Relevant bibliographies by topics / Art documentary

Academic literature on the topic 'Art documentary'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Art documentary"

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Biarincová, Patricia. "Documentary photography in art education." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 10 (2015): 87–98. http://dx.doi.org/10.16926/ep.2015.10.06.

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Toth, Naomi. "Just Art. Documentary poetics and justice." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 13 (July 19, 2021): 1. http://dx.doi.org/10.12681/syn.27557.

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OnacloV. "Hijacking Documentary into Video Installation Art." Hyperrhiz: New Media Cultures, no. 3 (August 2007): 1. http://dx.doi.org/10.20415/hyp/003.e01.

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Finnegan, Cara A. "Documentary as art inU. S. Camera." Rhetoric Society Quarterly 31, no. 2 (March 2001): 37–68. http://dx.doi.org/10.1080/02773940109391199.

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Perkins, Matthew John. "Documentary Codes and Contemporary Video Art." International Journal of the Humanities: Annual Review 8, no. 4 (2010): 177–82. http://dx.doi.org/10.18848/1447-9508/cgp/v08i04/42896.

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Lund, Cornelia. "Elastic Realities - Documentary Practices between Cinema and Art." ARS (São Paulo) 17, no. 35 (May 12, 2019): 167–82. http://dx.doi.org/10.11606/issn.2178-0447.ars.2019.152831.

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Recently, documentary practices, including those working with moving images, have known an unprecedented boom in the art field, which provoked criticism but also led to fruitful discussions between the two fields of artistic documentary practices and the more traditional documentary cinema. This article aims to contribute to this discussion by analyzing some pivotal arguments of the ongoing debate, mainly the question of documentary practices and their relation to reality, art and politics. For a better understanding of the current situation, the analysis of key moments in the history of documentary discourse is the basis for the discussion of contemporary documentary practices between cinema and art, considering seminal examples combining moving images with questions of performativity.
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Yang, Peirui. "Sound Art and Pandemic: a Documentary Soundscape." Symbolon 23, SI (2022): 37–45. http://dx.doi.org/10.46522/s.2022.s1.4.

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The pandemic has temporarily changed our lives; there is no doubt that we are rapidly moving into a digital and virtual society; however, we so far do not know when this change will end, despite the emergence of post-pandemic terminology. Sound art is a form of art that has developed across disciplines since its emergence to contemporary times. And as a soundscape, what can be recorded during a pandemic, and as a composite of music and sound, can sound art be used as a digital archive during a pandemic? This paper hopes to explore the possibilities of sound art as an archive through artistic practice, reflecting on the changes and flows of soundscapes in the context of the pandemic.
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Choi, Jong-Chul. "‘The Post-documentary’: between Art and Politics." Journal of Aesthetics & Science of Art 51 (June 30, 2017): 65–94. http://dx.doi.org/10.17527/jasa.51.0.03.

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Yahnke, R. E. "DOCUMENTARY VIEWS OF THE ART OF AGING." Gerontologist 44, no. 2 (April 1, 2004): 285–89. http://dx.doi.org/10.1093/geront/44.2.285.

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Merewether, Janet. "Shaping the documentary subject: Writing and visualizing the documentary and media art script." Journal of Screenwriting 6, no. 1 (March 1, 2015): 89–113. http://dx.doi.org/10.1386/josc.6.1.89_1.

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Dissertations / Theses on the topic "Art documentary"

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Frost, Stephen. "Natural Bridge: Environmental Art in New Media Documentary." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367220.

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The Natural Bridge Project is a pilot study into design form as it applies to the Digital Media Documentation of Environmental Art. This component of the project aims to develop a new form of New Media Art Documentary that will help urban people reconnect with the natural environment. The project throws doubt on existing assumptions surrounding “connectivity” via the Internet and the positive attributes of social media. It argues that social media actually disconnects people from each other and from the natural environment. In an attempt to offer a solution to this problem, the Natural Bridge Project seeks ways to use digital media not as a marketing tool but rather as a way to promote wellbeing through an appreciation of the natural environment through art. It begins by studying the design of documentary films on art and identifies two dominant design formulas. It finds that one formula is primarily concerned with commerce and the other with ideology. The research then identifies “content-driven” design, as espoused by the Program for Art on Film (a joint venture between the New York Metropolitan Museum and the J.P. Getty Trust), as a viable alternative but discovers that the Program has not conducted studies into the practical application of content- driven design.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.
Anthropology
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Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.

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Bell, Leah Helanie. "Documentary Film: Access Denied." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.

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Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.
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Clausen, Barbara. "Staging the documentary." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172646.

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Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte's first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte's various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexity of Mangolte's practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.
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Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.

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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates. In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.
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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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Lee, Hyunseok. "Representing Korean Buddhist art and architecture : a 3D animated documentary installation." Thesis, Loughborough University, 2011. https://dspace.lboro.ac.uk/2134/9420.

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This practice-led research One Mind - seeks to represent Korean Buddhist architectural aesthetics and Buddhist spiritual ideas using the animated documentary genre as a form of creative representation. It is intended that the piece be shown either as an installation in a gallery, or within a museum or cultural exhibition context. The key goal is to offer this digital artwork to European audiences, in a spirit of engendering the same feeling state as when present in the real monastery, encouraging an understanding of the sacred, and experiencing a form of transcendence. My art work in some ways functions as a digital restoration of sacred architecture outside its real environment and context, and seeks to document cultural heritage and knowledge. One Mind is different from a classic form of documentary, though, because it does not echo the idea of documentary based on live-action footage as a mode of non-fiction record and expression. I have particularly stressed the suggestiveness of the architectural aesthetics and the philosophic principles embedded in the environment. I have sought to bring my own subjective artistic interpretation to Korean Buddhism accordingly, resisting typical character animation and classical narrative, seeking instead, to encourage the viewer to be part of the environment. I focus on the meaning in Buddhist buildings and the landscape they are part of, and dramatise the environment, using the poetic tone of the voice over performance, the sound track of Buddhist chanting, and the visual effects and perspectives of computer generated imagery. This digital visualisation of the Buddhist s spiritual world is informed by a Buddhist s traditional way of life, but, most importantly, by my own past experience, feelings and memory of the Buddhist monastery compound, as a practising artist. My thesis is categorised into eight chapters. Chapter One offers an overview of the aims and objectives of my project. Chapter Two identifies my research questions and my intended methodology. Chapter Three focuses on important background knowledge about Korea s natural and cultural aspects and conditions. Chapter Four offers an analysis of the issue of the Korean cultural identity, suggesting that a more authentic image of Korea and Korean-ness is available in the philosophy and spiritual agenda of Buddhism. Chapter Five addresses the practical ways in which digital restoration of architecture has taken place, identifying three previous cases which both resemble and differ from my own project. Chapter Six looks at the specific characteristics of Korean Seon Buddhism and architecture, and engages with three theoretical approaches about the spatial composition of the monastery, and the ways it may help in constructing the monastery in a digital environment. Chapter Seven offers an evaluation and validation of my artwork, having adopted the approach of creating an animated spiritual documentary to reveal Buddhist philosophy and experience as a model of Korean cultural identity. Chapter Eight offers some conclusions about my intention, process and outcomes.
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Ehrlich, Nea E. "Animated realities : from animated documentaries to documentary animation." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/25699.

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My thesis on contemporary animated documentaries links new media aesthetics with the documentary turn in contemporary visual culture. Drawing from the fields of Contemporary Art, Animation, Film Studies and Gaming Theory, my aim has been to explore the development of animated documentaries in the context of animation's intersection with other visual fields in a very specific technological moment of the past two decades in order to broaden the scope within which animation is analysed and understood. The starting point of my research was the widely accepted divide assumed to exist between animation and documentary. I, however, claim that the supposedly contradictory nature of animated documentaries can no longer be considered a given. Despite the potentially challenging reception of animated documentaries, it is important to identify what it is that the animated image contributes to documentary, which is the visualisation of what is otherwise un-representable. My thesis investigates a new area of the intangible, focusing on the virtualisation of culture rather than on subjective or imaginary aspects of documentary works and visual interpretations. This cultural shift consequently requires new aesthetics of documentation that exceed the capacities of the photographic. My main argument is that due to contemporary technological changes, animation has permeated real contexts of daily life to the extent that it has become disassociated from the realm of fiction. Rather, in altering the way viewers are becoming accustomed to observing, learning about and connecting with reality, animation has brought about a constitutive change in ways of seeing one's world. This change can be described as animation’s impact on the relation between visual signification and believability. It is this which necessitates a reconsideration of what shapes a sense of realism in documentaries today. My research therefore culminates with new conceptualisations concerning the cultural role of animation, introducing what I argue is the formation of the "animated document" and "documentary animation". In these contexts, animation is no longer an interpretive visualisation substituting for photography but a direct capturing of animated realities. Animation thus expands what is considered to constitute reality and, as a result, also destabilises assumptions about the perceived conflict between animation and documentary, widening the sphere of documentary aesthetics.
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Opal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.

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Books on the topic "Art documentary"

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National Archives of Canada. Documentary Art and Photography Division. Documentary Art and Photography Division. Ottawa: Ministry of Supply and Services, 1992.

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Gallery, Whitechapel Art, Tate Modern (Gallery), and ebrary Inc, eds. Truth or dare: Art & documentary. Bristol, UK: Intellect, 2007.

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James, Burant, National Archives of Canada. Documentary Art and Photography Division., Public Archives Canada. Picture Division., and National Photography Collection (Canada), eds. Documentary Art and Photography Division. Ottawa, Ont: National Archives of Canada, 1992.

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Rutting, Raymond. The art of news: Photography. Amsterdam: Focus, 2005.

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Lipson, Ashley S. Art of advocacy. New York, NY (11 Penn Plaza, New York 10001): M. Bender, 1986.

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Art of advocacy: Documentary Evidence. New York, NY (11 Penn Plaza, New York 10001): M. Bender, 1988.

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1961-, Davis John, ed. American art to 1900: A documentary history. Berkeley: University of California Press, 2009.

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missing], [name. Primitivism and twentieth-century art: A documentary history. Berkeley, CA: University of California Press, 2002.

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The English as collectors: A documentary sourcebook. New Castle, Del: Oak Knoll Press, 1999.

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Kobayashi, Nobuko. Documentary and art photography: A case of Lise Sarfati. London: LCP, 2003.

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Book chapters on the topic "Art documentary"

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Renov, Michael. "Art, Documentary as Art." In The Documentary Film Book, 345–52. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_39.

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Couzins, Richard. "Dramaturgical performances, documentary utterances and vocal objects." In Voice as Art, 26–52. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429351266-3.

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Parham, John. "‘Eco-Cinema’: Art Film and Documentary." In Green Media and Popular Culture, 177–204. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_7.

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Bartram, Angela. "Unsatisfactory Devices: Legacy and the Undocumentable in Art." In Critical Distance in Documentary Media, 109–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96767-7_6.

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Santos, Luísa. "Ai Weiwei: Grafting as a Documentary Tactic in Art." In Critical Distance in Documentary Media, 91–107. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96767-7_5.

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Tang, Aubrey. "Fake Pictures, Real Emotions: A Case Study of Art and Craft." In Cognitive Theory and Documentary Film, 149–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_9.

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Cutler, Anthony. "Legal Iconicity: The Documentary Image, the Problem of Genre, and the Work of the Beholder." In Byzantine Art, 63–79. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.asmar-eb.3.2790.

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Cachopo, João Pedro. "The Virtuality of Cinema: Beyond the Documentary-Fiction Divide with Peter Watkins and Mark Rappaport." In Conceiving Virtuality: From Art To Technology, 111–18. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24751-5_7.

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Lewis, Emma. "Art Documentary." In ISMS, 104–7. Routledge, 2021. http://dx.doi.org/10.4324/9781003135548-40.

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"1. Documentary Art / L’art documentaire." In Documenting a Province/Chronique d'une province. Toronto: University of Toronto Press, 2003. http://dx.doi.org/10.3138/9781442673991-006.

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Conference papers on the topic "Art documentary"

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Ardianto, Deny, Bedjo Riyanto, and Putut Pramana. "Suprapto Suryodarmo’s Silent Path a Documentary Film." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294938.

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Li, Shu, and Maohua Li. "Analysis on the Art Therapy Function of Animated Documentary Films." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.113.

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Wang, Meiqin. "Documentary Activism and “Art as Journalism” in a Chinese Urban Village." In The Twelfth International Convention of Asia Scholars (ICAS 12). Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789048557820/icas.2022.086.

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Zhang, Chengjun. "Diverse demands Theme Strategies of Chinese Documentary with Intercultural Communication." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.175.

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Rao, Haoyun, and Li Zhou. "Narrative Strategy and Communication Value of Medical Documentary Program in TV." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.516.

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Zhou, Hu. "The Problem Awareness, Critical Spirit and Activism Style of Social Theme Documentary in Taiwan." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.36.

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Gao, Qingxue. "An Analysis of the BBC Documentary qthe Earthq from the Perspective of Audio-visual Language." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.141.

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MA, GUO-JIN. "KATYUSHA IN THE SMOKE OF GUNPOWDER—ON FEMALE CONSCIOUSNESS IN ALEKSEYEVICH'S WRITINGS." In 2021 International Conference on Education, Humanity and Language, Art. Destech Publications, Inc., 2021. http://dx.doi.org/10.12783/dtssehs/ehla2021/35663.

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Alekseyevich is the winner of the Nobel Prize for Literature in 2015. He is a journalist and writer in Belarus. She is good at documentary writing. The author pays attention to female groups from the literary level, and his works have obvious characteristics of female consciousness. Taking " War’s Unwomanly Face" as an example, this paper explores women's consciousness and position in Alexeievic's works from the perspectives of women's war image, life changes before, during and after the war, and identity alienation.
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Li, Maohua, and Shu Li. "Objective qTruthq and Subjective qRealityq The Evolution of the Picture Modeling Language of Historical Humanities Documentary." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.112.

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Sun, Xiaowen. "Field, Gameplay, and Blank-leaving in the Nine Dimensions New Discussion on the Creation Mode of VR Documentary." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.75.

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Reports on the topic "Art documentary"

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Pérez, Francisco, and Alejandro Pérez. Journey through Colombian Co-Teaching Experiences. Institucion Universitaria Colombo Americana, 2022. http://dx.doi.org/10.26817/paper.18.

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Co-teaching is defined as a collaborative method of instruction (Murawski & Hughes, 2009), which implies co-teaching partnerships where educators make and effort in terms of joint instructional decisions and share responsibility as well as accountability for student learning (Shumway et all., 2011). This working paper is intended to illustrate the state-of-the-art concerning the implementation of co-teaching in EFL settings in Colombia over the last two decades. This manuscript is based on documentary research, in which primary source data were collected from data bases, university repositories, journals, and official reports. As an outcome, we expect to unveil co-teaching strategies, co-teachers' roles as well as collaborative teaching benefits in EFL in general, and foreign language student-teachers’ education, in particular.
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Antonov, Volodymyr. Natural history BBC documentaries: history and functions. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11402.

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This scientific article studies natural history documentaries produced by BBC and traces important stages of the development of the attitude towards such genre as natural history documentary. This research is about understanding why this kind of programmes is important, particularly for Ukrainians, and why we should study the genre thoroughly, including the BBC’s experience in the field. Accordingly, the main objectives of the study were: 1. To substantiate the necessity for Ukrainian scholars to study natural history documentaries and BBC’s experience in the field. 2. To trace back and describe the main stages of development in the sphere of producing natural history documentaries by British Broadcasting Corporation. 3. To analyze the obstacles which modern journalists, filmmakers are dealing with and to draw attention of Ukrainian specialists to those philosophical questions that modern era is searching for answers to. In the result of the research these main tasks which were outlined above were fulfilled. The author of this article concluded that natural history documentaries help to understand our place in the world we live in. In addition, through the shared environment we can feel unity with those who inhabit our region, country, inhabited it before, will inhabit in future. Documentaries help us understand who we are. And this function of identification is very important for contemporary Ukraine. To understand how to create proper natural history documentary it’s important to learn the global history of creating such programmes and especially that part which covers BBC’s achievements. The achievements of the corporation which gave birth to such prominent figure as David Attenborough. In addition to this, the article described some modern challenges which documentary makers face and those questions which contemporary society needs to have answered. Because you cannot create a proper natural history programme if you know past but do not know modern challenges. To sum up, the topic which is deeply connected with process of self-identification is very important and perspective for Ukrainian society which suffers hybrid war and endeavours of Russian Federation to assimilate Ukrainian people, Ukrainian culture.
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Rodríguez Chatruc, Marisol, and 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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García-Dereix, María Beatriz. La programación cultural en artes plásticas del Banco de la República de Cartagena, 1980-1984. Banco de la República, October 2021. http://dx.doi.org/10.32468/chee.54.

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Este documento estudia el periodo 1980-1984 durante el cual el Banco de la República comenzó su programación cultural en Cartagena y, en particular, cómo esta se incorporó en sus dinámicas artísticas previas. La investigación se centra en el estudio de las circunstancias que se dieron en la ciudad y el país para que las políticas gubernamentales cambiaran la forma de ver las regiones y su empoderamiento con respecto a los proyectos artísticos que se generaron, especialmente al interior del Banco de la República. Este documento tiene dos propósitos: (i) recolectar archivos para documentar un momento particular del arte en Cartagena y en la historia institucional del Banco de la República como actor cultural; y (ii) retroalimentar la gestión cultural del Banco de la República. Estudiar estos procesos históricos es fundamental para evaluar proyectos y trayectorias con miras a pensar el presente y el futuro de la gestión en artes de la Sucursal Cartagena del Banco de la República.
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Lubkovych, Igor. METHODS OF JOURNALISTIC COMMUNICATION. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11096.

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Journalistic communication is professional, its purpose is to obtain information and share it withthe audience. A journalist communicates when he intends to receive information directly from the interlocutor, from documents that the interlocutor has, or by observing the behavior of the interlocutor during the conversation. The most common method is communication in order to obtain verbal information. In the course of communication, a journalist succeeds when he adheres to politeness, clarity, brevity. It is important that the conditions of communication must be prepared or created: a place of communication, participants of communication, demonstration of listening skills, feedback. You should always try to get documentary evidence of what you have heard. An active reaction to what is heard by the journalist should be used to find out how much the interlocutor understands what is being said. At the beginning of the conversation, when the interlocutor expresses his attitude to the event or problem in question, it should not be interrupted. A journalist, like most people, often makes two mistakes when communicating: perceives as truth what is presented and attributes characteristics. Attribution of the characteristic as a psychological error is known since the beginning of the last century. And the perception of everything as the truth has long been inherent in our society.
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Fernández Guzmán, Eduardo. La movilidad social como tema de estudio en la Historia y los estudios migratorios: un acercamiento global. Revista Cimexus, 2022. http://dx.doi.org/10.33110/cimexus170203.

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La movilidad social es un concepto sociológico que implica cualquier transición que realiza una persona de una posición social a otra, y esta presenta diferentes maneras de movilidad e índices a través del tiempo y espacio. La ciencia histórica y los estudios migratorios le han dedicado desde hace unas décadas un espacio y de ello han brotado datos y análisis muy dignos de destacar. El objetivo de esta investigación es hacer una revisión de la literatura de la historiografía y de los estudiosos de la migración sobre la movilidad social. La finalidad es mostrar el estado del arte y reflexionar sobre las amplias posibilidades del análisis histórico de la movilidad social en las temáticas migratorias. La metodología empleada es de corte documental y teóricamente está fundamentada en la reflexión historiográfica sobre la democratización y fragmentación de la historia y el dialogo multidisciplinario. Se espera con ello, se despierte el interés de la reflexión histórica sobre tópicos de las diversas formas de la movilidad social en el fenómeno de la migración.
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Khomenko, Tetiana. TIME AND SPACE OF HISTORICAL PARALLELS OF EUGEN SVERSTIUK’S JOURNALISM. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11095.

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The article is dedicated to the investigation of time-space measurements of journalistic works of Eugen Sverstiuk, a well-known Ukrainian journalist. In particular, the time-space continuum of his works is being discussed, which is characterized as comprehensive, continuous, filled with archetypical images which metaphorize the text, but at the same time structure it, and are beaded on the axis of time and documentarily located in the space. The logics of images initiated in the text is exaggerated by constant dwelling of the author in the time-space dimensions of the epoque, of which he was a contemporary, as well as precise knowledge of World and Ukrainian history and culture. Historical parallelism of journalism of E. Sverstiuk possesses double potential. On the one hand, the author provides arguments for confirmation of his own opinion, and on the other, he shows us historical collisions in the new aspect, which helps consider the past, better understand the present, and think of the future. Pages of his works is space for author’s considerations, which logics impresses by free transgression of the author in the time, and his ability to grasp the most essential, although sometimes precedent, sometimes sudden and forgotten, or even unknown historical facts in order to force them to resonate in the new historical realities, first of all to indicate the importance of national and the need for assigning to it more significance. Using retrospectives, E. Sverstiuk encourages us to return to the national sources and to seek in ourselves the reflections of nationality in order to return historical truth to our audience. This is what, according to E. Sverstiuk, was believed to be one of the most necessary conditions of existence to the independent state. Time-space continuum of E. Sverstiuk’s journalism is reproduction of comprehensive history as continuous process of the development of humanity, and of formation of comprehensive, total, and so to say epic reading and understanding of these processes via accentuation of reader’s attention on key events, phenomena, and facts.
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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