Relevant bibliographies by topics / Documentary ethics

Academic literature on the topic 'Documentary ethics'

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

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Journal articles on the topic "Documentary ethics"

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Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)." Academic Journal of Research and Scientific Publishing 4, no. 41 (September 5, 2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.

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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.
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Nash, Kate. "Documentary-for-the-Other: Relationships, Ethics and (Observational) Documentary." Journal of Mass Media Ethics 26, no. 3 (July 20, 2011): 224–39. http://dx.doi.org/10.1080/08900523.2011.581971.

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Rangan, Pooja, Brett Story, and Paige Sarlin. "Humanitarian Ethics and Documentary Politics." Camera Obscura: Feminism, Culture, and Media Studies 33, no. 2 (2018): 197–207. http://dx.doi.org/10.1215/02705346-6923166.

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Frohmann, Bernd. "Documentary ethics, ontology, and politics." Archival Science 8, no. 3 (September 2008): 165–80. http://dx.doi.org/10.1007/s10502-008-9073-y.

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MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening." Music, Sound, and the Moving Image 15, no. 1 (July 1, 2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.
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Loewy, Monika. "Psychoanalysis and Ethics in Documentary Film." International Journal of Psychoanalysis 97, no. 1 (February 2016): 225–28. http://dx.doi.org/10.1111/1745-8315.12300.

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Bayley, Nicholas. "Psychoanalysis and ethics in documentary film." European Journal of Psychotherapy & Counselling 16, no. 3 (June 23, 2014): 288–90. http://dx.doi.org/10.1080/13642537.2014.929261.

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Eadie, Bruce. "Psychoanalysis and ethics in documentary film." New Review of Film and Television Studies 15, no. 3 (August 10, 2016): 381–84. http://dx.doi.org/10.1080/17400309.2016.1219557.

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Ad-deen, Hafidh Shams. "The Ethics of Representation: Documentary Film and Islam." Khazar Journal of Humanities and Social Sciences 18, no. 3 (May 2015): 82–103. http://dx.doi.org/10.5782/2223-2621.2015.18.3.82.

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The great artistic potential of the documentary film photograph as well as the filmmakers’ intervention and manipulation impact viewers as well as interviewees to believe that the camera is able to capture a “real” moment in time. Both viewers and documentary subjects are exploited: the latter’s “informed consent” is not built on true, honest and clear relationship. That is, informing subjects, before camera proceeds, about the possible consequences of their participation is absent. For instance, interviewees know nothing of the overall goals of the project and have no idea about the intended audience. Consequently, both documentary subjects and the targeted audience are exploited, since many documentary filmmakers are not interested in approaching a ‘real’ image of something. Rather, documentary filmmakers’ use of sex, violence and controversial issues for sensational purposes is often produced under the guise of “education” or “investigation.” This paper attempts to trace the serious ethical issues in two American documentary films which represent Islam and Muslims. These documentary films are Steven Emerson’s Jihad in America (1994) and Wayne Kopping’s TheThird Jihad: Radical Islam’s Vision for America (2008).
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Ebberfeld, Peter. "Dokumentarfilmens etik: Mellem Den Hemmelige Krig med det hemmelige plot og Michael Moores satiriske dokumentarmassakre." K&K - Kultur og Klasse 36, no. 106 (March 22, 2009): 142–65. http://dx.doi.org/10.7146/kok.v36i106.22028.

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Ethics of Documentary Films: In Between the Secret Plot of Den Hemmelige Krig and Satirical Documentary- massacre by Michael Moore:In this article I focus on ethics, and the way it is usually interpreted in the context of documentary television – that is normative and aimed at creators. This way of thinking is illustrated in my setting out of Jan Foght Mikkelsen’s contribution to ethics of mediation, and in that respect I argue that the request for ethical sensitivity among creators of mass-mediated communication must be complemented with an offer of a recipient-oriented vocabulary. Audiovisual mass communication represents an asymmetric display of force between creator and recipient, and Mikkelsen’s ethics of mediation claims its purpose to be a protection of autonomy among media consumers. Thus my suggestion is to supplement the ethics of mediation by addressing the audience of the communication in an attempt to rectify the imbalance of forces.In my analysis of Christoffer Guldbrandsen´s documentary Den Hemmelige Krig I focus on how the narrative seeks to persuade its audience through narrative strategies and cinematic devices, and I thereby abstain from any kind of substantial evaluation of communication. Based on analytical impacts and some interpretations of this passage, I point out the importance of the nuanced attention to small details in classical authoritative documentaries.The main conclusion is that we need to develop a new vocabulary, which can provide media consumers with an approach to audiovisual documentaries making them aware of communicative aspects.
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Dissertations / Theses on the topic "Documentary ethics"

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Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film." Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.

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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.
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Schilt, Paige Eileen. "Fables of authority : ethics, power, and authenticity in contemporary documentary film /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Lingwood, James R. "Dancing in the Slaughterhouse: Negotiations Between Documentary Filmmaker and Subject." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/398875.

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Through the critical and in-depth investigation of the production of my feature documentary film Father Joe and the Bangkok Slaughterhouse (2008–2019), and the short film Through the Eyes of Children (2008–2019), this exegesis explores the roles that trust, morals, and ethics play in negotiations between a documentary filmmaker and their subject in regard to the subject’s on-screen representation. It further investigates how these factors, in turn, inculcate the theme, content, and outcome of documentaries. Through the Eyes of Children, filmed in Bangkok and Australia, is a thirteen minute film commissioned by Little Dot Studios, UK, and is to be considered as one of my key creative outputs as well as a proof-of-concept film for the longer feature documentary. The film is also part of the ten-year process of filming in and around the Mercy Centre and the slums of Bangkok. The feature documentary film, Father Joe and the Bangkok Slaughterhouse, although 75% shot, has not yet been completed. The process of attempting to produce this film constitutes a significant part of my research and reflection. Other key creative outputs include rough cut video clips, trailers and promos. The script/treatment written for this project is also part of my final creative output (see Appendix 1). In my view, the ever-increasing growth and insatiable appetite for confronting and sensationalised media content has arguably resulted in an exponential rise in more ethically critical material. Therefore, I believe it is timely to reflect on how documentary filmmakers are representing this material and the subjects involved. A lack of ethical awareness on the part of a documentary filmmaker can have significant and disastrous implications, such as a subject withdrawing from the project or taking legal action following the distribution of the film. The balance of power between the filmmaker and subject is complex and, in my case, has been evolving for over ten years. This longevity has reinforced and consolidated the relationship between my subject (Father Joe Maier) and I, creating a strong creative and symbiotic bond that has eased the filmmaking process and alleviated certain anxieties. The depiction of influential and iconic subjects can often lead to miscommunication, power struggles, and escalating conflict. In this exegesis, I investigate ways in which these problems can be avoided and resolved. Recognising and managing anxiety for both subject and filmmaker reduces possible situations of misunderstanding and potentially harmful consequences. Some of the questions that I reflect upon in this exegesis are: What roles do trust and friendship play in the process of establishing the filmmaker–subject relationship? How can tensions and anxieties between creative freedom and editorial control be best managed? What parameters are at a filmmaker’s disposal to avoid legal disputes? How do filmmakers reconcile moral and ethical decisions in the disclosure of confidential and sensitive information? How does the perception of power influence the creative and cultural decisions of the filmmaker? And, in my case, how do I transform from being a white ‘farang’ outsider in a Thai slum to having inner sanctum ‘insider’ status while maintaining an objective perspective?
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Blackall, David. "John Perceval an ethical representation of a delinquent angel /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050215.154037/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2004.
Typescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.
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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
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Melzer, Kym M. "Impact and Documentary Filmmaking: Ethical Reflections On A Practice Based Study." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/387285.

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In this exegesis I examine my creative project, a series of seven short documentary films entitled The Ripple Effect of PTSD (Melzer 2016a), and its impact on community, on the film participants, and on me as a filmmaker. The films document the experience of caregivers and family members of veterans with Post-Traumatic Stress Disorder (PTSD). The exegesis is framed by the literature on ethics and documentary film. In the first data chapter, I detail the work of building a community for my films, engaging with impact partners and producing a series of educational videos about PTSD. Also catalogued in this chapter is the success of the films. They were selected for film festivals, elicited positive feedback from the general public and were shared multiple times online. The following chapter discusses the impact of the creative project on the participants, highlighting their agency and empowerment as well as vulnerabilities. The discussion reveals the complex and multifaceted nature of power in documentary filmmaking. From impact on participants I move to consider the impact of the filmmaking process on me as a filmmaker drawing on the notions of ‘vicarious trauma’ and ‘emotion work/emotional labour’. I demonstrate that the fraught subject matter of the films, the distress of participants, and my novice status as a filmmaker exposed me to vicarious trauma. I further explain how different aspects of the filmmaking process, such as accessing and interviewing participants, and negotiating with the military, necessitated significant emotional labour. In the concluding chapter of the exegesis I highlight the key findings of research. Of particular importance is my illumination of the emotional dimensions of film production. I argue that quality documentary production requires significant emotional labour on behalf of a filmmaker, but the implications of this emotion work are rarely acknowledged in the literature. As such, I argue for the importance of expanding documentary filmmaking and ethics research to include a focus on the emotional health and wellbeing of the filmmaker.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.
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Jørgensen, Christine Sander. "Ethical Issues in Documentary Filmmaking - A Case Study of DR's Generation Hollywood." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22615.

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This thesis focus on ethical issues within documentary filmmaking in the largest broadcasting institution in Denmark. It is a case study of the documentary serial Generation Hollywood, produced by Danmarks Radio (DR) in 2016. DR has produced many documentaries, using same style and format as in Generation Hollywood. But something is different with this one, and the thesis aims to find out why this one stands out, from the presumption that ethical issues are involved. It examines the participants’ motives and expectations, DR’s intentions and how ethical issues affected the final product. In the attempt to understand the complexity of ethics, a small sample of interviews are conducted and analyzed and presented together with a partial content analysis. The notions of truth, authenticity, and representation are applied as the theoretical framework to understand: not merely ethical procedures, but underlying feelings possessed by the participants.The thesis brings to light that ethical issues are not only embedded in already established procedures but also caused by unforeseen circumstances and participants’ motives in relation to the project. The research shows how ethical issues affect the final representation, especially concerning authenticity. It also shows how a discrepancy between intentions and expectations, and the understanding of truth (in its start-up phase) impacts the process. Furthermore, it concludes that entertainment demands and modern technology can affect how filmmakers treat people when representing them and it explains how the line between the modern ‘everyday life’ documentary and Reality TV is seemingly blurred.
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Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

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Books on the topic "Documentary ethics"

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1942-, Kleinig John, and Zhang Yurong, eds. Professional law enforcement codes: A documentary collection. Westport, Conn: Greenwood Press, 1993.

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Hernández, Ramón Antonio Peláez. Manual para el manejo de la prueba con énfasis en el proceso disciplinario: Legislación, jurisprudencia, doctrina. 2nd ed. Bogotá, Colombia: Doctrina y Ley, 2009.

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Benjamin, Burton. Fair play: CBS, General Westmoreland, and how a television documentary went wrong. New York: Harper & Row, 1988.

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Stuart, Katz John, Ruby Jay, and Gross Larry P. 1942-, eds. Image ethics: The moral rights of subjects in photographs, film and television. New York, NY: Oxford University Press, 1988.

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1942-, Gross Larry P., Katz John Stuart, and Ruby Jay, eds. Image ethics: The moral rights of subjects in photographs, film, and television. New York: Oxford University Press, 1988.

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Coodley, Lauren. California: A multicultural documentary history. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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Spiller, Gustav. The ethical movement in Great Britain: A documentary history. London: Printed for the author at the Farleigh Press, 1991.

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Coodley, Lauren. California: A multicultural documentary history. Upper Saddle River, N.J: Pearson Prentice Hall, 2009.

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1934-, Dubofsky Melvyn, and McCartin Joseph Anthony, eds. American labor: A documentary collection. New York: Palgrave Macmillan, 2004.

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California: A multicultural documentary history. Upper Saddle River, NJ: Prentice Hall, 2009.

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Book chapters on the topic "Documentary ethics"

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Fox, Broderick. "Documentary Ethics." In Documentary Media, 145–80. 2nd edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315559438-5.

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Lester, Paul Martin. "Documentary Ethics." In Visual Ethics, 44–55. 2nd ed. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003243045-5.

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Rabiger, Michael, and Courtney Hermann. "Values and Ethics." In Directing the Documentary, 335–42. Seventh edition. | London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429280382-29.

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Yosef, Raz. "Documentary Reenactment and Ethics." In Contemporary Israeli Cinema, 39–62. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003259091-3.

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

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Rughani, Pratap. "‘The Dance of Documentary Ethics’." In The Documentary Film Book, 98–109. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_11.

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Wagner, Paul. "Creating a Documentary About Corporations: A Filmmaker’s Perspective." In Issues in Business Ethics, 427–35. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-72204-3_30.

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Diniz, Debora. "The House of the Dead—The Ethics and Aesthetics of Documentary." In Ethics and the Arts, 79–87. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8816-8_8.

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Dixon, Charlotte, and Helen Haste. "The Dialogic Witness: New Metaphors of Creative and Ethical Work in Documentary Photography." In The Ethics of Creativity, 232–49. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137333544_14.

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Mak, Monica. "The Visual Ethics of Using Children’s Drawings in the Documentary Unwanted Images." In Picturing Research, 77–88. Rotterdam: SensePublishers, 2011. http://dx.doi.org/10.1007/978-94-6091-596-3_6.

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Conference papers on the topic "Documentary ethics"

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

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Erich, Agnes Terezia. "The Importance Of Documentary Research For Defining The Future Career." In 2nd Central and Eastern European LUMEN International Conference - Multidimensional Education and Professional Development. Ethical Values. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.07.03.24.

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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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Ferreira, Vera, Leonore Lukschy, Buachut Watyam, Siripen Ungsitipoonpor, and Mandana Seyfeddinipur. "A Website Is a Website Is a Website: Why Trusted Repositories Are Needed More Than Ever." In International Workshop on Digital Language Archives. University of North Texas, 2021. http://dx.doi.org/10.12794/langarc1851176.

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Over the last two decades there has been a surge in activists, linguists, anthropologists, documenters digitally recording endangered language use. These unique records often are uploaded to corporate social media sites or to privately run websites. Despite popular belief, uploading these materials to a server does not mean they are archived and preserved for future generations. In this paper we discuss the differences between professional archiving systems and content management system (CMS) based approaches to making language materials accessible. Looking at the example of the Archive of Languages and Cultures of Ethnic Groups of Thailand we discuss the benefits of a Mukurtu based community website, and how linking it to a professional archive can ensure long-term preservation of precious and unique language materials.
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Nguyen Thi, Dung. "The World Miraculous Characters in Vietnamese Fairy Tales Aspect of Languages – Ethnic in Scene South East Asia Region." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-1.

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Like other genres of folk literature, fairy tales of Vietnamese ethnicity with miraculous character systems become strongly influenced by Southeast Asia’s historical-cultural region. Apart from being influenced by farming, Buddhism, Confucianism, urbanism, Vietnamese fairy tales are deeply influenced by ethno-linguistic elements. Consequently, fairy tales do not preserve their root identities, but shift and emerge over time. The study investigates and classifies the miraculous tales of peoples of Vietnam with strange characters (fairies, gods, Buddha, devils) in linguistic and ethnographic groups, and in high-to-low ratios. Here the study expands on, evaluates, correlates, and differentiates global miraculous characters, and describes influences of creation of miraculous characters in these fairy tales. The author affirms the value of this character system within the fairy tales, and develops conceptions of global aesthetic views. To conduct the research, the author applies statistical methods, documentary surveys, type comparison methods, systematic approaches, synthetic analysis methods, and interdisciplinary methods (cultural studies, ethnography, psychoanalysis). The author conducted a reading of and referring to the miraculous fairy tales of the peoples of Vietnam with strange characters. 250 fairy tales were selected from 32 ethnic groups of Vietnam, which have the most types of miraculous characters, classifying these according to respective language groups, through an ethnography. The author compares sources to determine characteristics of each miraculous character, and employs system methods to understand the components of characters. The author analyzes and evaluates the results based on the results of the survey and classification. Within the framework of the article, the author focuses on the following two issues; some general features of the geographical conditions and history of Vietnam in the context of Southeast Asia’s ancient and medieval periods were observed; a survey was conducted of results of virtual characters in the fairy tales of Vietnam from the perspective of language, yet accomplished through an ethnography. The results of the study indicate a calculation and quantification of magical characters in the fairy tales of Vietnamese. This study contributes to the field of Linguistic Anthropology in that it presents the first work to address the system of virtual characters in the fairy tales of Vietnam in terms of language, while it surveys different types of material, origins formed, and so forth.
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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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