@article {1917,
	title = {{\textquotedblleft}Angels, Stones, Hunters: Murder, Celebrity and Direct Cinema{\textquotedblright}},
	journal = {Studies in Documentary Film},
	volume = {5},
	year = {2011},
	pages = {45-60},
	abstract = {Direct cinema{\textquoteright}s attempt to withhold itself from the world is ethically problematic. The helplessness of documentary subjects and audiences is underscored by this observational style. In Gimme Shelter {\textendash} a concert film by Albert and David Maysles and Charlotte Zwerin about the Rolling Stones and the fatal violence at the Altamont Speedway Free Festival {\textendash} social actors are forced to submit to a representational frame they cannot {\textquoteleft}see{\textquoteright}, let alone access. Moreover, the audience{\textquoteright}s own distance from the pro-filmic events is doubly assured: the film-maker{\textquoteright}s policy of non-interference precludes and/or renders moot a viewer{\textquoteright}s impossible desire to intercede on the subjects{\textquoteright} behalf},
	url = {http://www.intellectbooks.co.uk/journals/view-Article,id=11077/},
	author = {Aaron Taylor}
}
