Thematische Bibliographien / Documentary videos

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Auswahl der wissenschaftlichen Literatur zum Thema „Documentary videos“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 20. Februar 2023

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Zeitschriftenartikel zum Thema "Documentary videos"

Mustofa, Hisbulloh Als, Gunawan Gunawan, Kosim Kosim und Sutrio Sutrio. „Pengembangan Video Dokumenter Berbasis Local Content Alat Musik Tradisional Pada Materi Gelombang Bunyi“. Jurnal Pendidikan Fisika dan Teknologi 8, SpecialIssue (01.06.2022): 12–22. http://dx.doi.org/10.29303/jpft.v8ispecialissue.3360.

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Changes in the learning system during the COVID-19 pandemic require innovation in learning, innovation in the development of video learning media can be a solution, including documentary videos. The documentary video itself is one of the learning media that contains events and phenomena of everyday life that are close to students. Integrating documentary videos with the local content of traditional musical instruments to explain sound wave material can significantly assist students in understanding the material. This study aims to develop a local-based documentary video content of traditional musical instruments on sound waves. This study uses the Research and Development method with a 4D model (Define, Design, Develop, and Disseminate) developed by Thiagarajan by making documentary videos through the pre-production, production, and post-production processes. The development process started from the draft of the learning video and was revised twice based on suggestions and input from 3 expert validators and 3 practitioner validators then a commentary through suggestions from respondents. Then the documentary video was obtained as the final learning media with a validity percentage of 93% based on expert judgment and 89% based on respondent's assessment. So it can be said that a final documentary video has been produced which is very feasible for use in learning.

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Dixon, Jeannette. „What is the place for documentary videos on living artists in the art library?“ Art Libraries Journal 20, Nr. 2 (1995): 31–33. http://dx.doi.org/10.1017/s0307472200009354.

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Increasingly, video is the medium of choice for learning about art, because it is immediate and revealing. However, not all art libraries include artists’ documentary videos in their collections. For libraries, video presents problems of changing formats, fugitive qualities, lack of reviews, and insufficient information regarding their existence and their availability. Videos frequently accompany exhibitions on contemporary artists. What happens to this documentation when the exhibit closes? What resources besides the Getty’s Art on Film Database keep track of these independently produced videos? How can art libraries work together in a co-ordinated effort to acquire, catalog, and preserve documentary video work on artists?

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Bradbury, Judd D., und Rosanna E. Guadagno. „Documentary narrative visualization: Features and modes of documentary film in narrative visualization“. Information Visualization 19, Nr. 4 (03.07.2020): 339–52. http://dx.doi.org/10.1177/1473871620925071.

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Documentary narrative visualization is a data visualization approach using the features of documentary film. Researchers in the field of visualization are searching for better methods of constructing narratives from data sets. In this article, we explore the structure and techniques of documentary film and how they apply to the practice of constructing narrative visualization with video. We review the structural aspects of documentary film with examples relevant for narrative visualization. Using six of the highest quality video-based narrative visualizations, we conducted a study of user preferences for three pairs of videos. The video pairs were specifically matched to highlight unique features available in documentary film. Using the preferences expressed by our participants, we performed an empirical study to examine the documentary features most valued by our participants. Our results provide implications about the style and features of documentary film that are most useful in the construction of narrative visualization. Overall, this work provides a clear starting point for the construction of documentary narrative visualization providing content creators with specific techniques that will improve engagement of their content.

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Takakura, Hiroki, und Sebastien Penmellen Boret. „The Value of Visual Disaster Records from Digital Archives and Films in Post-3/11 Japan“. International Journal of Sustainable Future for Human Security 7, Nr. 3 (Februar 2021): 58–65. http://dx.doi.org/10.24910/jsustain/7.3/5865.

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This paper explores the value of visual records from natural disasters in assisting reconstruction, including photography, single-shot videos, and documentary movies. It considers three types of visual records related to the Great East Japan Earthquake: 1) raw data, 2) edited educational videos, and 3) commercial documentary films. It also considers the nature of disaster records and their repository medium, including digital data archives, public educational websites, and commercial networks. Furthermore, the authors consider the overlaps between these categories. Raw video records certainly meet the needs of either digital archives or documentary movies. However, commercial documentary movies form a category of their own, as copyright and scripts constrain their exploitation and manipulation. In conclusion, this paper identifies the merit of each type of visual record and argues that both are necessary for the social remembering of disasters and to help reconstruct communities affected by such events. Keywords: digital archives; films; disaster

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Belk, Russell. „Examining Markets, Marketing, Consumers, and Society through Documentary Films“. Journal of Macromarketing 31, Nr. 4 (23.08.2011): 403–9. http://dx.doi.org/10.1177/0276146711414427.

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Documentary film is over 100 years old and includes subgenres such as ethnography, historical film, docu-drama, propaganda, and advocacy videos. With numerous film archives, film festivals, special DVD issues of journals, inexpensive video recording and editing equipment, Internet distribution, and the phenomenal growth of archival Internet sites such as YouTube and Vimeo, there are now hundreds of millions of documentary films and videos available to the interested researcher. The author argues that the macromarketing field has greatly underutilized this vast resource and suggests examples of sources and uses for such material. The author also suggests some aids for acquiring critical visual literacy skills to inform such analyses. Just as we rely on our libraries and online access for books and print journals, we can readily do the same with documentary films. Such analytical projects can be presented as either video documentaries themselves, as text-based articles and books, or as multimedia combinations. Film, video, Internet, and television images arguably do more to influence public perceptions of marketing, consumption, and life than any other medium. There is thus a great opportunity to understand society through this window on the world.

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Auta, Mohammed, und M. Giwa. „Effects of the use of Documentary Videos in Teaching Setting-out in Nigerian Secondary Schools“. Journal of Education and Vocational Research 11, Nr. 1(V) (26.10.2020): 64–67. http://dx.doi.org/10.22610/jevr.v11i1(v).3090.

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The purpose of the study was to determine the effect of the use of documentary videos in teaching setting-out in Nigerian secondary schools. One research question and one hypothesis guided the study. The study adopted Quasi-experimental research design. The population for the study was 16 ST 1 students from Government Technical Training School, Jalingo offering Building Construction subject. There was no sampling. The instrument for data collection was Setting-out Test (ST) developed by the researcher. The instrument was validated by three experts. Test re-test was used to establish the reliability of the instrument and a reliability coefficient of 0.83 and 0.87 was obtained for the traditional and documentary video teaching methods respectively. The ST 1 students were arranged in intact groups, A and B; treatment was given to the two groups. Group a students were taught using the traditional method while Group B students were taught using the documentary video. A Pre-Test and Post-test was administered on the two groups under examination condition. The data obtained were analyzed using mean, standard deviation for research question and analysis of covariance (ANCOVA) for the hypothesis. Findings from the study indicated that students taught Setting-out with documentary videos performed better than those taught with the traditional teaching method; and there was a significant difference in the performance of students taught Setting-out with documentary video and those taught with traditional teaching method. Based on the findings some recommendations were made

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Zvereva, Galina I. „COLLECTIVE MEMORY OF THE SOVIET PAST ON YOUTUBE: TECHNIQUES FOR AUDIOVISUAL CONSTRUCTION BY ORDINARY VIDEO BLOGGERS“. RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, Nr. 8 (2020): 133–47. http://dx.doi.org/10.28995/2686-7249-2020-8-133-147.

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The YouTube platform hosts a multitude of video clips that contain various media representations of the collective memory of Soviet history. In this array of multimedia products, videos created by ordinary bloggers take their own place. Videos with themes about the recent Past are formed on the basis of digitized fragments of documentary and fiction films, photographs, posters, postcards, drawings, etc. Verbal comments of viewers-users to videos expand and change their semantic content. The purpose of the article is to reveal in the videos of ordinary bloggers various techniques for audiovisual constructing the collective memory of the mass repression of the 1930s and the Gulag. The criteria for selecting sources for the study are: the time they were posted on the YouTube platform (2010s), video bloggers claim to be documentary, the number of comments. The research results demonstrate that bloggers shape clusters of collective memory of the repressions and the Gulag using audiovisual signs and symbols that are easily recognizable by viewers. The same photographs and film fragments can “work” in video differently depending on how they relate to the verbal and audio components of multimodal text. The techniques used by bloggers for audiovisual documentation of the Soviet Past combine pre-digital and digital technologies. The selection of certain audiovisual components as “raw data” for video, their montage, giving historical figures certain roles, organizing time and space in a digital narrative, including different social and political contexts in it, all allow bloggers to form various representations of the collective memory of the Soviet past, depending on their ideological positions.

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Shukla, Abhishek. „COVID-19 pandemic: An analysis of popular YouTube videos as an alternative health information platform“. Health Informatics Journal 27, Nr. 2 (April 2021): 146045822199487. http://dx.doi.org/10.1177/1460458221994878.

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Dispersal of COVID-19 related information from YouTube plays a vital role in containing the pandemic and diminishes associated anxiety in the population. This study investigated the characteristics of popular YouTube videos related to COVID-19 outbreak. YouTube videos were searched using the COVID-19 related specific keywords with the eligibility of at least 1 million views. The videos were classified as types of videos (News, TV Shows, Educational, and Documentary) and sentiment-based titled videos (Positive and Negative). Total viewership, length of videos, comments, likes, subscribers of the channel, and the number of days since upload was recorded as video and user engagement characteristics. A total of 93 videos were found eligible to include in the study. About 44.1% of videos were educational and 32.3% of videos were news updates related to COVID-19. Furthermore, 45.7% of videos had a positive sentiment-based title whereas 53.2% of videos had a negative sentiment-based title. Viewer’s comment responses were classified into nine various categories; most frequent comments were sarcastic/humorous (21.5%) category. Results revealed the differences in audience behavior in response to different types of videos and sentiment-based titled videos. YouTube has a significant amount of informative COVID-19 videos and incorporating certain characteristics can increase YouTube video popularity.

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Kuzina, N. „Current State of the Information Security: Formation Mechanisms and Ways to Prevent the Induction of Destructive Ideology Among Adolescents and Youth Under the Influence of Modern Music and Film Culture, Internet Video Content“. Bulletin of Science and Practice 6, Nr. 9 (15.09.2020): 330–55. http://dx.doi.org/10.33619/2414-2948/58/37.

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The paper analyzes methods of building the ideology of violence and precedents of using the works of modern youth subculture and mass culture as its vehicle with targeted consideration of the motivational-value model and psychological type of consumers (author and documentary films and video streams, music videos, computer shooter-games) as well as ways of effective counteraction to the specified process in the field of youth and cultural policy. Purpose. To describe the images and motives of violence in modern mass and youth culture in terms of their possible impact on behavioral patterns and destructiveness (among adolescents and youth). Methodology. Includes a typological analysis of the video content (video streams, music videos, auteur and documentary films, shooter-games), a typological analysis of the state of adolescents and youth with socialization issues from dysfunctional in terms of age and clinical psychology, an analysis of diagnostic, rehabilitative, supporting psychological-pedagogical methods of work from the perspective of forming socialization and anticipating growth of the level of aggression and destructiveness among young people. Results. The study identified typological methods and means of transmitting ideology of violence through artistic creation addressing relevant examples, as well as some of the most important methods for shaping destructive ideology in computer games and documentary video content. Practical implications. Results obtained may be used in the work of pedagogical, medical (psychological and psychiatric help) and law enforcement agencies, as well as cultural authorities.

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Li, Yachao, Mengfei Guan, Paige Hammond und Lane E. Berrey. „Communicating COVID-19 information on TikTok: a content analysis of TikTok videos from official accounts featured in the COVID-19 information hub“. Health Education Research 36, Nr. 3 (01.03.2021): 261–71. http://dx.doi.org/10.1093/her/cyab010.

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Abstract Amid the COVID-19 pandemic, TikTok, an emerging social media platform, has created an information hub to provide users with engaging and authoritative COVID-19 information. This study investigates the video format, type and content of the COVID-19 TikTok videos, and how those video attributes are related to quantitative indicators of user engagement, including numbers of views, likes, comments and shares. A content analysis examined 331 videos from official accounts featured in the COVID-19 information hub. As of 5 May 2020, the videos received 907 930 000 views, 29 640 000 likes, 168 880 comments and 781 862 shares. About one in three videos had subtitles, which were positively related to the number of shares. Almost every video included a hashtag, and a higher number of hashtags was related to more likes. Video types included acting, animated infographic, documentary, news, oral speech, pictorial slideshow and TikTok dance. Dance videos had the most shares. Video themes included anti-stigma/anti-rumor, disease knowledge, encouragement, personal precautions, recognition, societal crisis management and work report. Videos conveying alarm/concern emotions, COVID-19 susceptibility and severity, precaution response efficacy had higher user engagement. Public health agencies should be aware of the opportunity of TikTok in health communication and create audience-centered risk communication to engage and inform community members.

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Dissertationen zum Thema "Documentary videos"

Berigny, Wall Caitilin de. „Documentary transforms into video installation via the processes of intertextuality and detournement /“. Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.

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Thesis (PhD) -- University of Canberra, 2007.
Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.

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Magallanes-Blanco, Claudia, University of Western Sydney, of Arts Education and Social Sciences College und School of Humanities. „Video, a revolutionary medium for consciousness-raising in Mexico : a dialogic analysis of independent video makers on the Zapatistas“. THESIS_CAESS_HUM_Magallanes-Blanco_C.xml, 2004. http://handle.uws.edu.au:8081/1959.7/658.

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This thesis examines the use of video technology as an alternative communication medium within a dialogic framework. It explores multiple dialogic encounters and different meanings of dialogue. It analyses dialogues within and around video technology and dialogues with contemporary events in Mexican history. The author argues that these dialogic encounters are contributing to an ongoing process of transformation in Mexican consciousness. The thesis’s theoretical framework draws on Mikhail Bakhtin’s theory of dialogism and employs a dialogic method that emphasises diversity. The author conducts an in-depth analysis of multiple series of dialogues between key people, events and discourses. The author examines the lives and work of a sample of the most significant independent video-makers producing work on the indigenous Zapatista rebellion that began in Chiapas, Mexico, on 1 January 1994.The author focuses on the discourses of independent video-makers looking at the indigenous Zapatista rebels and considers the indigenous uprising to be both a ‘political catalytic event’ and a ‘multi-catalytic event.’ The different dialogues looked at throughout the thesis reveal various processes of consciousness-raising which act in diverse, unexpected and unprecedented ways. The author argues that these dialogues have contributed to a crisis of legitimacy for the hegemonic power in Mexico and have also influenced the way the mainstream media operate, and their power within Mexican society.
Doctor of Philosophy (PhD)

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Magallanes-Blanco, Claudia. „Video, a revolutionary medium for consciousness-raising in Mexico : a dialogic analysis of independent video makers on the Zapatistas“. Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/658.

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Fidler, Tristan. „Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze“. University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.

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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.

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Magallanes-Blanco, Claudia. „Video, a revolutionary medium for consciousness-raising in Mexico a dialogic analysis of independent video makers on the Zapatistas /“. View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050622.151734/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2004.
Thesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.

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Matheson, Kelly Ann. „Never wash away“. Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/matheson/MathesonK0809.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2009.
Typescript. Chairperson, Graduate Committee: Dennis Aig. Never Wash Away is DVD accompanying the thesis. Includes bibliographical references (leaves 50-53).

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Ruiz, Coraci Bartman. „Documentario-dispositivo e video-cartas : aproximações“. [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284016.

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Orientador: Fernando Cury de Tacca
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T19:30:41Z (GMT). No. of bitstreams: 1 Ruiz_CoraciBartman_M.pdf: 8474327 bytes, checksum: beb9e4e01cfb3c2062731be8dcccd886 (MD5) Previous issue date: 2009
Resumo: Esta dissertação investiga as linhas de aproximação entre o conceito de documentário-dispositivo e algumas experiências com vídeo-cartas. Em outras palavras, busca compreender como a troca de mensagens videográficas entre pessoas - transformadas em personagens no e pelo filme, considerando que o documentarista também pode se tornar um deles - pode se configurar como estratégia de realização de documentários. O vídeo "Outra Cidade" é parte da pesquisa, a um só tempo fruto das investigações e objeto de reflexão. Mais do que a obra em si, interessa como matéria de estudo seu processo de realização, que, totalmente imbricado com o percurso do curso de Mestrado em Artes, passou por diversas transformações ao longo de seus dois anos e meio de duração e produção. Estas transformações tornam-se a problemática que une o texto e o vídeo. Os conceitos de dinâmica fabuladora e cinema indireto são as bases para a construção da idéia de um cinema documental que não se relaciona com um real dado nem com identidades estagnadas, que não busca a verdade e que não tem certezas. Este cinema deseja falar de processos e transformações, de encontros e relações. O conceito de documentário-dispositivo trata de um documentário criado a partir de artifícios, jogos, delimitações e brincadeiras, que engendram, para os atores envolvidos (documentarista, equipe, personagens) novas relações, situações inéditas e deslocamentos de posições: uma realidade fílmica que não existe antes do filme e que deixa de existir depois que ele acaba.
Abstract: This dissertation investigates the similarities between the concept of "devicedocumentary" and some experiences with "video-letters"; in other words, it seeks to understand the process in which the exchange of videographic messages between people - transformed into characters by and in the film (considering that the documentarist can become one of them) - may become a strategy to make documentaries. The vídeo "Another City" is part of the research, at one time a result of the investigations and the object for reflection. More than the work itself, the point of interest for study has been the process film making, which, completely entwined with the course of Master Degree in Arts, has gone through several transformations along the two and a half years of this production. These transformations became the problematics that links together text and film. The concepts of "fable dynamic" and "indirect cinema" are the basis for the construction of an idea of a documental cinema that does not relate to the real, neither to frozen identities; a cinema that does not seek the truth and has no certainties. This cinema wants to talk about processes and transformations, encounters and relations. The concept of "device-documentary" is about a documentary that is made from artificials, games, delimitations and plays that give rise to new relations, situations, changing of positions among the actors (documentarist, team, characters). A filmic reality that does not exist before the film, and that ceases to exist once it is finished.
Mestrado
Artes
Mestre em Artes

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Sebire, Adam. „Documentary polyptychs: multi-screen documentary on a theme of climate change“. Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10208.

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This MFA explores how the problematic phenomenology of climate change might be approached by revisiting an ancient visual art form, the Early Renaissance polyptych. I posit the polyptych as a proleptic form of installation art, providing a historical overview and analysis of multi-channel forms up to contemporary expanded cinema, before narrowing my focus to documentary film and video installations. I propose that principles of dialectical montage apply between spatialised screens and that, as a richly affective form, the relationship between screens coexisting within a single field of view might productively be considered using Deleuze’s notion of the time-image crystal. Furthermore that the visitor, in becoming an ‘editor’ via bodily movement, might be positioned in a lineage to Vertov’s kino-eye, thus becoming a kinaesthetic eye. I use Mark Boulos’ All That is Solid Melts Into Air (2008) and Isaac Julien’s Ten Thousand Waves (2010), two- & nine-channel works respectively, to discuss these ideas. The ‘unseen’ nature of anthropogenic climate change poses particular challenges both for a culture that emphasises ‘seeing is believing’ and for documentary forms traditionally reliant on visible evidence. My creative work focuses on the phenomenon of sea level rise, and is presented in the form of a documentary polyptych with which the viewer physically engages. Without delivering a climate change polemic, the work explores crucial dissociations — of cause from effect, of today’s action from tomorrow’s result, of behaviour here from outcome there — through an open, affective form that replaces documentary’s traditionally temporal strategies with spatialised montage. More generally I position the form amidst both the veritable renaissance of multi-channel video art and the proliferation of multiple screen devices in contemporary society. How might documentary’s potential for creating meaning — and perhaps inspiring agency — change when it moves to multiple screens?

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Weisz, Talia M. „Voices from Israel/Palestine: A Documentary Video Exhibition“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274903253.

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Alkarimeh, Baker. „L'usager et le documentaire interactif : étude expérimentale de l'engagement de l'usager dans un documentaire interactif“. Thesis, Toulon, 2019. http://www.theses.fr/2019TOUL0001/document.

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Au cours des dernières années, le domaine du documentaire interactif s’est progressivement développé en raison des changements survenus dans le monde de l’Internet et d’études académiques croissantes sur le sujet. Pourtant, on sait relativement peu de choses sur la relation entre l’usager et le documentaire interactif. L’objet de cette étude est précisément de mesurer les attitudes et les interactions de l’usager exposé à un documentaire interactif décliné en différentes versions, disposant chacune d’un degré d’interactivité plus ou moins développé. L’étude de l’attitude des usagers nous a conduit à approfondir les notions d’engagement narratif, d’interactivité perçue, d’engagement perçu et d’attitude à l’égard du site Web documentaire interactif. Un autre objectif de cette étude est d’examiner la relation entre interactions réelles et perceptions des usagers. L’étude a cherché à comparer l’interactivité et la linéarité en terme d’engagement narratif et d’engagement perçu. Un travail de terrain a été conduit auprès de 360 étudiants jordaniens. L’échantillon a été divisé en trois groupes, chaque groupe visualisant un des 3 documentaires interactif et répondant au questionnaire relatif. L’étude a également utilisé deux logiciels pour tracer le comportement réel de l’usager. Les résultats de cette étude mettent à jour une relation significative entre d’une part le haut niveau d’interactivité réelle et d’autre part l’interactivité perçue et l’attitude à l’égard du site Web documentaire interactif. D’autre part, les résultats ont révélé une corrélation positive entre d’une part l’interactivité perçue et de l’autre l’engagement perçu et l’attitude à l’égard du site Web documentaire interactif. Cependant, l’étude n’a pas trouvé de corrélation entre l’interactivité perçue et l’engagement narratif. De plus, les résultats ont montré que l’interaction réelle des participants est positivement corrélée à leurs perceptions. Enfin, les participants qui ont regardé le documentaire linéaire sont significativement plus engagés dans la narration documentaire que les autres groupes. Cette étude présente enfin les résultats, les discute et envisage des perspectives futures
In recent years, interactive documentary field has been gradually growing because of great changes in the world of Internet, promising interactive documentary projects, and the increase in academic studies within the field. Nevertheless, relatively little is known about the relationship between user and interactive documentary. The aim of this study was to measure users’ attitudes and actual interaction toward different levels of interactivity manipulated in two designed interactive documentaries. The users’ attitudes were categorized in this study as: narrative engagement, perceived interactivity, perceived involvement, and attitude toward the interactive documentary website. Another purpose of this study was to examine the relationship between users’ actual interaction and their perceptions. To fully understand interactive documentary, the study, therefore, sought to compare interactivity with linearity in terms of narrative engagement and perceived involvement. A sample of 360 participants was randomly divided into three groups and assigned to view three designed documentaries, and to answer the related questionnaire. The study also used software packages to measure and monitor users’ actual behaviors. The findings of this study indicated that there was a significant relationship between the high level of actual interactivity and both perceived interactivity, and attitude toward the interactive documentary website. On the other hand, the findings revealed that there was a positive correlation between perceived interactivity and both perceived involvement and attitude toward the interactive documentary website. However, the study did not find a correlation between perceived interactivity and narrative engagement. Moreover, the findings showed that the participants’ actual interaction was positively correlated with their perceptions, and the participants who viewed the linear documentary were significantly involved with the documentary narrative more than other groups. Discussion, limitation, and future studies were presented in this study

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Bücher zum Thema "Documentary videos"

Writing, directing, and producing documentary films and videos. 4. Aufl. Carbondale: Southern Illinois University Press, 2007.

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1936-, Rosenthal Alan, Hrsg. Writing, directing, and producing documentary films and videos. Carbondale: Southern Illinois University Press, 1996.

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Rosenthal, Alan. Writing, directing, and producing documentary films and videos. 4. Aufl. Carbondale, IL: Southern Illinois University Press, 2007.

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A quick crib to video documentary making. Borehamwood, Hertfordshire: BBC Television Training, 1993.

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Create documentary films, videos and multimedia: A comprehensive guide to using documentary storytelling techniques for film, video, Internet and digital media projects. Orlando, Fla: Real Deal, 2011.

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Barbash, Ilisa. Cross-cultural filmmaking: A handbook for making documentary and ethnographic films and videos. Berkeley: University of California Press, 1997.

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Barry, Hampe, Hrsg. Making documentary films and videos: A practical guide to planning, filming, and editing documentaries. 2. Aufl. New York: H. Holt, 2007.

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Hampe, Barry. Making documentary films and reality videos: A practical guide to planning, filming, and editing documentaries of real events. New York: Henry Holt and Company, 1997.

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Making documentary films and reality videos: A practical guide to planning, filming, and editing documentaries of real events. New York: Henry Holt and Company, 1997.

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Sam, Gregory, Hrsg. Video for change: A guide for advocacy and activism. London: Pluto Press in association with Witness, 2005.

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Buchteile zum Thema "Documentary videos"

Ochsner, Beate. „Documenting Neuropolitics: Cochlear Implant Activation Videos“. In Documentary and Disability, 259–74. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59894-3_17.

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Varela-Candamio, Laura, Fernando Rubiera Morollón und María Teresa García-Álvarez. „Designing Documentary Videos in Online Courses“. In Advances in Intelligent Systems and Computing, 1287–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77712-2_123.

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Eder, Jens. „Collateral Emotions: Political Web Videos and Divergent Audience Responses“. In Cognitive Theory and Documentary Film, 183–203. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_11.

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Wang, Tai, Yu-chen Liu, Zhi Liu, Ming Zhang, Jiao Liu und Ya-mei Zhu. „A Prototype System of Search: Finding Short Material for Science Education in Long and High-Definition Documentary Videos“. In Advances in Analytics for Learning and Teaching, 115–32. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41099-5_7.

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Ferrarini, Lorenzo. „Documentary hybrids“. In The Routledge International Handbook of Ethnographic Film and Video, 164–72. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-18.

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Milligan, Christina, Arezou Zalipour und James Nicholson. „Te Ara Motuhenga (Documentary Pathways): Developing Video-Based Teaching and Learning Resources for Documentary Practice“. In Video Pedagogy, 213–27. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4009-1_11.

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Robinson, Luke. „Ethics, the Body and Digital Video“. In Independent Chinese Documentary, 103–29. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137271228_5.

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Battaglia, Giulia. „The advent of video technology“. In Documentary Film in India, 109–28. New York : Routledge, 2017. | Series: Routledge contemporary South Asia series: Routledge, 2017. http://dx.doi.org/10.4324/9781315147727-5.

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Vallejo, Aida, und Christel Taillibert. „Finding Allies in Pandemic Times: Documentary Film Festivals and Streaming Platforms“. In Rethinking Film Festivals in the Pandemic Era and After, 101–27. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_6.

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AbstractThis chapter analyzes the collaboration between documentary film festivals and streaming platforms before and during the Covid-19 pandemic. Our study of collaborative practices revolves around the concepts of reciprocity and strategic alliances, developed within Anthropology and Management Studies. We focus on two pioneer streaming platforms, which are initiatives of documentary distribution created by or with film festivals. In our first case study, DAFilms (originated from an alliance of seven European documentary festivals), we analyze why a video-on-demand (VOD) platform born out of a festival alliance was not necessarily the preferred streaming option for all its partners during the pandemic. In our second case study, Tënk (an initiative born out of the French festival États généraux du film documentaire), we focus on curatorial strategies and explain how the shift to new collaborative models brought up by the pandemic didn’t work in the long term. By contrasting the discourses of the representatives of film platforms and festivals before and during the pandemic, we identify key factors that contributed to the success or failure of their alliances. We identify an increase in exchange between festivals and platforms, and a determination of many festivals to maintain hybrid online and onsite activities in the future, within their own and other VOD platforms.

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Traverso, Antonio, und Germán Liñero. „Chilean Political Documentary Video of the 1980s“. In New Documentaries in Latin America, 167–84. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137291349_10.

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Konferenzberichte zum Thema "Documentary videos"

Lalonde, M., und L. Gagnon. „Key-text spotting in documentary videos using Adaboost“. In Electronic Imaging 2006, herausgegeben von Edward R. Dougherty, Jaakko T. Astola, Karen O. Egiazarian, Nasser M. Nasrabadi und Syed A. Rizvi. SPIE, 2006. http://dx.doi.org/10.1117/12.641924.

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Jensen, Bob. „Processing techniques for technical video production“. In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.tha1.

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This presentation will focus on how a technical video production is assembled. Participants will discover the advantages and secrets of producing good technical videos. Various productions from the Maui Space Surveillance Site will be used to demonstrate how many separate elements are combined to achieve videos that meet complex technical objectives. Discussion of key production elements will include establishing objectives, choosing production values for a particular audience, script and storyboard writing, pre- production work, and techniques for production/post-production. Participants will learn about camera set-up, different camera shooting techniques, and the basic elements of lighting a scene. Effective use of audio will also be explored, including microphone types and applications, narration types and effects, and how to enhance productions through the use of appropriate music tracks. Basic editing will be covered, including aesthetics, transitions, movement, and shot variety. Effective presentation of data in technical productions will be demonstrated. Participants will learn how to use switcher and special effects, slow motion, still frames, and animation to provide scene emphasis and heighten viewer interest. Incorporating documentary footage and video from outside sources will be explained. Finally, effective methods of editing to upgrade and update older productions will also be presented.

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Uğur, Latif Onur, und Kadir Penbe. „A Social Media Supported Distance Education Application for the Building Cost Course Given in Civil Engineering Education During the COVID 19 Quarantine“. In 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021tr0030n9.

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A distance education application in Düzce University within the Fall Semester, which started in September 2020, constitutes the main subject of this study. 118 students chose the Construction Cost course, which is one of the fourth year elective courses in Civil Engineering, this term. In addition to the lectures given within the Düzce University Distance Education Center (UZEM), different applications have been made / made through a social media (Whatsapp) group in which all students participated. With the help of additional videos, audio and written messages, an application was made based on increasing the communication opportunities with the participant students, teachers and other students, and developing a civil engineering culture. By increasing motivation with research assignments including construction industry practices and problems, monitoring documentary construction projects, interesting photographs and videos; The aim is to follow a lesson close to formal education for students who are encouraged to learn by experiencing the lesson, to make participatory practices, and to discuss their findings. In the meantime, the importance of first degree health protection was emphasized with information sharing and recommendations on the importance of compliance with COVID 19 measures. It was preferred that the course grades be made on the given homework to reinforce the importance of Self-Learning / Study practices. At the end of the term, it was determined that besides a high success rate, the satisfaction of all students was achieved, and it was concluded that the main objectives were achieved.

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Cao, Jianrong. „Semantic-Based Video Data Modeling for Scenery Documentary“. In 2008 Fourth International Conference on Natural Computation. IEEE, 2008. http://dx.doi.org/10.1109/icnc.2008.531.

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Dong, Aijuan, und Honglin Li. „Semantic Segmentation of Documentary Video using Music Breaks“. In 2006 IEEE International Conference on Multimedia and Expo. IEEE, 2006. http://dx.doi.org/10.1109/icme.2006.262908.

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Green, David, Clara Crivellaro und Jimmy Tidey. „Interactive Design Documentary As A Method For Civic Engagement“. In TVX'15: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2745197.2755518.

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Duijn, Mirka, und Hartmut Koenitz. „Beyond The Timeline a Data-Driven Interface For Interactive Documentary“. In TVX '17: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084289.3089920.

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Hubert, Angelic Rose, Brett Lamar Davis, Alicia Nicole Rump und Lee J. Florea. „A VIDEO DOCUMENTARY OF SURVIVORS OF HURRICANE JOAQUIN ON SAN SALVADOR ISLAND, BAHAMAS“. In GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-278914.

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Luqman, Yanuar. „Seeing the Issue of the Climate Crisis from the Lens of an Indonesian Documentary Video“. In Proceedings of the 6th International Conference on Social and Political Enquiries, ICISPE 2021, 14-15 September 2021, Semarang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.14-9-2021.2321399.

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Vidotto, Danica, Rebecca Hughes und Karyn Cooper. „VIDEO DOCUMENTARY IN THE GRADUATE CLASSROOM: THE ACADEMIC MERIT, ETHICS, AND TECHNOLOGICAL CONSTRAINTS FOR RESEARCH AND INQUIRY“. In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.2298.

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Berichte der Organisationen zum Thema "Documentary videos"

Rodríguez Chatruc, Marisol, und Sandra V. Rozo. How Does it Feel to Be Part of the Minority?: Impacts of Perspective Taking on Prosocial Behavio. Inter-American Development Bank, September 2021. http://dx.doi.org/10.18235/0003612.

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Can online experiences that illustrate the lives of vulnerable populations improve prosocial behaviors and reduce prejudice? We randomly assign 850 individuals to: i) an online game that immerses individuals in the life decisions of a Venezuelan migrant and ii) a documentary about the migration process of Venezuelans to Colombia. Both treatments effectively improve altruism and reduce prejudice towards migrants. The impacts of both treatments are not statistically different in any of the other outcomes that we examine. The effects of the game are mainly driven by changes in perspective-taking while the effects of the video are induced by changes in both empathy and perspective-taking.

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