Difference between revisions of "Baker1989"
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{{BibEntry | {{BibEntry | ||
|BibType=ARTICLE | |BibType=ARTICLE | ||
| − | |Author(s)=Carolyn Baker; | + | |Author(s)=Carolyn Baker; |
|Title=Knowing things and saying things: How a natural world is discoursively fabricated on a documentary film set | |Title=Knowing things and saying things: How a natural world is discoursively fabricated on a documentary film set | ||
| − | |Tag(s)=EMCA; Film; Workplace; Workplace studies; Epistemics; | + | |Tag(s)=EMCA; Ethnomethodology; Film; Workplace; Workplace studies; Epistemics; |
|Key=Baker1989 | |Key=Baker1989 | ||
|Year=1989 | |Year=1989 | ||
| Line 9: | Line 9: | ||
|Volume=13 | |Volume=13 | ||
|Pages=381-393 | |Pages=381-393 | ||
| + | |Abstract=Closely in tandem with Emmison’s critical ethnomethodology, Baker looks at the way film crews and directors try to capture the ‘natural look’ of things in laboriously constructed documentaries. How is the ‘natural’ achieved? To answer this question, she turns to the rough footage from which a broadcast documentary was edited, showing how crews manage their filmed subjects from take to take in order to be able to assemble a ‘natural’ discursive product from that footage. a product which tries to make the mediation of filming itself disappear as far as possible. | ||
}} | }} | ||
Revision as of 14:04, 15 September 2015
| Baker1989 | |
|---|---|
| BibType | ARTICLE |
| Key | Baker1989 |
| Author(s) | Carolyn Baker |
| Title | Knowing things and saying things: How a natural world is discoursively fabricated on a documentary film set |
| Editor(s) | |
| Tag(s) | EMCA, Ethnomethodology, Film, Workplace, Workplace studies, Epistemics |
| Publisher | |
| Year | 1989 |
| Language | |
| City | |
| Month | |
| Journal | Journal of Pragmatics |
| Volume | 13 |
| Number | |
| Pages | 381-393 |
| URL | |
| DOI | |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | |
| Chapter | |
Abstract
Closely in tandem with Emmison’s critical ethnomethodology, Baker looks at the way film crews and directors try to capture the ‘natural look’ of things in laboriously constructed documentaries. How is the ‘natural’ achieved? To answer this question, she turns to the rough footage from which a broadcast documentary was edited, showing how crews manage their filmed subjects from take to take in order to be able to assemble a ‘natural’ discursive product from that footage. a product which tries to make the mediation of filming itself disappear as far as possible.
Notes
