Relevant bibliographies by topics / Documentary Director

Academic literature on the topic 'Documentary Director'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Documentary Director"

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Besschastnaya, A. M., and V. E. Gorshkova. "Documentary Film-Investigation: Manipulation or Impartiality?" Vestnik NSU. Series: History and Philology 18, no. 6 (2019): 92–103. http://dx.doi.org/10.25205/1818-7919-2019-18-6-92-103.

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Purpose. The television film “Ukraine. Revolution masks” (directed by Paul Moreira, France, 2016), which main genre characteristics are comparable to journalistic investigation, is analyzed as a part of a documentary film as a whole. Results. Various points of view on objectivity / subjectivity of documentaries authors are covered. Ambiguous critics and audience’s reaction to the designated film investigation is explained by the interpretation distinction of the last. Conclusion. The Dogme film objectivity principles in terms of the Danish director Lars von Trier being assumed as basic, it is proved that the aspiration to follow these principles doesn’t rid the director of some plugola manifested in the use of a number of manipulative strategies and also of the psychological bluff, which are common in mass media.
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Sturgis, Meshell, and Victoria Thomas. "Brownson, Laura (Director). The Rachel Divide [Documentary]." Women's Studies in Communication 43, no. 3 (July 2, 2020): 318–20. http://dx.doi.org/10.1080/07491409.2020.1803652.

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Hill, Annette. "Documentary imaginary: Production and audience research of The Act of Killing and The Look of Silence." European Journal of Cultural Studies 24, no. 4 (August 2021): 801–15. http://dx.doi.org/10.1177/13675494211033291.

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Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting the ways we imagine ourselves, the ways we know ourselves’. This research analyses the documentary films The Act of Killing (Director Oppenheimer, co-directors Christine Cynn and anonymous 2012) and The Look of Silence (director Oppenheimer 2014), and the documentary imaginary. The research combines normally separate sites of analysis in production and audience studies in order to understand the power of documentary and the spectrum of social stories we inhabit. The article asks: how do the films document and imagine fear and impunity in memories of the genocide, and how do audiences engage with this documentary imaginary? Particular focus is paid towards the endings of the two documentary films and how audiences in this study reflect on the absence of justice for the victims of the genocide. Through the empirical research, we take a journey with the director and his film making process, understanding the lengthy and complex filming for the two documentaries in Indonesia. The films signal Oppenheimer’s political and ethical commitment towards victim recognition, the possibility and impossibility of forgiveness, and the challenge of reconciliation between victims and perpetrators. The filmmaker’s journey is intertwined with the enactments of the genocide by the perpetrators in their own surreal ways of imagining themselves, and the experience of victims seeking recognition. Audiences become intertwined in these journeys, finding along the way a critically productive space for documentary and the imaginary.
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Brucher, Katherine. "Festa. Joe Sousa, director. Documentary Educational Resources, 2006." Journal of the Society for American Music 2, no. 4 (October 23, 2008): 597–99. http://dx.doi.org/10.1017/s1752196308081406.

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Mendonça, Rosiel, and Sérgio Braga. "Glauber Rocha descobre a Amazônia: discurso e representações sociais no documentário Amazonas, Amazonas." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 11 (September 27, 2021): 121. http://dx.doi.org/10.18542/arteriais.v6i11.11028.

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ResumoO artigo faz uma análise do discurso fílmico do documentário de curta-metragem Amazonas, Amazonas, dirigido pelo cineasta baiano Glauber Rocha entre os anos de 1965 e 1966. Para isso, recorremos a fontes documentais e bibliográficas no intuito de reconstituir a experiência do diretor na região e as condições sociais de produção do filme, buscando identificar que representações ele faz do Amazonas - e da região amazônica, em sentido mais amplo.AbstractThe article makes an analysis of the filmic discourse of the short documentary Amazonas, Amazonas, directed by Glauber Rocha between the years 1965 and 1966. For this, we used documentary and bibliographical sources in order to reconstitute the experience of the director in the region and the social conditions of production of the film. We also try to identify wich representations does the film make of Amazonas and the Amazon region.
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Gao, Zeyuan, and Lifan Deng. "The American Documentary Fahrenheit 9/11 under the Vision of Structural Anthropology." World Journal of Educational Research 5, no. 3 (August 15, 2018): 260. http://dx.doi.org/10.22158/wjer.v5n3p260.

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<p><em>This thesis starts from structural anthropology, combines some shooting methods of film-documentary, and conducts initial structural analysis to the documentary Fahrenheit 9/11, which was directed by Michael Moores and which won an award at Cannes International Film Festival. On the basis of confirming the effectiveness of the documentary, this thesis analyzes how the film director uses methods of shooting and organizing to criticize the series of domestic and diplomatic policies adopted after the September 11 attacks by the U.S. president G·W·Bush. </em></p>
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Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s." Journal of British Cinema and Television 18, no. 3 (July 2021): 329–59. http://dx.doi.org/10.3366/jbctv.2021.0577.

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This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.
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Stonys, Audrius. "CINEMATIC SHIFT FROM THE FRONT TO THE BACKGROUND. LANDSCAPE IN A POST WORD ERA." Culture Crossroads 14 (November 9, 2022): 63–69. http://dx.doi.org/10.55877/cc.vol14.91.

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With great honour to readers of “Culture Crossroads” we are offering an essay by outstanding Lithuanian documentary film director Audrius Stonys (1966), in which he shares reflections on spatial and temporal changes in documentary films within the historical context by fixating cinematic turns in elements of mise?en?scène, especially in the landscape representation. The author is looking more closely at what is happening in the front and back- ground of the documentary film “Ten Minutes Before the Flight of Icarus” (Dešimt minučių prieš Ikaro skrydį, 1990) directed by Arūnas Matelis (1961), a contempo- rary of Stonys. This particular film has been considered as a landmark which led to a shift towards a new era in Lithuanian documentary cinema.
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Lia Susanthi, Nyoman, Ni Kadek Dwiyani, and I. Kadek Puriartha. "Directing Of Documentary Bilingual “Lukisan Barong Gunarsa” In Exspository Style." Mudra Jurnal Seni Budaya 33, no. 3 (September 27, 2018): 345. http://dx.doi.org/10.31091/mudra.v33i3.522.

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Latha Mahosadhi Museum of ISI Denpasar is a memorial place for displaying art objects. But the function of the museum as a center of art information cannot be realized because the information provided is only verbal information and not specific. So that information media is created in museum, namely bilingual documentary film. One of the interesting a film to be researched is “Lukisan Barong Gunarsa” by Nyoman Lia Susanthi as a director. The aim of this study is to determine the process of creating a documentary film that shows the side of Gunarsa as famous person and secret element that have never been published before. Based on it, documentary bilingual can be applied to other 127 objects collection. The method used qualitative. The data were obtained through observation, interview, and literature study. The result of this study was the director observed in three roles, such as: a leader, an artist and a technical advisor. The pre-production, the director created in the form of production concept, technical concept and story line. The concept of film was expository style with television documentary format using narrator as a single speaker. The director as a leader directed the cameraperson in taking pictures. In editing, director was involved directly in the process of arranging the images. The resulting visual beauty cannot be separated from the director’s firmness that directed the taking of beauty shot. The director as a technical advisor was able to take over the role of cinematography, sound and editing.Museum Lata Mahosadhi ISI Denpasar adalah tempat pemajangan benda seni baik dari Bali maupun luar Bali. Namun fungsi museum sebagai pusat informasi seni belum bisa terwujud karena informasinya hanya berupa verbal dalam Bahasa Indonesia dan tidak spesifik. Untuk itu dilakukan penelitian terkait media informasi efektif untuk museum yaitu bilingual dokumenter menggunakan 2 bahasa (Indonesia-Inggris). Salah satu bilingual dokumenter yang menarik untuk dikaji adalah film berjudul “Lukisan Barong Gunarsa” karya Nyoman Lia Susanthi sebagai sutradara. Alasan memilih konten ini karena terdapat elemen rahasia yang belum dipublikasikan yaitu makna dan deskripsi lukisan. Dalam proses pembuatan film maestro berpulang, sehingga film ini benilai informasi tinggi. Tujuan dari penelitian adalah mengetahui penyutradaraan film dokumenter yang menunjukkan sisi intim orang terkenal yaitu Gunarsa. Dengan mengetahui penyutradaraan film ini, maka dapat juga diterapkan penciptaan bilingual dokumenter pada 127 benda koleksi museum. Metode yang digunakan untuk mengetahui manajemen produksi film adalah kualitatif. Data diperoleh melalui observasi, wawancara, dan studi pustaka. Hasil penelitian ini adalah sutradara dalam melahirkan film diamati dalam tiga peran yaitu sebagai pemimpin, seniman dan penasehat teknis. Saat pra produksi sutradara berperan besar melahirkan konsep penciptaan berupa konsep karya, teknis serta story line. Konsep karya menggunakan gaya exspository, format dokumenter televisi dengan narator sebagai penutur tunggal. Peran sutradara sebagai pemimpin yaitu mengarahkan kameramen dalam mengambil gambar sesuai tuntutan cerita. Tahapan editing sutradara terlibat dalam proses penyusunan gambar. Keindahan visual yang dihasilkan juga peran sutradara yang turut mengarahkan pengambilan beauty shot. Sutradara sebagai penasehat teknis mampu mengambil alih peran teknis dalam sinematografi, tata suara dan editing.
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Ak, Musa. "Bertolt Brecht’in Epik Tiyatrosu Üzerinden İnteraktif Belgesellere Bakmak." Etkileşim 4, no. 7 (April 2021): 170–89. http://dx.doi.org/10.32739/etkilesim.2021.7.123.

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In the 21st century, which is called the digital age, documentary cinema has undergone many changes in terms of both content and form. Apart from being a display medium, interfaces and screens have become spheres where the narrative is constructed. Thus, the production and viewing dimensions of documentary films have changed and traditional narrative documentaries have started to be replaced by interactive documentaries. In these documentaries, the director becomes the designer and the viewer becomes the participant/user. In this context, Walter Benjamin’s approach to epic theater, which he believes is compatible with new technical forms and is the culmination of technology, is the starting point of this study. Because especially since the early 1960s, Bertolt Brecht’s understanding of epic theater has influenced directors and shaped their understanding of filmmaking. The directors who wanted to make the audience feel that the images they see in a film were made with designed decorations, used Brecht's aesthetic understanding to destroy mimesis and break identification. In this context, Seven Digital Deadly Sins (2014), which is an example of an interactive documentary developed with new communication technologies and opens the door to different possibilities for the director and the audience, is evaluated through Bertolt Brecht's understanding of epic theater.
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Dissertations / Theses on the topic "Documentary Director"

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Largent, Julia E. "Documentary Dialogues: Establishing a Conceptual Framework for Analyzing Documentary Fandom-Filmmaker Social Media Interaction." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1497547704340843.

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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
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Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.
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Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.

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A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.
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Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.

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Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
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Zuber, Sharon Lynne. "Re-shaping documentary expectations: New Journalism and Direct Cinema." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623442.

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New Journalism and Direct Cinema reflect a unique conjoined moment in the evolution of nonfiction writing and filmmaking in the United States. I argue that these movements developed as a specific response to the shift from a modern to a postmodern aesthetic, a shift away from faith in a coherent reality at a historical moment, the 1960s. In an attempt to capture reality using new methods that would raise the status of nonfiction, writers and filmmakers in these movements call attention to process and "style." at first glance, these experiments with new styles appear radical; instead, New Journalism and Direct Cinema---in opposition to their "revolutionary" reputations---function to conserve traditional views of reality. Ultimately, I claim, their innovative narrative style and emphasis on process undermine their attempt to reinforce a correspondent relationship between print and film language and the "real" material world. However, the innovative methods of writers like Tom Wolfe and Truman Capote and filmmakers like Robert Drew, Albert and David Maysles, and Charlotte Zwerin sparked a discussion about genre, language, and representation that established specific expectations about nonfiction that continue to define documentary for readers and viewers into the twenty-first century.
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Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.

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No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to share with the reader the various intricacies of documentary filmmaking. The thesis also explores theoretical issues concerning collective memory, coping behavior, and the ethics of historical documentary filmmaking.
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Kilaru, Sunilrao Mohanrao M. ""Tales of My Cities"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.

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Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.
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Books on the topic "Documentary Director"

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Webster, Nicholas. How to sleep on a camel: Adventures of a documentary film director. Jefferson, N.C: McFarland & Co., 1997.

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Palmer, R. R., ed. The School of the French Revolution: A Documentary History of the College of Louis-le-Grand and its Director, Jean-Francois Champagne, 1762-1814. Princeton: Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400870639.

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The Mad Hot adventures of an unlikely documentary filmmaker. New York, NY: Hyperion, 2007.

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The documentary film makers handbook. New York, NY: Continuum International Publishing Group Inc., 2007.

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Documentary filmmakers handbook. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2011.

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Searle, Kochberg, ed. Introduction to documentary production. London: Wallflower, 2002.

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Documentary in the digital age. Oxford: Focal Press, 2006.

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Baker, Maxine. Documentary in the Digital Age. San Diego: Elsevier Science & Technology, 2010.

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The documentary moviemaking course: The starter guide to documentary filmmaking. London: Methuen Drama, 2010.

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Stubbs, Liz. Documentary filmmakers speak. New York, N.Y: Allworth Press, 2002.

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Book chapters on the topic "Documentary Director"

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Nash, Kate. "An Interview with Jigar Mehta, Director of Operations, Matter." In New Documentary Ecologies, 149–53. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310491_10.

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Nash, Kate. "An Interview with Ingrid Kopp, Director of Digital Initiatives Tribeca Film Institute." In New Documentary Ecologies, 124–28. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310491_8.

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Chadwick, Samara. "Building Networks: An Interview with Sandra J. Ruch, Director Emeritus of the International Documentary Association." In Documentary Film Festivals Vol. 2, 167–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_12.

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Dovey, Lindiwe. "Precarity and Resistance: An Interview with Pedro Pimenta, Founder-Director of Dockanema Documentary Film Festival (Mozambique)." In Documentary Film Festivals Vol. 2, 147–56. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_10.

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Mansouri, Hassouna. "Notes on Disenchantment: A Conversation with Amir Al-Emary, Former Director of the Ismailia International Film Festival for Documentaries and Shorts (Egypt)." In Documentary Film Festivals Vol. 2, 157–65. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_11.

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Pan, Sevara. "A Niche for Creativity: An Interview with Thierry Garrel, Director of the French Department of Documentary Film at TV ARTE (1991–2008)." In Documentary Film Festivals Vol. 2, 191–99. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_15.

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Vallejo, Aida. "Adapting to New Times: An Interview with Ernesto del Río, Director of the Zinebi International Documentary and Short Film Festival of Bilbao (2000–2017)." In Documentary Film Festivals Vol. 2, 137–45. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_9.

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Barotsi, Rosa. "Not Yet." In Errans, 75–92. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-24_3.

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Mafrouza is a twelve-hour-long documentary by French director Emanuelle Demoris, shot in a now-demolished neighbourhood in Alexandria, Egypt. Demoris is one of a long chain of western filmmakers who appeal to some form of ‘taking one’s time’ as an instrument for — morally, politically, epistemologically — adequate representation. Based on the work of Trinh T. Minh-ha, Eduard Glissant, and Poor Theory, this chapter evaluates what happens when a film adopts a strategy of deferral in cases in which it is not clear how questions of ‘doing justice’ could be resolved. Using long duration and an insistence on the quotidian, Demoris’s film forces us to think about the conditions that make pronouncements about character, situation, and narrative possible, continuously postponing the moment when it will become possible to say: ‘this film is about …’. By setting itself up for failure, the film proposes one possible approach to the ethics and politics of visibility.
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Hockenhull, Stella. "Women Directors and Documentary Cinema." In British Women Film Directors in the New Millennium, 59–108. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-48992-0_3.

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Beattie, Keith. "The Truth of the Matter: Cinéma Vérité and Direct Cinema." In Documentary Screens, 83–104. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-62803-8_6.

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Conference papers on the topic "Documentary Director"

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Olarescu, Dumitru. "Ethnological motifs in the non-fiction film." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.

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The possibilities of the documentary film to fix ethnological and ethnographic phenomena in all their audiovisual integrity contributed to the realization of this category of films right from the beginnings of non-fiction cinema. At the «Moldova-film» studio, despite the very vigilant ideological conditions of the totalitarian regime, especially when it came to the cultural heritage of the native people, our filmmakers released a series of films, dedicated to customs, rituals and traditions – important components of our national identity. This category of films has been talked about and written in some specialized studies. The cinematographic works “Trânta/Wrestling” (director Anatol Codru) and “Jocurile copilăriei noastre/The Games of our Childhood” (directors Vlad Druc, Mircea Chistrugă) serve as research topic for us. They are dedicated to popular sports games, which, besides being captivating manifestations that have survived through centuries until the present, are imposed in the context of national identity, but, through this prism, the respective works have not been researched yet.
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Coney, Shun, and Yasunobu Ito. "The production process of films from a relational perspective: A case study of independent films about Parkinson's disease in Japan." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002555.

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The purpose of this paper is to clarify how creativity is produced in filmmaking from a relational perspective. Creativity here refers to the fact that films that contain original ideas and evoke sympathy in the audience are not produced solely through the internal mechanisms of individuals, but rather as a result of the collective actions and activities of various people.In recent years, movies have moved beyond the confines of theaters, and infrastructures such as Amazon Prime and Netflix are rapidly expanding. Against this backdrop, independent Japanese films have been receiving high acclaim overseas. The so-called independent films are not films that come out with huge budgets and a fixed release destination like the major film systems, but films that are planned and produced by the filmmakers themselves without any financial resources. Independent films can have an impact on people despite the risk of completion and release, but their reputation is focused on the director and producer. For this reason, the relationship between actors other than the director and producer in filmmaking is not fully clarified.Filmmaking is a multi-layered and contingent creativity that is created through the long-term interaction of not only the director, producer, and cast, but also various other actors such as equipment, script, and location. While independent films allow for a greater degree of freedom in planning, they are also subject to complexities and volatility, such as difficulties in obtaining financing and differences in the image of the film among the staff, which can prevent the project from proceeding as planned at the outset.The subject of the study is Parkinson's disease (PD) patients and movies about it. PD is an intractable disease for which there is currently no curative treatment, and which causes progressive symptoms such as tremors in the limbs and stiffness in the muscles that interfere with daily life. In order to control the progression of the disease, it is said that regular exercise therapy and rehabilitation are essential, along with daily medication. The film will be produced with the cooperation of the PD Patients Association, which has 8,000 members, and will consist of two parts: a drama about the life of the main character who was diagnosed with PD in his 40s, and a documentary about several PD patients in their 30s to 60s. The research was conducted by one of the authors (a filmmaker) using ethnography: from December 2020 to November 2021, he conducted participant observation of the relationships between the actors involved in the project and the living conditions of the PD parties, and interviewed them. Based on these observations, we conducted a series of interviews. The PD parties who would become the informants and the filmmakers had numerous dialogues. As a result, their social and living environments were unraveled.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.

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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.
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Olărescu, Dumitru. "The Universe of the Book in Cinematographic Expression." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.08.

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Over the years, the book, as an object of spirit, has always been elevated to the rank of symbol, metaphor or even archetype. All these concepts about the book challenged many scientists, people of art and culture, including documentary filmmakers. In the cinematic discourse, thanks to its important components (image, soundtrack), the book obtains spatial dimensions, but also sound – a process, which deepens the ideational background, facilitates the assimilation and valorization of the book’s content. The film “The Light of the Book” (screenplay by Nicolae Dabija and Pavel Bălan, directed by Mircea Chistrugă, image by P. Bălan) about the fate, often dramatic, of many old books, and the film “Anastasie Crimca” (author Pavel Bălan), dedicated to the famous calligrapher and book miniaturist, Metropolitan Anastasie Crimca, will serve as arguments for these ideas. Thus, we will try to demonstrate the possibilities of documentary film in “bringing” home our old books, scattered for various reasons around the world, and their valorization as an important component of the spiritual heritage of the nation.
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Riera Retamero, Marina. "Touki Bouki: (des)encuadres políticos de la diáspora estética." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10292.

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La presente comunicación propone un acercamiento al filme Touki Bouki (1973) del director senegalés Djibril Diop Mambety, utilizando las siguientes figuras sensibles de la filosofía de Jacques Rancière como prisma epistémico: la fiction documentaire (Rancière, 2001); le régimen esthétique de l’art (Ibíd., 2011); la police, la politique et le politique (Ibíd., 2003). Así, esta investigación se propone explorar las temporalidades de una ficción documental (Rancière, 2001), que resalta una ambivalencia contrariada entre; por un lado, imágenes representacionales de un contexto post-Independencia o postcolonial (Césaire, 1950) en la ciudad de Dakar (Senegal); y por otro, la proclamación de una traslación de los espacios de la diáspora (Lao-Montes, 2007) hacia una «diaspora estética» (Peffer, 2013); a través de una puesta en escena que reensambla los recursos tácitos propios de las Nouvelle Vague con un dispositivo político y social de visibilidad (Rancière, 2001) que se sabe capaz de suspender la lógica historiográfica de la subalternidad colonial (Spivak, 1985). Asimismo, pensar el filme como una propuesta de desplazamiento hacia los márgenes «pasivos» del activismo político (Rancière, 2010). Un desplazamiento hacia prácticas no-discursivas, sino estéticas. Ya no son las imágenes documentales que pretenden dotar de «mayor realidad» (Sontag, 2003) a una situación determinada, propias de la militancia del Tercer Cine (Getino &amp; Solanas, 1969); sino, por el contrario, la correspondencia entre formas de identificación estéticas capaces de desactivar los dispositivos policiales (Rancière, 2003) y coloniales de las retóricas amo-esclavo (Han, 2005) / opresor-oprimido (Freire, 1968). Aquí, una consecución visual que oscila entre la acción política determinante y verosímil; y la vida sin razón, propia del arte estético (Rancière, 2001), que identifica formas emancipatorias basadas en la libertad del “no saber” (Mambety, 1999).
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Kovalchuk, T. A. "PROBLEMS OF FORMATION OF PROFESSIONAL COMPETENCES OF LIBRARY SPECIALISTS NECESSARY TO WORK WITH OBJECTS OF MUSEUM SIGNIFICANCE IN LIBRARIES." In БИБЛИОТЕКИ В ИНФОРМАЦИОННОМ ОБЩЕСТВЕ: СОХРАНЕНИЕ ТРАДИЦИЙ И РАЗВИТИЕ НОВЫХ ТЕХНОЛОГИЙ. ООО «Ковчег», 2020. http://dx.doi.org/10.47612/978-985-884-010-5-2020-268-277.

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The article outlines some problems of the formation of professional competencies of library specialists necessary for working with objects of museum significance in libraries. The analysed problems have been caused by absence in the curriculum for the specialty «1-23 01 11 Library and Information Activities (by specialties)» of disciplines directly aimed at the formation of the designated competencies. The article indicates the necessity of introduction into the educational process of an optional discipline «Organization and Technology of Work with Museum Collections of Libraries» at the Faculty of Information and Documentary Communications of the Educational Institution «Belarusian State University of Culture and Arts».
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Conway, A. P., M. D. Giess, A. Lynn, L. Ding, Y. M. Goh, C. A. McMahon, and W. J. Ion. "Holistic Engineering Design: A Combined Synchronous and Asynchronous Approach." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49340.

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To aid the creation and through-life support of large, complex engineering products, organizations are placing a greater emphasis on constructing complete and accurate records of design activities. Current documentary approaches are not sufficient to capture activities and decisions in their entirety and can lead to organizations revisiting and in some cases reworking design decisions in order to understand previous design episodes. Design activities are undertaken in a variety of modes; many of which are dichotomous, and thus each require separate documentary mechanisms to capture information in an efficient manner. It is possible to identify the modes of learning and transaction to describe whether an activity is aimed at increasing a level of understanding or whether it involves manipulating information to achieve a tangible task. The dichotomy of interest in this paper is that of synchronous and asynchronous working, where engineers may work alternately as part of a group or as individuals and where different forms of record are necessary to adequately capture the processes and rationale employed in each mode. This paper introduces complimentary approaches to achieving richer representations of design activities performed synchronously and asynchronously, and through the undertaking of a design based case study, highlights the benefit of each approach. The resulting records serve to provide a more complete depiction of activities undertaken, and provide positive direction for future co-development of the approaches.
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Pulla González, Jorge. "Walker Evans y Europa. La influencia de las vanguardias en el estilo documental norteamericano." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6740.

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Walker Evans (1903-1975) es una figura central de lo que se ha llamado el “estilo documental”, en especial por el papel que tuvo en el seno del proyecto emprendido por la Farm Security Administration durante los años treinta. Evans fue despedido de la FSA muy tempranamente, pero su trabajo constituye el núcleo del proyecto y la base del estilo documental norteamericano. A lo largo de esta comunicación indicaremos las fuentes europeas de las que este surgió, entre las que se encuentra la literatura y la fotografía del entorno de las vanguardias, en especial del surrealismo francés. Mostraremos cómo la fotografía de Evans surge en un medio totalmente europeo y bebe de dos fuentes completamente distintas: En primer lugar, está la literatura, especialmente la literatura francesa encarnada en dos figuras fundamentales: el poeta Baudelaire, del cual extraerá el espíritu propio del flâneur, y Flaubert, figura clave del realismo exacerbado. El método de Flaubert será incorporado por Evans de modo natural, como una prolongación involuntaria de su fracasada actividad literaria. Walker Evans estableció una estrecha relación con la literatura francesa de vanguardia a través de sus lecturas, primero, en la biblioteca universitaria del Williams College y, más tarde, durante sus tres años de trabajo en la New York Public Library. En estas instituciones leyó a Baudelaire, a Gide y al resto de los escritores franceses más innovadores. Esta relación se hizo más estrecha aún durante la larga estancia en París de la que disfrutó los años 1926-1927. Aunque la estancia en Francia no le reportó ningún beneficio a su casi inexistente prosa, su experiencia europea y el contacto con la vanguardia literaria que esta le procuró han de tenerse en cuenta a la hora de entender su desarrollo posterior como fotógrafo, hecho que la crítica norteamericana tiende a minusvalorar a la hora de analizar su obra, que prefiere entender como algo pura e intrínsecamente estadounidense. Pero, como veremos, Evans mismo desmiente este acercamiento a su trabajo. En 1927 regresa a los Estados Unidos, abandonando definitivamente la escritura. Cuando comienza a fotografiar, la atención a los objetos comunes y a lo ordinario presentes en la literatura de las vanguardias serán inmediatamente el origen de las listas de temas de su trabajo, centrado, en línea con Mac Orlan, Benjamin y el surrealismo, en “los desechos de lo cotidiano” y en los signos urbanos: la publicidad y las señales, los maniquíes… En segundo lugar, la fotografía, cuyos referentes más directos son Brady y, especialmente, el francés Atget, con cuya obra entabló contacto en ambientes muy influidos por el surrealismo. También asimiló estrategias de la fotografía constructivista soviética y alemana de vanguardia, especialmente en sus estudios de las potencialidades geométricas de las grandes estructuras arquitectónicas.
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Zoccoli, Michael J., and Kenneth P. Rusterholz. "An Update on the Development of the T407/GLC38 Modern Technology Gas Turbine Engine." In ASME 1992 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/92-gt-147.

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The T407/GLC38 is a modern technology 6000 SHP class turboshaft/turboprop gas turbine engine which is being developed jointly by Textron Lycoming (Stratford, Connecticut), General Electric Aircraft Engines (Lynn, Massachusetts), Bendix Controls (South Bend, Indiana), and Ruston Gas Turbines (Great Britain). The gas generator core for the T407/GLC38 engine series is also common to the CFE738, a new generation turbofan which is being developed by General Electric and the Garret Engine Division. The T407 (military)/GLC38 (commercial) is a derivative of the highly successful U.S. Army/GE27 MTDE engine which has been redesigned to meet commercial engine life standards. The design philosophy for this engine was directed at achieving high output power per unit airflow, reliability from reduced parts count, ease of maintenance via extensive modularity, and state-of-the-art SFC levels that are up to 25% below those of existing 5000–6000 SHP powerplants. The latter characteristic manifests itself in reduced life cycle and direct operating costs and (where applicable) tradeoff versatility amongst range, time on station, and payload increase. This paper is a continuation in a documentary series on the T407/GLC38 design and development. It traces the evolution of the T407/GLC38 program from First Engine to Test, wherein all thermodynamic and mechanical objectives were essentially achieved or exceeded, through full system turboprop evaluation, turbofan development testing, and qualification/certification testing completed to date. A comprehensive review of the test objectives, testing requirements, setup, and basic results are provided; in addition, the relevancy and impact of each phase of engine testing towards the goal of qualification/certification and ultimately production is provided.
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Cosenza, Federica. "I Casali e le Architetture della Campagna Romana nel Basso Medioevo. Realtà archeologica e fonti documentarie." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11462.

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The Casali and the Architectures of the Campagna Romana in the Late Middle Ages. Archeaological and archive sourcesThe territory of the Roman countryside in the Late Middle Ages was extended from the city of Rome to 40 miles in the Suburb, between the coasts of the Tyrrhenian Sea, the Albani Mountains, the Lepini Mountains and the course of the Tiber. In the twelfth century various events started in this territory which will greatly influence its appearance until today: the castra arise, as forms of aggregation of a territory enclosed by defensive elements; burgi and villae, small fortified centers; and the casali, special production farmhouses characterized by the presence of a tower and other defensive, residential and productive structures. The militarization of the landscape began for reasons partly linked to the general instability of the period. Despite the basic differentiations in the forms of the population as in the functionalities themselves entrusted to the circumscribed territory, the forms of the basic architecture remained the same: the tower, the walls, albeit in variety in terms of technique, magnificence and complexity. This research can be tackled thanks to a direct analysis of the architecture of the towers which characterize the Roman countryside, occasionally accompanied by other elements, like the walls. The results of this study can be compared with the information reported in medieval sources, in which a specific language is used to describe the architecture and the characteristics of every form of human anthropization. The analysis of the differences and affinities between these territorially structures and the comparison with the contemporary urban architectures, allows to recreate a general picture of the architecture in the Roman countryside in the Low Middle Ages.
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Reports on the topic "Documentary Director"

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Lubkovych, Igor. METHODS OF JOURNALISTIC COMMUNICATION. Ivan Franko National University of Lviv, March 2021. http://dx.doi.org/10.30970/vjo.2021.50.11096.

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