Documentary Aesthetics in the Long 1960s in Eastern Europe and Beyond

Contents Acknowledgements List of Figures Notes on Contributors Introduction Firsthand Time  Clemens Günther and Matthias Schwartz Part 1: Exposing a Painful Past: Modes of Testimony 1 “Document of the Soul:” Varlam Shalamov’s Documentary Writing in a Contemporary Context  Franziska Thun-Hohenstein 2 A Dreyfus Affair for Soviet Children: on the Encoded Poetics of Aleksandra Brushtein’s Documentary Prose  Natasha Gordinsky 3 Supplementing Evidence: Danilo Kiš’s Poet(h)ics in the Context of Yugoslav Documentarism of the 1960s  Tatjana Petzer 4 Hands of Time and Large Numbers in Alexander Kluge’s (Post-)Documentary Literature  Gunther Martens Part 2: Discovering the Self and the Other: Modes of Expressing Individuality 5 Celebration and Abstraction: the Documentary Mode of Jonas Mekas’s Diary Films  Christian Zehnder 6 Documentary and Poetics Interwoven: Mikhail Kalik’s Cinema  Elena Nekrasova 7 The Technique of Documenting: on the Early Reportages of Ryszard Kapuściński and Hanna Krall  Matthias Schwartz Part 3: Refining the Senses: Modes of Self-Reflective Artistic Practices 8 “Dramas of the Fact:” Soviet Conceptualisations of Documentary Theatre in the 1960s  Anna Hodel 9 “Instead of Approximate Precision—Precise Approximation:” Ian Satunovskii’s Poor Poetry  Georg Witte 10 Reproductions without an Original: the Self-Published Aesthetics of Cold War-Era Copies  Sarah A. Burgos Part 4: Exploring the Everyday: Modes of Perceiving Social Issues 11 The Trials of Documenting: Frida Vigdorova’s Notes of the Brodsky Court Proceedings  Anja Tippner 12 The Poetry of Mikhail Sokovnin: an Aesthetic Opposition to the “Literature of Fact”  Ilya Kukulin 13 “Discourses of Sobriety:” Documentary Aesthetics in Conceptual Art in the United States  Renate Wöhrer Index