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  1.  21
    Ideology and the Image.James H. Kavanagh & Bill Nichols - 1983 - Substance 12 (3):112.
  2.  39
    Documentary Film and the Modernist Avant-Garde.Bill Nichols - 2001 - Critical Inquiry 27 (4):580-610.
  3.  1
    2.On the Relationship of Art History and Art Theory': Translators' IntroductionOn the Relationship of Art History and Art Theory': Translators' Introduction (Pp. 33-42). [REVIEW]Katharina Lorenz, Erwin Panofsky, Bill Nichols, Kent Puckett, James I. Porter, Wendy Hui Kyong Chun & Jacques Rancière - 2008 - Critical Inquiry 35 (1):43-71.
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  4. Documentary Reenactments : A Paradoxical Temporality That is Not One Shapes of Modernity.Bill Nichols - 2008 - In Tyrus Miller (ed.), Given World and Time: Temporalities in Context. Ceu Press.
     
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  5.  51
    Documentary Reenactment and the Fantasmatic Subject.Bill Nichols - 2008 - Critical Inquiry 35 (1):72-89.
  6. Speaking Truths with Film: Evidence, Ethics, Politics in Documentary.Bill Nichols - 2016 - University of California Press.
    How do issues of form and content shape the documentary film? What role does visual evidence play in relation to a documentary’s arguments about the world we live in? In what ways do documentaries abide by or subvert ethical expectations? Are mockumentaries a form of subversion? Can the documentary be an aesthetic experience and at the same time have political or social impact? And how can such impacts be empirically measured? Pioneering film scholar Bill Nichols investigates the ways documentaries strive (...)
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  7.  10
    Movies and Methods, Volume II.Marc Vernet & Bill Nichols - 1988 - Substance 17 (3):68.
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