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Journal articles on the topic 'Art documentary'

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Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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11

Usmanova, Barno S. "FOUNDER OF DOCUMENTARY-FICTIONAL PROGRAMS ON ART BROADCASTED ON UZBEK TELEVISION CHANNELS." American Journal Of Social Sciences And Humanity Research 02, no. 09 (September 1, 2022): 11–14. http://dx.doi.org/10.37547/ajsshr/volume02issue09-03.

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The work of Shakhnoza Amirova, the first creator of programs about visual art, culture, and talented artists of Uzbekistan, “Honored Cultural Worker of the Republic of Uzbekistan” will be discussed. It is impossible to imagine the development of the country without talented people in the cultural life of Uzbekistan. And television is a miracle that delivers these representatives to the audience.

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12

Riter, Robert B. "Book art and the representation and communication of original sources." Art Libraries Journal 44, no. 4 (October 2019): 167–73. http://dx.doi.org/10.1017/alj.2019.25.

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Works of book art can express archival and documentary values. Book artists whose work is informed by archival and documentary evidence contribute to the wider dissemination of original sources. In supporting this function, their generative practices can be viewed as curatorial and editorial functions. How does archivally informed book art represent and communicate evidence? How can these sources operate as documentary sources? This essay offers a discussion of these questions.

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13

Lim, Yoon Soo. "How Contemporary Art Meet Documentary Film - Based on Documentary Film of Korean Contemporary Artists." CONTENTS PLUS 15, no. 4 (June 30, 2017): 59–72. http://dx.doi.org/10.14728/kcp.2017.15.04.059.

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14

Whelan, Lorraine, and Brigid Fitzgerald. "Art: Are You Mad? A Woman's Place Documentary." Circa, no. 75 (1996): 59. http://dx.doi.org/10.2307/25562942.

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15

Corner, John. "New nonfiction film: art, poetics and documentary theory." Studies in Documentary Film 13, no. 1 (January 2, 2019): 90–91. http://dx.doi.org/10.1080/17503280.2019.1572302.

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16

Neumann, Mark. "Consuming "Otherness" The Politics of Photographic Documentary Art." Journal of Communication Inquiry 12, no. 1 (January 1988): 45–64. http://dx.doi.org/10.1177/019685998801200105.

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17

Moore, Jack B. "The art of Black Power: Novelistic or Documentary." Revue Française d'Etudes Américaines 31, no. 1 (1987): 79–91. http://dx.doi.org/10.3406/rfea.1987.1261.

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18

Blumenkrantz, David. "Street Photography: A Bridge Between Documentary and Art." Visual Communication Quarterly 16, no. 2 (May 13, 2009): 108–16. http://dx.doi.org/10.1080/15551390902803846.

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19

Cowie, E. "Specters of the Real: Documentary Time and Art." differences 18, no. 1 (January 1, 2007): 87–127. http://dx.doi.org/10.1215/10407391-2006-024.

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20

Fredriksson, Antony. "The Art of Attention in Documentary Film and Werner Herzog." Film-Philosophy 22, no. 1 (February 2018): 60–75. http://dx.doi.org/10.3366/film.2018.0062.

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In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire (Echos aus einem düsteren Reich, Werner Herzog, 1990) as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process of domestication and contrasting it with Merleau-Ponty's and Bernhard Waldenfels's phenomenological account of perception, in which the role of attention becomes paramount. This is an attempt to show how the question – what makes the documentary image unique – is entangled in epistemological questions concerning the relationship between vision, image, self and object. A closer investigation of the ambiguities inherent in the concept of “documentary” reveals something important concerning how the unknown becomes known.

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21

Montenegro, Teodoro Victor, and Rosinete De Jesus Ferreira. "Documentário Grafite.mp4: reflexões sobre a interface comunicação educação." Cambiassu: Estudos em Comunicação 16, no. 28 (December 28, 2021): 231. http://dx.doi.org/10.18764/2176-5111v16n28.2021.26.

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A partir das disciplinas Educação e Tecnologia e Narrativa Ficcional e Documentário do Curso de Rádio e Televisão da UFMA, foi elaborado um produto audiovisual que relaciona arte urbana, comunicação e educação. O “documentário grafite.mp4” apresenta o processo de ensino baseado nas experiências de vida advindas dos educadores e educandos através do ato comunicativo, onde a arte urbana funciona como meio de repensar esses processos dentro do espaço escolar. Logo, este presente trabalho busca analisar teoricamente tais atos evidenciados na produção do documentário, traçando caminhos conceituais para compreendê-los, através do tripé teórico comunicação,experiência e educação.Grafitti.mp4 documentary: refletions on the education communication interfaceAbstractFrom the subjects Education and Technology and Fictional Narrative and Documentary of the Radio and Television Course at UFMA, an audiovisual product was made to relate urban art, communication and education. The “grafite.mp4 documentary” presents the teaching process based on life experiences arising from educators and students through the communicative act, where urban art works as ways of rethinking these processes within the school space. Therefore, this present work seeks to theoretically analise such acts evidenced in the production of the documentary, tracing conceptual paths to understand them, through the theoretical tripod communication, education and experience.Keywords: Communication; education; experience; documentary.

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22

Irianto, Agus Maladi, Arido Laksono, and Hermintoyo Hermintoyo. "Traditional Art Strategy in Responding Capitalization: Case Study of Kubrosiswo Cultural Art Commodification." Harmonia: Journal of Arts Research and Education 18, no. 1 (August 30, 2018): 1–12. http://dx.doi.org/10.15294/harmonia.v18i1.11363.

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The aim of this study is to describe traditional art capitalization as the cultural identity of a society and a strategy of the society which supports traditional art in developing cultural comodification in line with the demands of the tourism industry. The paper is based on field research presenting a case study of the existence of Kubrosiswo traditional art from Magelang Regency, Central Java, Indonesia which develops the cultural comodification as a strategy to respond to the economic capitalization demands, especially the emergence of the tourism industry which appeared in this globalization era. One alternative strategy which is developed in this research is by making a documentary film. The documentary film is one of the strategies to present the reality based on the description in the field, and it is also expected to create awareness in recognizing and comprehending the knowledge of Kubrosiswo traditional art.

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23

Demidko, Olha. "The phenomenon of documentary theater and its influence on the theater culture of Ukraine." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, no. 22 (2021): 45–51. http://dx.doi.org/10.34079/2226-2830-2021-11-22-45-51.

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In scientific work it is determined that modern theatrical art needs new forms and directions. It is proved that documentary theater meets the challenges of today. Both the history of documentary theater and its main theoretical principles are analyzed. The relevance of documentary performances for Ukrainian society is substantiated. The main features of documentary performances in Ukraine, their subject matter and orientation are revealed. The performances raised the topics of bullying, school problems, war, attitude to the older generation and the political situation in the country. It is established that in the documentary theater there is no place for fiction and interpretation, because the director has a task to show the world around him real, based only on specific events and remarks of their eyewitnesses. Documentary theater is a constant search in the field of art, ethical and aesthetic, form, social and political contexts. In such a theater, everything depends on the project, the specific work. There is, of course, the director's idea that the playwright works for, but in the last few years, the playwright has often worked on an equal footing with the director, choreographer, and composer - horizontal connections, communication and discussion of ideas from which the play is born. This type of art is characterized by political and social orientation. Documentary theater is characterized by discussions after the performance, during which the audience and actors exchange personal observations and impressions of what they saw on stage. Such interactivity allows completely different people to talk to each other and jointly comprehend their identity. The use of ready-made documentary performances during the study of culturological disciplines is offered. It is concluded that documentary theater has gained popularity at the turn of XX-XXI centuries. Today it is on the border of art and social projects. Thanks to such performances, it is possible to raise topical issues and touch the most painful points

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24

Turnbull, Gemma-Rose. "Navigating Socially Engaged Documentary Photographic Practices." Nordicom Review 36, s1 (July 7, 2020): 79–95. http://dx.doi.org/10.1515/nor-2015-0031.

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AbstractAs Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines the ways in which the integration of collaborative strategies and co-authored practice in projects that are explicitly designed to be of benefit to a primary audience (the participants, collaborators and producers) might be usefully disseminated to a secondary audience (the general public, the ‘art world’, critics etc.) through analysis of my projects Red Light Dark Room; Sex, lives and stereotypes made in Melbourne, Australia, and The King School Portrait Project made in Portland, Oregon, America.

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25

Meale, Tina. "Canadian art archives: working to preserve Ontario’s visual art records." Art Libraries Journal 24, no. 2 (1999): 31–34. http://dx.doi.org/10.1017/s0307472200019465.

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How can the Ontario archival community best provide comprehensive documentary evidence of activities in the visual arts? A strategy for preserving the documentation needs to co-ordinate the efforts not only of the various collecting repositories in the province, but also of the people within the arts community who are generating records of their activities. Attempts already being made by Ontario archivists to ensure visual arts records are acquired and retained could be enhanced by improved education of everyone concerned.

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26

Tengku Sabri, Tengku Intan Maimunah. "Filming Visual Artist Biopic: Reflections on the Making of Short Documentary Dark Drawings Unpacked." International Journal of Creative Multimedia 1, no. 1 (May 18, 2020): 51–64. http://dx.doi.org/10.33093/ijcm.2020.1.1.7.

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This article reflects on my experience in making the short documentary Dark Drawings Unpacked (2019). The documentary explores the life of a Malaysian artist, Tengku Sabri Tengku Ibrahim after a stroke attack. Essentially an artist biopic, the documentary traces the various implications of stroke pertaining to the artist’s life and work, including immobility and post-stroke depression. The documentary also unpacks the underlying themes of the artworks Dark Drawings as well as advances understanding on the artist’s struggles with stroke, sanity, and God. Finally, the documentary emphasizes the importance of art as an effective medium of expression for the chaotic and creative minds. This paper further attempts to reflect on the ways in which me as the director tackled challenges such as the artist’s personality representation, visualization of the artistic creation process, the relation between the style of the documentary and that of the artist portrayed, and the challenges of audio narration and editing. Finally, the article concludes that the documentary serves as a cinematic history of the artist, captures the universality of his experiences, and illustrates the many ways in which art was, and remains, a powerful medium for healing and expression

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27

Rankovic, Vladimir. "Pseudo-documentary in the context of contemporary art practices." Nasledje, Kragujevac 13, no. 35 (2016): 291–305. http://dx.doi.org/10.5937/naslkg1635291r.

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28

Hasanova, Lala. "Intermediality of modern art-documentary prose: “literature and music”." Scientific Bulletin 4 (2019): 113–19. http://dx.doi.org/10.54414/gzhh2184.

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This article is devoted to the problems of intermediality in artistic and documentary works. This problem was studied on the basis of the analysis of the works of Anar “Without you”, “Like Kerem” (a novel-reflection on the work of Nazim Hikmet), Ali Amirli “What did I leave in Agdam?”. It is noted that the authors turn to music in different cases, sometimes to recreate the atmosphere of the era, but mainly to recreate the complex psychological state of the characters.

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29

Hasanova, Lala Tofig. "Intermediality of modern art-documentary prose: "Literature and Music”." Scientific Bulletin 2 (2021): 79–85. http://dx.doi.org/10.54414/ikjq8371.

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The article is devoted to the problems of intermediality in artistic and documentary works. This problem was studied on the basis of the analysis of the works of Anar “Without you”, “Like Kerem” (a novel-reflection on the work of Nazim Hikmet), Ali Amirli “What did I leave in Agdam?”. It is noted that the authors turn to music in different cases, sometimes to recreate the atmosphere of the era, but mainly to recreate the complex psychological state of the characters.

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30

ABU-LUGHOD, LILA. "The Adjacent Art of Documentary: A Palestinian Film Festival." American Anthropologist 106, no. 1 (March 2004): 150–51. http://dx.doi.org/10.1525/aa.2004.106.1.150.

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31

EVANS, KARYL K. "Visualizing Connecticut’s Past: The Art of Historical Documentary Filmmaking." Connecticut History Review 44, no. 2 (October 1, 2005): 262–74. http://dx.doi.org/10.2307/44369693.

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32

Brázdil, Rudolf, Andrea Kiss, Jürg Luterbacher, David J. Nash, and Ladislava Řezníčková. "Documentary data and the study of past droughts: a global state of the art." Climate of the Past 14, no. 12 (December 11, 2018): 1915–60. http://dx.doi.org/10.5194/cp-14-1915-2018.

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Abstract. The use of documentary evidence to investigate past climatic trends and events has become a recognised approach in recent decades. This contribution presents the state of the art in its application to droughts. The range of documentary evidence is very wide, including general annals, chronicles, memoirs and diaries kept by missionaries, travellers and those specifically interested in the weather; records kept by administrators tasked with keeping accounts and other financial and economic records; legal-administrative evidence; religious sources; letters; songs; newspapers and journals; pictographic evidence; chronograms; epigraphic evidence; early instrumental observations; society commentaries; and compilations and books. These are available from many parts of the world. This variety of documentary information is evaluated with respect to the reconstruction of hydroclimatic conditions (precipitation, drought frequency and drought indices). Documentary-based drought reconstructions are then addressed in terms of long-term spatio-temporal fluctuations, major drought events, relationships with external forcing and large-scale climate drivers, socio-economic impacts and human responses. Documentary-based drought series are also considered from the viewpoint of spatio-temporal variability for certain continents, and their employment together with hydroclimate reconstructions from other proxies (in particular tree rings) is discussed. Finally, conclusions are drawn, and challenges for the future use of documentary evidence in the study of droughts are presented.

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33

Selejan, Ileana L. "Actions. Situations. Possible Scenarios." Protest, Vol. 4, no. 2 (2019): 50–55. http://dx.doi.org/10.47659/m7.050.art.

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Zigzagging through personal memory and historical episodes of great consequence – the fall of the Berlin wall, the Romanian revolution and the April 2018 protests in Nicaragua – the essay seeks points of connection between the personal and the political, exploring how the two are intimately and inextricably intertwined. The textual approach can be situated in-between historical analysis and auto-biographical fiction; the aim is to enable multi-layered narratives, and contrasting, conflicting temporalities to co-exist. Illustrative of this intent, Romanian artist Călin Man intervenes upon the more well-known documentary photographs referenced in the text, by conflating them with everyday snapshots from the city of Arad taken at different points along the temporal arc described. Keywords: documentary, memory, personal history, photography, revolution, transnationalism

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34

Dixon, Jeannette. "What is the place for documentary videos on living artists in the art library?" Art Libraries Journal 20, no. 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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35

Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.

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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.

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36

Sapiega, Jacques. "The Durance: Interlaced Waters: Art-Science Collaborations and Audiovisual Research." Leonardo 47, no. 1 (February 2014): 78–79. http://dx.doi.org/10.1162/leon_a_00686.

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“La Durance, parcours et regards” is the title of an audiovisual experiment (2003–2004) carried out in association with the laboratory “Environment, genome, evolution” (EGEE/Aix Marseille Université). Conceived at first as a scientific documentary, the project advanced mixing different approaches, including biology, biodiversity, eco-paleontology, history, geography, sociology and arts. The support of new digital technologies appeared a better way than a linear documentary to reproduce a multidisciplinary conception and the complexity of the Durance River.

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Santos, Nelyane Gonçalves. "Metodologia de pesquisa da história da arte para o estudo de obras de Salões de Arte da década de 1960." ouvirOUver 13, no. 1 (May 25, 2017): 244. http://dx.doi.org/10.14393/ouv20-v13n1a2017-18.

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Na tendência de estudos acerca dos salões na história da arte no Brasil é necessário o desenvolvimento de uma metodologia pautada na análise das obras que compuseram esses eventos. A constituição dos circuitos artísticos a partir da efervescência que os salões geravam entre artistas, críticos e público, nos chama a atenção sobre a necessidade de ampliarmos a compreensão das propostas artísticas vistas a partir da materialidade e visualidade das obras. Isto porque, o estabelecimento de marcos definidores de uma arte brasileira na transição do moderno ao contemporâneo, afastou os discursos históricos das obras e os aproximou da interpretação de fontes documentais, forçosamente associadas aos movimentos de arte em esfera internacional. Assim, a proposta metodológica que aqui se apresenta, coloca o desafio da interpretação das obras a partir de seus próprios vestígios e sentidos, sem desconsiderar a ampliação da pesquisa por meio de fontes documentais que esclareçam, mas não “profetizem” uma revelação de significado para a arte no Brasil da década de 1960. ABSTRACT The trend of studies on the salons in Brazil's art history is necessary to develop a guided methodology in the analysis of the works that made up those events. The constitution of the artistic circuit from the effervescence that the halls generated among artists, critics and the public draws our attention on the need to broaden the understanding of artistic proposals views from the visual and materiality of the works. This is because the establishment of the defining landmarks of Brazilian art in the transition from modern to contemporary, away from the historical discourse of the works and approached the interpretation of documentary sources, necessarily associated with art movements in the international sphere. Thus, the methodological proposal presented here, puts the challenge of interpretation of works from its own traces and directions, without disregarding the expansion of research through documentary sources to clarify, but not "prophesy" a revelation of significance for art in Brazil in the 1960s. KEYWORDS Methodology, art history, art salons, visuality, materiality.

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38

Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.

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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.

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39

Arumpac, Adjani Guerero. "Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War." Plaridel 17, no. 1 (June 2020): 111–42. http://dx.doi.org/10.52518/2020.17.1-04armpac.

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Regenerative documentary is generated by a composite unity that comprises the living system of resistance in the Philippines. It takes into account the contingent, illustrated by artist groups—Respond and Break the Silence over the Killings (RESBAK), Sandata, and Gantala Press—that converged with the living system of resistance where and when human rights was curtailed by an environment of impunity, systemic poverty, social inequality, and injustice. The purpose of regenerative documentary is to identify and make known that a system of resistance exists and it is living. By harnessing the ideas of narrative, emergence, and ethicality espoused by autopoiesis and critical posthumanism, regenerative documentary situates its expediency within the context of the Philippine human rights violations under the Duterte regime as a transformative critical posthuman art.

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40

Arumpac, Adjani Guerero. "Regenerative Documentary: Posthuman Art in the Context of the Philippine Drug War." Plaridel 17, no. 1 (June 2020): 111–42. http://dx.doi.org/10.52518/2020.17.1-04armpac.

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Regenerative documentary is generated by a composite unity that comprises the living system of resistance in the Philippines. It takes into account the contingent, illustrated by artist groups—Respond and Break the Silence over the Killings (RESBAK), Sandata, and Gantala Press—that converged with the living system of resistance where and when human rights was curtailed by an environment of impunity, systemic poverty, social inequality, and injustice. The purpose of regenerative documentary is to identify and make known that a system of resistance exists and it is living. By harnessing the ideas of narrative, emergence, and ethicality espoused by autopoiesis and critical posthumanism, regenerative documentary situates its expediency within the context of the Philippine human rights violations under the Duterte regime as a transformative critical posthuman art.

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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.

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This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.

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Swartzburg, Susan G. "Resources for the conservation of Southeast Asian art." Art Libraries Journal 18, no. 2 (1993): 39–43. http://dx.doi.org/10.1017/s0307472200008336.

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There is a desperate and urgent need to conserve works of art and documentary materials in Southeast Asia, where the rigours of the climate and the effects of war and political unrest have ravaged the cultural heritage. An initiative launched by Cornell University in Cambodia, with the intention of preserving documentary materials and training Cambodian librarians in conservation techniques, may result in the development of a badly-needed regional centre which would complement the National Archives of the Philippines, and the Regional Conservation Centres established by IFLA on the Pacific rim, in Australia and Japan. Information and expertise are available from UNESCO, ICOMOS, ICCROM, ICOM, the Getty Conservation Institute, IIC, IADA, IPC, IFLA, ICA, and other international and US organisations.

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Gladston, Paul. "Interviews and documentary sources in Chinese contemporary art research: Towards the critical use of polylogues." Art Libraries Journal 39, no. 2 (2014): 20–26. http://dx.doi.org/10.1017/s0307472200018277.

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This article gives an account of the research methods and editing procedures used to inform the production of two recent books, Contemporary Art in Shanghai: Conversations with Seven Chinese Artists and ‘Avant-garde’ Art Groups in China, 1979-1989, focusing on issues related to the use of interviews and documentary sources in Chinese contemporary art research. As well as drawing attention to a range of contingent factors impinging on the reliability of interviews and documentary sources within the particular discursive contexts of China and to ways of mitigating their effects, it argues for the productive possibilities of the serial use of interviews in combination with other texts as critical polylogues.

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Elduque, Albert. "Documentary shooting and samba." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 48–66. http://dx.doi.org/10.33178/alpha.19.05.

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This article addresses the film Partido alto (Leon Hirszman, 1976–1982), a Brazilian music documentary that showcases two sessions of partido-alto, a traditional, improvisation-based genre. The film highlights a separation between the diegetic music world, which is based on improvisation, and the technical approach to register it. First, it foregrounds the process of recording popular music through the noticeable presence of a microphone that strives to follow each singer’s unpredictable interventions. Then, the young professional singer Paulinho da Viola joins in on the performance with nonprofessional singers, working as a mediator between the official music scene and popular traditions. I suggest that, by using cameras and microphones to approximate a popular, nonrecorded form of art, the film raises some crucial issues in the history of samba. In particular, the ways in which cinematic techniques such as the sequence shot and voiceover are employed in the film allows us to reflect on the dichotomy between improvisation and recording, as well as the role of cultural mediators. Paulinho da Viola lies at the centre of these strategies, for he assumes an expert commentator and interviewer role, while also being a participant in the popular community.

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Harter, Lynn M. "The Work of Art." Qualitative Communication Research 2, no. 3 (2013): 326–36. http://dx.doi.org/10.1525/qcr.2013.2.3.326.

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This essay considers the significance of numerous story forms for engaged communication scholarship. I demonstrate the value of creative analytic practices in two interwoven ways. To begin, I draw on the work of John Dewey to position interpretive inquiry as the work of art. Meanwhile, I reflect on my experiences co-producing an ethnographic documentary on pediatric cancer care to illustrate the methodological strengths of audio-visual storytelling. The essay closes with a call to broaden interpretive inquiry to include more tangible sounds and visions in our attempts to understand all-too-human predicaments.

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Darian, Veronika. "The scenario of the map: Discovering documents and performance in East Art Map project by IRWIN." Maska 30, no. 172 (July 1, 2015): 84–91. http://dx.doi.org/10.1386/maska.30.172-174.84_1.

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“History is not given. Please help to construct it.” Shortly after the turn of the millennium, this speech act performed the onset of the East Art Map project by the Slovenian artist collective IRWIN. Instead of just documenting the realities of (art) history, the project also set out to construct them anew by deconstructing binary configurations, such as West and East, being inside or outside the map(s), as well as by investigating the preconditions for producing art and (art) history. By offering a constellation of artistic documents – respectively, documentary artifacts – EAM explored a specific “scenario of discovery”, yet also aimed at subverting and reversing its hegemonic strategies.

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Orr, Penelope P. "A documentary film project with first-year art therapy students." Arts in Psychotherapy 33, no. 4 (January 2006): 281–87. http://dx.doi.org/10.1016/j.aip.2006.03.002.

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Shaheen, Jack G. "The Documentary of Art: “The Undersea World of Jacques Cousteau”." Journal of Popular Culture 21, no. 1 (June 1987): 93–101. http://dx.doi.org/10.1111/j.0022-3840.1987.00093.x.

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Stead, Naomi, and Morgan Richards. "Valuing Architecture: Taste, Aesthetics and the Cultural Mediation of Architecture through Television." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 100–112. http://dx.doi.org/10.7227/cst.9.3.10.

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In this paper we examine how architecture has been mediated and framed by two television documentary series: Civilisation: A Personal View by Kenneth Clark (1969) and Grand Designs (1999–present). Both are examples of authored documentary', and both also attempt the education of public taste: in Civilisation through the structured admiration of great civic buildings framed as monumental art, and in Grand Designs through desirable domestic buildings framed as instruments for the art of living. In the paper we examine how the series can be both linked and distinguished through practices of valuation.

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Hučková, Jadwiga. "Życie jak scenariusz. Na marginesie książki (Nie)zapomniani dokumentaliści." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 29, no. 38 (June 15, 2021): 255–64. http://dx.doi.org/10.14746/i.2021.38.16.

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The book (Un)forgotten documentalists, edited by Katarzyna Mąka-Malatyńska and Jolanta Lemann-Zajiček (2020) is a significant achievement in research on Polish documentary film. The review of the collective work, consisting of ten texts preceded by an introduction, becomes the starting point for discussions with selected authors and reflection on the problem of the absence of significant documentary filmmakers in the history of the film. Entire currents are also forgotten, such as a film about art, represented by four out of nine documentary filmmakers discussed in the book. The meanders of life and creativity can be instructive for contemporary documentary filmmakers.

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