Louise Spence

Biographic Data

ID3612754
NAMELouise Spence
GIVEN NAMESLouise
FAMILY NAMESpence
SIGNATURESPENCE L
AFFILIATIONSKadir Has University
VERIFIEDNo
TOTAL WORKS10
TOTAL CITATIONS31
AUTHOR COUNT10
EDITOR COUNT0
FIRST PUBLICATION YEAR1983
LATEST PUBLICATION YEAR2015
H-INDEX2

  • Forum

    Louise SpenceARTICLERethinking History2015References: 2

  • The way it was

    Louise Spence, Nilgün ÖztenARTICLERethinking History2014References: 4

    This article looks at Diary Film – I was 12 in ’56 / Naplófilm – 12 voltam 56-ban (Boglárka Edvy, animator, and Sándor Silló, director, 2006), a documentary based on a child's diary written during the 1956 Hungarian uprising against Soviet hegemony, in the context of theories of history, memory and knowledge. The diary is the core material. But the documentary's idiosyncratic use of archival materials, recreated images and animations pave the way…

  • Forum

    Louise SpenceARTICLERethinking History2014

    Notes1. I am indebted to Nilgün Özten for piquing my interest in this film and provoking these thoughts.2. Director's Statement, theactofkilling.com/?page_id = 738 (accessed November 1, 2013).3. I thank Levent Soysal for calling my attention to this last notion and for suggesting that essays on this subject should be collected and published

  • The talking witness documentary

    Louise Spence, Aslı Kotaman AvcıARTICLERethinking History2013Cited by: 3References: 14

    This article argues that the conventional talking witness documentary, by relying on memory of experience as evidence, employs an inherently conservative politics of truth. Using a recent Kurdish video, 5 No.lu Cezaevi/Prison No. 5 (Çayan Demirel, 2009), as a case study, it considers the opportunities and limitations of the talking witness form, as well as its appeals. The essay pays special attention to the documentary's use of ‘mimetic’ affecti…

  • Pushing the boundaries of the historical documentary

    Louise Spence, Esin Paça CengizARTICLERethinking History2012Cited by: 1References: 6

    This article argues that Su Friedrich's 1984 film The Ties That Bind employs what were at the time atypical forms and techniques to push the limits of the traditional historical documentary. Its aesthetic experimentation helps to redefine the idea of historical representation in film, and does so mainly by treating evidence as both partial (in both senses of the word) and contingent, offering a radical challenge to normative history and destabili…

  • Working‐Class Hero

    Open AccessLouise SpenceARTICLEThe Journal of Popular Culture2010

  • Writing Himself into History

    David Krasner, Pearl Bowser et al.ARTICLEJournal of American History2002

    Oscar Micheaux (1884–1951) was a prolific novelist and filmmaker, producing forty-three films and seven novels. He was a leader in the production of African American silent films, director of early black “talkies,” and a strong supporter of Booker T. Washington's racial uplift policies. Known for his ballyhoo, he had a reputation for being an aggressive self-promoter. Some in the black press, however, referred to him as a “colored Judas.” He was …

  • Writing Himself into History

    Charlene Regester, Pearl Bowser et al.ARTICLEAfrican American Review2002

  • Racism in the Cinama

    Louise Spence, Robert Stam et al.ARTICLECritical Arts1983References: 1

  • Colonialism, Racism and Representation

    Robert Stam, Louise SpenceARTICLEScreen1983Cited by: 27

    Journal Article Colonialism, Racism and Representation Get access Robert Stam, Robert Stam Search for other works by this author on: Oxford Academic Google Scholar Louise Spence Louise Spence Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 24, Issue 2, March/April 1983, Pages 2–20, https://doi.org/10.1093/screen/24.2.2 Published: 01 March 1983