Article:
Because His Bike Stood There: Visual Documents, Visible Evidence and the Discourse of Documentary

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dc.creatorKessler, Frank
dc.date.accessioned2020-08-24T13:46:12Z
dc.date.available2020-08-24T13:46:12Z
dc.date.issued2018-05-16
dc.description.abstractThe article discusses the use and post-production treatment of footage shot by Dutch filmmaker Louis  van Gasteren in his documentary Because My Bike Stood There (1966). The images depict a young man being beaten up by the police during a clash between the forces of order and people waiting to enter a photo exhibition on, ironically, police violence that had occurred about ten days earlier in Amsterdam. Van Gasteren combines the footage with an interview in which the victim explains that he had seen the exhibition and wanted to pass in order to walk over to his bike, when the policemen attacked him. Van Gasteren used slow-motion and thus enhanced the effect of the images illustrating the young man’s narrative, a strategy used twenty-five years later by the defence lawyers during the infamous Rodney King trial. This raises the issue of how documentary footage is discursively framed to enhance its persuasive effect. Van Gasteren’s film is not only an important historical document, it also invites to reflect on the status of “visible evidence” ascribed to documentary footage.en
dc.identifier.doi10.18146/2213-0969.2018.jethc141
dc.identifier.doihttp://dx.doi.org/10.25969/mediarep/14742
dc.identifier.urihttps://mediarep.org/handle/doc/15720
dc.languageeng
dc.publisherNetherlands Institute for Sound and Vision
dc.publisher.placeHilversum
dc.relation.isPartOfissn:2213-0969
dc.relation.ispartofseriesVIEW Journal of European Television History and Culture
dc.rights.urihttp://creativecommons.org/licenses/by-sa/4.0
dc.subjectFernsehende
dc.subjectDocumentaryen
dc.subjectvisible evidenceen
dc.subject.ddcddc:070
dc.subject.ddcddc:791
dc.subject.personLouis van Gasteren
dc.subject.personRodney King
dc.titleBecause His Bike Stood There: Visual Documents, Visible Evidence and the Discourse of Documentaryen
dc.typearticle
dc.type.statuspublishedVersion
dspace.entity.typeArticleen
local.coverpage2021-05-29T06:12:18
local.identifier.firstpublishedhttps://doi.org/10.18146/2213-0969.2018.jethc141
local.source.epage59
local.source.issue13
local.source.spage55
local.source.volume7
local.subject.gndhttps://d-nb.info/gnd/119336227
local.subject.gndhttps://d-nb.info/gnd/102475779X
local.subject.wikidatahttps://www.wikidata.org/wiki/Q2669704
local.subject.wikidatahttps://www.wikidata.org/wiki/Q338389
relation.isAuthorOfArticle3a11e58f-cf89-4ff7-b17a-1e5d127853ef
relation.isAuthorOfArticle.latestForDiscovery3a11e58f-cf89-4ff7-b17a-1e5d127853ef

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2018 | 13 | The Many Lives of Europe’s Audiovisual Heritage