdschrift voor Mediageschiedenis |
| Rights | Authors who publish with this journal agree to the following terms:Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access). |
| Note | TMG Journal for Media History; Vol 1 (1998): Verbeelding; 85-92 |
| Citation |
Keller, Hans. (1998). Achting voor het toeval: Over de mapjes van een documentairemaker. Tijdschrift voor Mediageschiedenis, 85–92. doi:10.18146/tmg.69
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