American Documentary Filmmaking in the Digital Age examines the recent challenges to the conventions of realist documentary through the lens of war documentary films by Ken Burns, Michael Moore, and Errol Morris. During the twentieth century, the invention of new technologies of audiovisual representation such as cinema, television, video, and digital media have transformed the modes of historical narration and with it forced historians to assess the impact of new visual technologies on the construction of history. This book investigates the manner in which this contemporary Western "crisis" in historical narrative is produced by a larger epistemological shift in visual culture. Ricciardelli uses the theme of war as depicted in these directors' films to focus her study and look at the model(s) of national identity that Burns, Morris, and Moore shape through their depictions of US military actions. She examines how postcolonial critiques of historicism and the advent of digitization have affected the narrative structure of documentary film and the shaping of historical consciousness through cinematic representation.

Undergraduate Research in Film: A Guide for Students supplies tools for building research skills, with examples of undergraduate research activities and case studies on projects in the various areas in the study of film, film theory, film production, history of film, and interdisciplinary projects. Professors and students can use it as a text and/or a reference book. Essentially, what makes this volume unique is that it brings together examples of film projects and film studies courses within the framework of research skills. Following an overview chapter, the next seven chapters cover research skills including writing literature reviews, choosing topics and formulating questions,working with human subjects, collecting and analyzing data, citing sources and disseminating results. A wide variety of sub-disciplines follow in chapters 9-16 with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources. All chapters begin with inspiring quotations and end with relevant discussion questions.

American Documentary Filmmaking in the Digital Age examines the recent challenges to the conventions of realist documentary through the lens of war documentary films by Ken Burns, Michael Moore, and Errol Morris. During the twentieth century, the invention of new technologies of audiovisual representation such as cinema, television, video, and digital media have transformed the modes of historical narration and with it forced historians to assess the impact of new visual technologies on the construction of history. This book investigates the manner in which this contemporary Western "crisis" in historical narrative is produced by a larger epistemological shift in visual culture. Ricciardelli uses the theme of war as depicted in these directors' films to focus her study and look at the model(s) of national identity that Burns, Morris, and Moore shape through their depictions of US military actions. She examines how postcolonial critiques of historicism and the advent of digitization have affected the narrative structure of documentary film and the shaping of historical consciousness through cinematic representation.

Undergraduate Research in Film: A Guide for Students supplies tools for building research skills, with examples of undergraduate research activities and case studies on projects in the various areas in the study of film, film theory, film production, history of film, and interdisciplinary projects. Professors and students can use it as a text and/or a reference book. Essentially, what makes this volume unique is that it brings together examples of film projects and film studies courses within the framework of research skills. Following an overview chapter, the next seven chapters cover research skills including writing literature reviews, choosing topics and formulating questions,working with human subjects, collecting and analyzing data, citing sources and disseminating results. A wide variety of sub-disciplines follow in chapters 9-16 with sample project ideas from each, as well as undergraduate research conference abstracts. The final chapter is an annotated guide to online resources. All chapters begin with inspiring quotations and end with relevant discussion questions.

"Illusions of Stillness and Movement: An Introduction to Film and Photography" is a collection of readings, interviews, historical surveys, visual analyses, and theoretical discussions on the relationship between photography and film.
The book provides an interdisciplinary, theoretical framework and a historical context for understanding the full impact of media on contemporary culture. It examines the distinct ways we understand the meaning of "cinematic" and "photographic"u from the perspective of the artistic humanities to see what distinguishes and what connects the two.
Students learn how photography and cinema work together to create stories, and bring unnoticed elements and hidden meanings to the forefront of the viewing experience. They explore photographic realism, the limits media impose on users in terms of realistic representation, and the notion of photographic truth in the digital age.
"Illusions of Stillness and Movement" can be used in introductory courses on film and photography, classes on the history and theory of cinema and photography, and those that address visual culture.
Lucia Ricciardelli is an assistant professor in the School of Film and Photography at Montana State University in Bozeman, where she teaches, photography, film and documentary studies and mentors graduate students in the M.F.A. program in Science and Natural History Filmmaking. A graduate of the Academy of Fine Arts of Bologna, Italy, she also holds a Ph.D. in the History of Art and Architecture from the University of California, Santa Barbara. Currently, she is performing a transnational comparative study of American and Italian documentary filmmaking practices, investigating the ways in which public concerns are mediated by nonfiction film in different national contex."