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Journal articles on the topic 'Digital documentary'

To see the other types of publications on this topic, follow the link: Digital documentary.

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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1

Lachman, Richard. "Emergent Principles for Digital Documentary." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 97. http://dx.doi.org/10.18146/2213-0969.2016.jethc115.

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Digital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models. As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential. This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on treating digital docs as experiences, with an expanded range of designable moments, as well as a strategic approach to designing interactions for their unique set of challenges. The discussion is not intended to fully define digital documentary design factors, but rather, defines a useful subset of methods that can lead emerging practitioners to new innovations in their approach.

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2

Hight, Craig. "The field of digital documentary: a challenge to documentary theorists." Studies in Documentary Film 2, no. 1 (March 28, 2008): 3–7. http://dx.doi.org/10.1386/sdf.2.1.3_2.

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3

Mahanta, Manaswinee. "Community Documentary Move Towards Digital Inclusion." Indian Journal of Mass Communication and Journalism 1, no. 3 (March 30, 2022): 8–14. http://dx.doi.org/10.54105/ijmcj.c1009.031322.

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This research paper looks at the dynamics of digital divide and the potential of community documentaries to challenge them. Researcher critically reviewed the literatures on community media initiatives and result of such media exposures. This research work considers the Community video works as Cinẻma Pur and put forward some theoretical understanding to define the term documentary from the basic idea of visual documentation, with an attempt to establish any kind of community visual documentation as documentary work and thus provides a theoretical reference to such documentation as Community Documentary, nullifying the much used alternative expression of Community Video. Influences of such Community Documentaries and their making process on the women are further elaborated from gender perspective. Researcher looks at the potential of these documentary making procedures taken up for, of and by the community women, with and without technical supports from outside agencies, as a step forward to bridge the digital divide. Ensuring the access and skill to use the Information and Communication Technologies (ICT), making process of community documentaries enabled the community women to participate and get benefited from growing knowledge and information society. All the three aspects of digital inequalities, better known as digital divides: 1.Economic divide or infrastructural inequality 2.Usability divide or inequality in digital literacy 3.Empowerment divide or participation inequality, are stressed while examining whether community documentaries can serve as a type of digital inclusion. Theoretical base of the model is being scrutinized by three case studies taken up in the Indian state of Gujrat and Andhra Pradesh: 1.’Gender Sensitive Governance through ICT’ by Mahila Swaraj Manch, Shihore-a project base for ‘Making Women’s Voice and Votes Count’ –a multi-site project funded by UN Women, 2. ‘Ek Poltun Bheek Nu’ by the community women of Narmadapura, Baroda and 3.‘When Women Unites’ by the community women of Nellore.

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4

Ginsburg, Faye D. "Rethinking Documentary in the Digital Age." Cinema Journal 46, no. 1 (2006): 128–33. http://dx.doi.org/10.1353/cj.2007.0001.

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5

Pierazzo, E. "A rationale of digital documentary editions." Literary and Linguistic Computing 26, no. 4 (July 28, 2011): 463–77. http://dx.doi.org/10.1093/llc/fqr033.

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6

David, Bryan, and Sarah Keyes. "Public History: Podcast, Documentary, Digital Resources." California History 99, no. 4 (2022): 98–100. http://dx.doi.org/10.1525/ch.2022.99.4.98.

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7

Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.

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8

Navarro, Vinicius. "Time, Digital Environments, and the Documentary Experience." JCMS: Journal of Cinema and Media Studies 60, no. 1 (2020): 92–110. http://dx.doi.org/10.1353/cj.2020.0064.

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9

Baron, Jaimie. "Dying in Full Detail: Mortality and Digital Documentary." Canadian Journal of Film Studies 26, no. 2 (October 2017): 134–37. http://dx.doi.org/10.3138/cjfs.26.2.br1.

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10

UTTERSON, ANDREW. "Destination Digital: Documentary Representation and the Virtual Travelogue." Quarterly Review of Film and Video 20, no. 3 (January 2003): 193–202. http://dx.doi.org/10.1080/10509200390210576.

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11

Pentaris, Panagiotis. "Dying in full detail: mortality and digital documentary." Mortality 24, no. 1 (November 5, 2017): 112–13. http://dx.doi.org/10.1080/13576275.2017.1399871.

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12

Marshall, Anne. "Civil War Governors of Kentucky Digital Documentary Edition." Journal of American History 104, no. 2 (September 1, 2017): 572–73. http://dx.doi.org/10.1093/jahist/jax302.

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13

Cornejo-Sánchez, Jesús Fernando, Cesar H. Limaymanta, Rossana Delia Mezarina-Castañeda, and Betty Maritza Gálvez-Nores. "Digital Portfolio in The Development of Documentary Competence in University Students [El portafolio digital en el desarrollo de la competencia documental en estudiantes universitarios]." EDUSER 7, no. 2 (July 26, 2020): 95–108. http://dx.doi.org/10.18050/eduser.v7i2.2541.

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Translators face numerous challenges for doing their work, not only linguistic but also multimedia-related challenges. For this reason, translation undergraduate students must develop their documentary competence with a digital portfolio. The aim of this research is to demonstrate the effect of using a digital portfolio for developing documentary competence in the translation students from a private university in Lima. This research is quantitative and has a quasi-experimental design. It has been applied to a course of direct translation for two semesters. The sample was 32 students, 16 of them for control group and 16 for experimental group. A test was given before and after using the digital portfolio, so that documentary competence can be measured in its three dimensions: thematic field, terminology and textual genres. Findings suggest that the digital portfolio is effective for developing documentary competence in the experimental translation group. The use of a virtual platform allows students to develop documentary or instrumental competence and to familiarize themselves with the use of different multimedia resources as repository. [El traductor se enfrenta a muchos desafíos, tanto en el nivel lingüístico como en el nivel de empleo de recursos multimedia para su labor de traducción. Por ello, es necesario que en pregrado se desarrolle la competencia documental de los futuros traductores con el empleo del portafolio digital. El objetivo de esta investigación es demostrar el efecto del empleo pedagógico de un portafolio digital en el desarrollo de la competencia documental en estudiantes de traducción de una universidad privada de Lima. La investigación fue de enfoque cuantitativo, y diseño cuasiexperimental realizado durante el desarrollo de un curso de traducción directa por dos semestres. La muestra estuvo conformada por 32 estudiantes: 16 para el grupo de control y experimental. Se aplicó un test antes y después de la inducción del portafolio digital con la finalidad de medir la competencia documental con sus tres dimensiones: campo temático, terminológico y géneros textuales. Se concluye que el portafolio digital es efectivo para el desarrollo de la competencia documental en estudiantes de traducción del grupo experimental. El uso de una plataforma virtual permite desarrollar competencias documentales o instrumentales en el estudiante, así como también habituarlo para su uso como repositorio de diferentes recursos multimedia].

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14

Rogers, Brent M. "A Digital Voice from the Dust: The Joseph Smith Papers at the Intersection of Public and Digital History1." Collections: A Journal for Museum and Archives Professionals 12, no. 4 (December 2016): 409–18. http://dx.doi.org/10.1177/155019061601200406.

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Like other documentary editing projects, the Joseph Smith Papers—an effort to produce a comprehensive edition of the papers of Joseph Smith, the founder of the Church of Jesus Christ of Latter-day Saints, more commonly known as Mormons—seeks to provide reliable access to “the authentic voice” of its eponymous historical figure in innovative ways. As a digital voice from the dust, the project makes Smith's words, character, and context accessible in the online representation of his papers in ways that forcefully illustrate the convergence of public and digital history. This article uses the Joseph Smith Papers Project (JSPP) as a case study to look at documentary collections at the intersection of digital and public history while exploring issues of scholarship, access, and transparency. The trends described here promise to have implications for the larger fields of digitally presented public history and documentary collections.

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15

Rospitasari, Marina. "Youtube as alternative media for digital activism in documentary film creative industry." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 3 (November 20, 2021): 665–92. http://dx.doi.org/10.25139/jsk.v5i3.3779.

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The development of the digital world provides ample scope to activists who are also engaged in Documentary Film Industry. In line with the democratic and deliberative spirit, YouTube, one of the social media platforms, has become an alternative media with a strategic positioning to be used by film activists to distribute their works. This research applied literature review and descriptive quantitative content analysis as a methodology. Based on alternative media theory, YouTube is alternative media that filmmakers utilise in the documentary film creative industry. Documentary films are products of the film industry and aspiration, identity struggle, and artistic expression. As a media representation of communication technology, YouTube provides ample opportunities for art activists to convey their critical ideas to voicing marginal groups’ aspirations. Based on reviewing the Watchdoc YouTube account, this research findings that YouTube supports filmmakers to develop interactive documentary and collaborative actions with other strategic stakeholders, such as Production House, NGO, individual activists, social communities, and educational institutions. According to the practising of digital activism, this phenomenon gives another perspective about building an activist network. Activism through the creative documentary industry is not reflected as people mobilisations but building engagement through the product (documentary film).

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16

Hofer, Mark, and Kathy Swan. "Digital Toolkits for Teachers." Social Studies Research and Practice 5, no. 1 (March 1, 2010): 176–83. http://dx.doi.org/10.1108/ssrp-01-2010-b0017.

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Challenging students to create digital documentary films in history courses engages students in both mastery of content knowledge and higher order thinking experiences. Teachers considering this type of work must contend with the focus on standards-based testing, a wide breadth of content to be covered, the challenge of finding relevant primary source materials, and restrictions related to copyright and Fair Use. This paper explores a resource site for teachers, Digital Docs in a Box, that attempts to mediate some of these concerns and support their students in the creation of digital documentaries. First, we explore the rationale for student creation of digital media, the challenges inherent in these endeavors, and the creation of the resource site. We then overview the structure and use of the site, with an illustration of how a practicing teacher would use one of the documentary kits in the classroom.

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17

Rogers, Corinne. "Diplomatics of born digital documents – considering documentary form in a digital environment." Records Management Journal 25, no. 1 (March 16, 2015): 6–20. http://dx.doi.org/10.1108/rmj-03-2014-0021.

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Purpose – This paper aims to explore a new model of “record” that maps traditional attributes of a record onto a technical decomposition of digital records. It compares the core characteristics necessary to call a digital object a “record” in terms of diplomatics or “evidence” in terms of digital forensics. It then isolates three layers of abstraction: the conceptual, the logical and the physical. By identifying the essential elements of a record at each layer of abstraction, a diplomatics of digital records can be proposed. Design/methodology/approach – Digital diplomatics, a research outcome of the International Research on Permanent Authentic Records in Electronic Systems (InterPARES) project, gives archivists a methodology for analyzing the identity and integrity of digital records in electronic systems and thereby assessing their authenticity (Duranti and Preston, 2008; Duranti, 2005) and tracing their provenance. Findings – Digital records consist of user-generated data (content), system-generated metadata identifying source and location, application-generated metadata managing the look and performance of the record (e.g., native file format), application-generated metadata describing the data (e.g., file system metadata OS), and user-generated metadata describing the data. Digital diplomatics, based on a foundation of traditional diplomatic principles, can help identify digital records through their metadata and determine what metadata needs to be captured, managed and preserved. Originality/value – The value and originality of this paper is in the application of diplomatic principles to a deconstructed, technical view of digital records through functional metadata for assessing the identity and authenticity of digital records.

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18

Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.

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In this paper, I would like to take a closer look at the hybrid genre of digital documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, opponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line Media), adventure games: Valiant Hearts: the Great War (2014: Ubisoft) or 1979 Revolution (2014, N-Fusion), strategic games: This War of Mine (2014, 11bit studios), RPG (educational mode in Assassin’s Creed: Origins [2017] and Assassin’s Creed: Odyssey [2018]), or even survival horror: Kholat (2015, IMGN.PRO). The titles I describe present different approach to factual sources: they add documentary footage as cutscenes (Never Alone), they build narration around real events and characters, and make the player’s avatar a fictional character (1979 Revolution), they base the game mechanics on the logic of events in well-defined real circumstances (This War of Mine). Since the works based on a genre-specific hybrid strategy occupy an important place in today’s audiovisual landscape, I think it would be worth further examining this “incompatible” area: a documentary, traditionally combined with truth and seriousness, and digital games, usually associated with fiction and entertainment.

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19

Wiehl, Anna. "Digital transformation of doing documentary: Committed documentary and the knitting of networks of co-creation." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 181–96. http://dx.doi.org/10.1386/cjcs_00026_1.

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What is at stake if the recent past and social atrocities are hidden by taboos? How can one break up established patterns of media making? How can ancient sociocultural infrastructures in combination with digital documentary promote campaigns to raise one’s voice and achieve social and political change? Taking The Quipu Project (2015) as a test-stone, we discuss the potential of documentary transmedia configurations to allow a hitherto silenced group of people in Peru to collaboratively tell their stories on-line and to promote action taking for justice on the ground. Bringing together Cizek’s notion of interventionist media making, Daniel’s concept of context-provision, Aston’s considerations on ‘emplaced interaction’ and the idea of co-creation, this contribution offers some propositions for a better understanding of emerging digital mutations in doing documentary and their potential for transformation, revisiting paradigms of collective wisdom and impact as well as a modified version of Gaventa’s power cube model.

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20

Takakura, Hiroki, and 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, no. 3 (February 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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21

Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.

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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.

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22

Gough-Brady, Catherine. "The methodology behind digital papers." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 179–87. http://dx.doi.org/10.33178/alpha.17.12.

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In 2015 Ross Gibson wrote about the need in the academy for “linguistic explication” of the artwork and creative process, in particular to encourage debate on knowledge that arises from the work. I began my creative practice PhD after spending twenty years as a successful documentary practitioner. When it was time to start writing about my research and the new knowledge, instead of using text I turned to the audiovisual medium as my method of communication. I created “Filming” (2017), which combines the theory-rich mode of academic papers with the audio-visual form of my art, documentary. I called it a “digital paper”. The digital paper form has become an integral part of my PhD. This hybrid creative practice uses my artform medium as my method of communicating Gibson’s “linguistic explication”, rather than using text alone. This report will locate the digital paper within my PhD practice.

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23

Fallon, K. "Archives analog and digital: Errol Morris and documentary film in the digital age." Screen 54, no. 1 (March 1, 2013): 20–43. http://dx.doi.org/10.1093/screen/hjs067.

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24

Lemon, Barbara, Kerry Blinco, and Brendan Somes. "Building NED: Open Access to Australia’s Digital Documentary Heritage." Publications 8, no. 2 (April 8, 2020): 19. http://dx.doi.org/10.3390/publications8020019.

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This article charts the development of Australia’s national edeposit service (NED), from concept to reality. A world-first collaboration between the national, state and territory libraries of Australia, NED was launched in 2019 and transformed our approach to legal deposits in Australia. NED is more than a repository, operating as a national online service for depositing, preserving and accessing Australian electronic publications, with benefits to publishers, libraries and the public alike. This article explains what makes NED unique in the context of global research repository infrastructure, outlining the ways in which NED member libraries worked to balance user needs with technological capacity and the variations within nine sets of legal deposit legislation.

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25

Kara, Selmin. "Rebels without regret: documentary artivism in the digital age." Studies in Documentary Film 9, no. 1 (January 2, 2015): 42–54. http://dx.doi.org/10.1080/17503280.2014.1002250.

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Damiani, Concetta. "Certification and preservation of artworks in digital environments." JLIS.it 13, no. 2 (May 5, 2022): 189–202. http://dx.doi.org/10.36253/jlis.it-467.

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Reflecting about the documentary heritage of artists requires the consideration of archival, legal, historical-artistic and museological factors. If the analogue productions of artifacts and the correlated documentation have been studied, transferring the creative perspective into a digital environment asks to face a reality in turmoil: the ways of expressing and representing contemporary art, in balance between digital and crypto art, require new visions in the production and management of works. In this redefinition of roles and relationships, which almost exclusively concern the documentary structure and the technological and digital components, document systems assume a primary role.

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KIM, Jihoon. "Forensic Architecture and the Work of Documentary in the Digital Age : Hybrid Activism, Documentary Uncertainty, Countervisuality." Journal of Contemporary Art Studies 23, no. 2 (December 31, 2019): 175–207. http://dx.doi.org/10.29330/jcas.2019.12.23.2.175.

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28

Yudhawasthi, Ciwuk Musiana. "Convergence Problems in Indonesia: An Overview from Communication Perpective." Khizanah al-Hikmah : Jurnal Ilmu Perpustakaan, Informasi, dan Kearsipan 10, no. 2 (October 31, 2022): 111–22. http://dx.doi.org/10.24252/kah/v10i2a1.

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Convergence occurs due to the storage of various knowledge sources in digital form. Unfortunately, in Indonesia, convergence has not yet become an option in providing knowledge services to the broader community on a massive scale. Although practitioners of documentary institutions have discussed this term frequently, they have not discussed how to carry out inter-institutional convergence. Convergence between documentary institutions is a common solution to improve accessibility, which is one way to increase the role of documentary institutions in the utilization and preservation of the nation's collective memory. In the digital era, convergence must be interpreted broadly, not just as a physical union but more on the unification of function, substance, and communication. Communication problems are indeed the main problem hindering GLAMS convergence in Indonesia. This paper describes the convergence of documentary institutions from a communication perspective and motivates to build a more open communication pattern between documentary institutions. The dominant problem that hinders GLAMS convergence in Indonesia lies in communication issues

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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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Benoit, Edward A. "Digital V-Mail and the 21st Century Soldier: Preliminary Findings from the Virtual Footlocker Project." Preservation, Digital Technology & Culture 46, no. 1 (April 28, 2017): 17–31. http://dx.doi.org/10.1515/pdtc-2017-0023.

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Abstract:Changes in technology challenge the preservation of personal military communication and documentary records. The Virtual Footlocker Project addresses this issue through the development of an open-source, cross-platform system or application for capturing and preserving the personal communication and documentary record of the modern soldier. This article discusses the preliminary findings of the project’s survey of veterans’ and active-duty personnel’s use of communication and documentary methods.

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Sasse, Elke, and Mathis Walter. "Images and voices from digital Africa." TATuP - Zeitschrift für Technikfolgenabschätzung in Theorie und Praxis 28, no. 2 (July 8, 2019): 48–49. http://dx.doi.org/10.14512/tatup.28.2.s48.

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For the film documentary “Digital Africa” Elke Sasse, together with her colleague Bettina Haasen, has journeyed through Kenya, Rwanda, Congo and Ghana. Elke Sasse spoke with Mathis Walter for TATuP about African implementations and usages of information and communications technology (ICT).

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32

Podara, Anna, Dimitrios Giomelakis, Constantinos Nicolaou, Maria Matsiola, and Rigas Kotsakis. "Digital Storytelling in Cultural Heritage: Audience Engagement in the Interactive Documentary New Life." Sustainability 13, no. 3 (January 23, 2021): 1193. http://dx.doi.org/10.3390/su13031193.

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This paper casts light on cultural heritage storytelling in the context of interactive documentary, a hybrid media genre that employs a full range of multimedia tools to document reality, provide sustainability of the production and successful engagement of the audience. The main research hypotheses are enclosed in the statements: (a) the interactive documentary is considered a valuable tool for the sustainability of cultural heritage and (b) digital approaches to documentary storytelling can provide a sustainable form of viewing during the years. Using the Greek interactive documentary (i-doc) NEW LIFE (2013) as a case study, the users’ engagement is evaluated by analyzing items from a seven-year database of web metrics. Specifically, we explore the adopted ways of the interactive documentary users to engage with the storytelling, the depth to which they were involved along with the most popular sections/traffic sources and finally, the differences between the first launch period and latest years were investigated. We concluded that interactivity affordances of this genre enhance the social dimension of cultural, while the key factors for sustainability are mainly (a) constant promotion with transmedia approach; (b) data-driven evaluation and reform; and (c) a good story that gathers relevant niches, with specific interest to the story.

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33

Irawanto, Budi, and Theresia Octastefani. "FILM DOKUMENTER SEBAGAI KATALIS PERUBAHAN SOSIAL: STUDI KASUS AMBON, ACEH DAN BALI." Jurnal Kawistara 9, no. 1 (May 1, 2019): 107. http://dx.doi.org/10.22146/kawistara.40986.

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Since democratization (Reformasi) in 1998, documentary films gradually evolve with their locus of production spreading across the Indonesian archipelago. With the spirit of democratization brought about by digital technology, film communities and civil organizations in outer islands of Java utilize digital documentary film to capture several pertinent socio-political issues and raise public and government attention and responses. Those issues are commonly overlooked by the local media and were never a part of local government’s policies. Based on our fieldwork conducted in three areas outside of the Java Island (Ambon, Aceh and Bali), where digital documentary filmmaking and civil organizations are active and vibrant, our study indicates that rather than simply producing documentaries, film communities or non-governmental organizations disseminated documentaries through public screenings to invite further engagement of audiences by discussing the film with authorities (policy makers) that were often invited in that event. In this article, we attempt to illuminate how documentary filmmaking allows the unseen and neglected issues to be articulated visually and sonically. Therefore, it would be compelling public or media attention and encouraging further government policy to resolve that matters. In other words, documentary films are a catalyst for social change by taking their roles as witness for the public and demanding responsibilities of the political authority.

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Fonseca Gomes, Aline, Anna Paula Oliveira Silva, Ellianjose Marifranhcis Silva Junqueira Ayres, Jucinara Reis Nunes dos Anjos, and Raphael Fonseca Gomes. "Digital Humanities." International Journal for Innovation Education and Research 10, no. 9 (September 1, 2022): 411–17. http://dx.doi.org/10.31686/ijier.vol10.iss9.3937.

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This work deals with the use of digital tools for the production of knowledge, based on the central theme of Digital Humanities, having been outlined based on experiences lived in the Law course of a Higher Education Institution in Feira de Santana, Bahia, Brazil. The focus is to identify how the use of digital tools can contribute to the production of knowledge. For this, descriptive, exploratory, bibliographic and documentary research of a qualitative nature was carried out, based on the report of experiences lived in the period from 2019 to 2022, in a higher course offered in a hybrid format. With the research, it was possible to demonstrate the importance of using digital tools as strategies for the production of knowledge.

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Smith, David I., and Kara Sevensma. "Discernment, technology, and digital citizenship in a Christian school system." International Journal of Christianity & Education 24, no. 2 (August 19, 2019): 135–52. http://dx.doi.org/10.1177/2056997119868248.

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Using a qualitative analysis of school artifacts, this article analyzes the documentary record of one Christian school system’s experience with technological change. It focuses on documentary evidence for how the concept of Christian discernment was deployed to situate new technologies within a Christian discourse. The idea of discernment shifted in emphasis as new technologies were implemented. The theologically rooted concept of discernment both shaped and was shaped by the ongoing effort to manage technological change. Examining this evolution offers an empirical contribution to discussions of how Christian schools can sustain an integrity of fit between faith and practice.

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Petrarca, Diana M., and Janette M. Hughes. "Mobilizing Knowledge via Documentary Filmmaking — Is the Academy Ready?" Articles 49, no. 3 (October 8, 2015): 561–82. http://dx.doi.org/10.7202/1033547ar.

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The predominant form of research dissemination resides in the scholar’s domain, namely academic conferences and peer-reviewed journals. This paper describes how two colleagues and researchers integrated documentary filmmaking with research methods in their respective scholarly work, supporting the case for documentary film as an alternative form of scholarly work and knowledge mobilization outside the walls of the university. The authors add to the ongoing conversation for a more dynamic use of digital video-recording that moves beyond simple data collection and encourage researchers to tap into multimodal forms of expression, specifically digital filmmaking.

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Jany, Berit. "Beyond the Essay: Digital Documentary Productions in German-Americana Courses." Yearbook of German-American Studies 52 (July 20, 2022): 169–82. http://dx.doi.org/10.17161/ygas.v52i.18305.

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Barakhnin, V. B., and A. M. Fedotov. "Building models of documentary and factographic retrieval in digital libraries." Automatic Documentation and Mathematical Linguistics 48, no. 6 (November 2014): 296–304. http://dx.doi.org/10.3103/s0005105514060041.

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Fan, Weikun. "Interactive Documentary as Form of Public Narrative in Digital Age." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 62–75. http://dx.doi.org/10.32920/ifmj.v2i1.1506.

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This paper examines how migration crises in North America are represented in two award-winning interactive documentary projects—Borderland and Roxham. Through various combinations of images, texts, video, surface designs and visual presentation, those two both portray detailed stories and imply critical point of views. Based on reflection on interactivity, hypertextuality, multimediality that afforded by digital technology, this project is guided by the main research question: how do features of interactive documentary enable this non-linear storytelling structure to be a new form of public narrative? With the analysis of Borderland and Roxham as case studies, remixes of multimedia visual elements, narrative structures, contributions from users and variation in user’s narrative routes are also discussed within sub-questions: how does the story of individual open emotional dialogue in those two projects? In what way users can experience the shared values through emotion that may lead to moral choice? Two projects are analyzed by Multimodal Critical Discourse Analysis to evaluate the structure of stories and interactivity constructed by moving images, perspectives, and storytelling. By tapping into the interlocking plots and the power of narrative, I argue that interactive documentary forms a unique public narrative when tackling social issues, allowing self-experience to intertwine with collective experience, and let individuals meet in this temporal public sphere through authorial expressivity, narrative routes and interactive participatory.

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Joo, Hyoung-Il. "Documentary Photography in the Digital Age : from Representation to Performance." Journal of Aesthetics & Science of Art 57 (June 30, 2019): 183–214. http://dx.doi.org/10.17527/jasa.57.0.07.

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Jang, Kyeong-Su, and Soon-Mi Lee. "Analysis of Digital Video with a Focus on the Documentary." Journal of the convergence on culture technology 2, no. 2 (May 31, 2016): 23–27. http://dx.doi.org/10.17703/jcct.2016.2.2.23.

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Hassan, Feroz. "Jennifer Malkowski, Dying in Full Detail: Mortality and Digital Documentary." Screen 59, no. 2 (2018): 276–78. http://dx.doi.org/10.1093/screen/hjy024.

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Tess Takahashi. "Data Visualization as Documentary Form: The Murmur of Digital Magnitude." Discourse 39, no. 3 (2017): 376. http://dx.doi.org/10.13110/discourse.39.3.0376.

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Hight, Craig. "Primetime digital documentary animation: the photographic and graphic within play." Studies in Documentary Film 2, no. 1 (March 28, 2008): 9–31. http://dx.doi.org/10.1386/sdf.2.1.9_1.

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Canella, Gino. "Social movement documentary practices: digital storytelling, social media and organizing." Digital Creativity 28, no. 1 (January 2, 2017): 24–37. http://dx.doi.org/10.1080/14626268.2017.1289227.

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Pytash, Kristine, Todd Hawley, and Kate Morgan. "Composing identities: using digital documentary shorts to explore social issues." Social Studies Research and Practice 13, no. 3 (November 19, 2018): 313–29. http://dx.doi.org/10.1108/ssrp-02-2018-0008.

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PurposeThe purpose of this paper is to explore the potential of using digital shorts (Pytash et al., 2017) focusing on social issues in social studies classrooms.Design/methodology/approachQualitative case study is used in this study.FindingsDigital shorts focused on important social issues, and included their beliefs and perspectives about their social issue, as well as insights into their developing identities as citizens. The authors’ findings demonstrate how this assignment can be the gateway for discussions regarding social issues, how students perceive their identities tied to contemporary social issues, and how they make sense of these issues within multimodal compositions.Research limitations/implicationsThe findings from this research have implications for researching the effectiveness of digital media production analysis for students’ learning of social issues.Practical implicationsThe findings from this research have implications for exploring how digital media production analysis can be incorporated into social studies courses.Originality/valueAlthough the push for social studies teachers to provide spaces for students to demonstrate these capacities, few examples exist in the literature.

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Killing, Alison. "Building Digital Stories: Architecture and Cartography Meet Documentary and Journalism." Architectural Design 88, no. 5 (September 2018): 30–37. http://dx.doi.org/10.1002/ad.2339.

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Churilov, Alexey. "On the Question of Whether Digital Rights Should Be Introduced into the Civil Code." Legal Concept, no. 2 (July 2020): 105–9. http://dx.doi.org/10.15688/lc.jvolsu.2020.2.15.

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Introduction: on October 1, 2019, Article 141.1 “Digital rights” was introduced into the Civil Code by Federal law No. 34-FZ of 18.03.2019. Since January 1, 2020, the so-called utilitarian digital rights have been introduced into civil circulation. In connection with such significant changes in the objects of civil rights, there appears a need for a thorough analysis of innovations in terms of their feasibility and necessity. The tasks set by the author correspond to the goal of analyzing the legal regime of digital rights: to conduct a comparative analysis of securities, primarily non-documentary ones, and digital rights. Methods: the methodological framework for the research is a set of methods of scientific knowledge, among which the main ones are the methods of historicism, systematicity, analysis, and comparison. Results: the paper examines the category “digital rights” introduced in the Civil Code of the Russian Federation, as well as the special legislation regulating the utilitarian digital rights. The comparison of nondocumentary securities and utilitarian digital rights is made. The author studied the property rights that might be the content of digital rights, as well as the specifics of fixing digital rights in comparison with non-documentary securities, and the specifics of transferring digital rights from one person to another. A new non-documentary nonemissive security that mediates the circulation of digital rights – the digital certificate – is studied. Conclusions: the paper substantiates the inexpediency of introducing such an object of civil rights as digital rights into the Civil Code of the Russian Federation. The conclusion is made about the excessive complexity of the structure of digital rights and digital certificates, as well as the difficulties of using them for the investment purposes.

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Karima, Evia Rizqi, and Asep Ginanjar. "IMPLEMENTASI LITERASI DIGITAL MELALUI FILM DOKUMENTER DALAM PELAKSANAAN PEMBELAJARAN IPS (KELAS VII DI SMP NEGERI 2 GROGOL KABUPATEN SUKOHARJO)." Sosiolium: Jurnal Pembelajaran IPS 3, no. 2 (November 3, 2021): 118–24. http://dx.doi.org/10.15294/sosiolium.v3i2.47860.

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Tahap pembelajaran gerakan literasi sekolah mengintegrasikan literasi dengan proses belajar mengajar di seluruh mata pelajaran. SMP Negeri 2 Grogol menerapkan Gerakan literasi sekolah selama tiga tahun berjalan dan telah menguatkan literasi digital dalam pembelajaran. Metode penelitian yang digunakan adalah metode kualitatif. Hasil penelitian perencanaan dan pelaksanaan pembelajaran IPS literasi digital melalui film dokumenter SMP Negeri 2 Grogol baik, Evaluasi proses pelaksanaan pembelajaran IPS melalui film dokumenter, peserta didik sangat antusias dan aktif mengikuti pembelajaran di zoom. Kendala pelaksanaan pembelajaran IPS literasi digital melalui film dokumenter meliputi speaker laptop guru yang tidak bisa terhubung dengan zoom dan sinyal internet peserta didik yang hilang timbul. The learning stage of the school literacy movement integrates literacy with the teaching and learning process in all subjects. State junior High School of 2 Grogol has implemented the school literacy movement for three years and has strengthened digital literacy in learning. The research method used is a qualitative method. The results of the research on digital literacy social studies learning planning and implementation through documentary films at State Junior High School of 2 Grogol are good. Evaluation of the process of implementing social studies learning through documentary films, students are very enthusiastic and actively participate in learning in zoom. Obstacles in implementing digital literacy social studies learning through documentary films, include teacher laptop speakers that cannot be connected to the zoom, students' internet signals that disappear and arise.

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Scott-Stevenson, Julia. "Do as I say, not as I do: Documentary, data storytelling and digital privacy." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 301–13. http://dx.doi.org/10.1386/cjcs_00034_1.

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This article explores the intersections between interactive documentary and digital rights, across notions of surveillance, privacy and data. The collection of personal and sensitive data online increases exponentially, and individuals become a series of data points, only of relevance insofar as we are part of a larger group marked by similar characteristics. Yet somewhat contradictorily, we are also scrutinized completely. How might creative media production bridge this gap – recognizing our individual complexity while respecting rights to privacy? Documentary media offers one response – individual stories and voices can serve to flesh out a complex story while retaining links to a broader narrative. Interactive documentary, furthermore, can offer a reflexive form of storytelling that uses the very forms of technology in question to highlight the potential problems. This article presents case studies of interactive documentaries, exploring how the strategies of reflexivity and responsiveness can engender an understanding of issues of digital rights.

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