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Relevant bibliographies by topics / Documentary film

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Journal articles
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Academic literature on the topic 'Documentary film'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Documentary film"

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Lieberman, Janice S. "Film Review: Documentary Films." Journal of the American Psychoanalytic Association 58, no. 4 (August 2010): 819–25. http://dx.doi.org/10.1177/0003065110379488.

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Przylipiak, Mirosław. "Defining documentary." Panoptikum, no. 29 (June 30, 2023): 11–38. http://dx.doi.org/10.26881/pan.2023.29.01.

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The aim of this paper is to define documentary film. After a brief review of existing definitions, the author proposes his own. The methods of working on the set and the textual features of the films are considered as distinguishing documentary filmmaking from other film genres. Issues such as the filmmakers’ interference with the filmed reality, the criteria for distinguishing between fictional and non-fictional elements, the admissibility of special effects, the specificity of editing, and the place of the documentary film among other nonfictional genres are considered. The final definition is confronted with the most recent genres of documentary cinema, namely the animated documentary, the mockumentary and the web-documentary.

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Li, Manxi, Wenqing Su, and Xinman Li. "New Documentary Film Seeks to Be “More Real”." Scientific and Social Research 3, no. 5 (November 5, 2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.

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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.

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Louw, Lieza. "Documentary film politics and the politics of documentary film." Communicare: Journal for Communication Studies in Africa 40, no. 1 (October 5, 2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.

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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice forthe mine workers by offering his personal reaction to the deaths of the 34 black men by interviewsand archival material. Miners Shot Down was received well locally and internationally, but as an overt political narrativepresented in a subjective reconstruction, some of the omissions may impact on a fuller understandingof the tragic event.tion. This finding prompted recommendations for entrepreneurs, policymakersand scholarship.

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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (May 17, 2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.

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Middleton, Jason. "Documentary Comedy." Media International Australia 104, no. 1 (August 2002): 55–66. http://dx.doi.org/10.1177/1329878x0210400108.

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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.

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Shestakova, I. V. "ALTAI DOCUMENTARY FILM TEXT." Culture and Text, no. 44 (2021): 116–28. http://dx.doi.org/10.37386/2305-4077-2021-1-116-128.

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The article defines the methodological principles of the analysis of a film text, considers the historical, thematic, genre dynamics of «Altai documentary film text». The author uses the concept of text proposed By V. Toporov and developed in the research of «local texts» using the methods of intertextual and intermediate analysis. The article traces the formation of symbolic constants in films about Altai that determine the status of the region in the Russian and foreign media space.

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

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

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Ribke, Nahuel. "Documentary Filmmakers as Characters." Projections 17, no. 3 (December 1, 2023): 64–82. http://dx.doi.org/10.3167/proj.2023.170304.

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Abstract Despite the increasing documentary filmmakers’ on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers’ on-screen presence and performance, making three central assumptions. First, documentary filmmakers’ on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in the film. Second, documentary filmmakers’ characters are generally shaped and constructed throughout the filmmakers’ careers, much like fiction film stars. Third and last, the salience of filmmakers as characters should be understood as the outcome of major cultural, technological, and economic shifts shaping and affecting the documentary film production patterns and stylistic devices.

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Loh, Yoke Ling, and Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (March 31, 2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.

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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.

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Dissertations / Theses on the topic "Documentary film"

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Lange, Shara K. "Documentary Film Engagement." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3651.

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Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

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Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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

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Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.

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Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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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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Rughani, Pratap. "Towards intercultural documentary." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7082/.

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‘Towards Intercultural Documentary’ is a PhD by Published Work that is comprised of four documentary films, an exhibition catalogue essay and an academic book chapter to form a collective body of work in film and text focused on what Rughani proposes as ‘intercultural documentary practice’. This body of work configures ‘intercultural documentary practice’ as a space or arena in which people of radically different perspectives encounter the other.1 Intercultural documentary aspires to create pluralised spaces of exchange by engaging difference within and between communities. In this work, voices traditionally overlooked, excluded or edged to the cultural margins are re-framed to find a new centrality in a broader encounter, more accurately reflecting the diverse influences that comprise polyglot societies. In the United Kingdom (UK) context, three submitted films, broadcast to peak-time audiences on BBC 2 and Channel 4, stood in contradistinction to mainstream narratives that typically portrayed British experience as largely monocultural and homogeneous. The contribution to knowledge of this thesis is in deepening and extending the dynamics of documentary practice to embrace intercultural communication and to weld this to the ethics of documentary making. In so doing, this body of work situates ethics as central to the documentary encounter and offers new practice-based insights into navigating tensions in the process of making such work and its methodologies. ‘Towards Intercultural Documentary’ presents a case for the coherence of the body of work that makes a contribution to knowledge at the inter-disciplinary confluence of: documentary studies and practice, ethics and intercultural communication. The submission comprises: Islam and the Temple of’ ‘Ilm’ (BBC 2, 1990); One of the Family (Channel 4, 2000); Playing Model Soldiers (Channel 4, 2000); Glass Houses (British Council, 2004); the exhibition catalogue essay British Homeland in Home (British Council, 2004) and the book chapter ‘Are You a Vulture? Reflecting on the ethics and aesthetics of coverage of atrocity and its aftermath, in Peace Journalism (Peter Lang, 2010).

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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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Books on the topic "Documentary film"

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Roy, Carole. Documentary Film Festivals. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0.

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Winston, Brian, ed. The Documentary Film Book. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1.

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Kaneko, Yū. Dokyumentarī eigajutsu: Documentary film. Tōkyō-to Chiyoda-ku: Ronsōsha, 2017.

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Brylla, Catalin, and Mette Kramer, eds. Cognitive Theory and Documentary Film. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3.

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Vallejo, Aida, and Ezra Winton, eds. Documentary Film Festivals Vol. 1. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17320-3.

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Vallejo, Aida, and Ezra Winton, eds. Documentary Film Festivals Vol. 2. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1.

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Ian, Aitken, ed. Encyclopedia of the documentary film. New York: Routledge, 2005.

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Loh-Hagan, Virginia. Documentary Film. Cherry Lake Publishing, 2017.

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Loh-Hagan, Virginia. Documentary Film. Cherry Lake Publishing, 2017.

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Loh-Hagan, Virginia. Documentary Film. Cherry Lake Publishing, 2017.

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Book chapters on the topic "Documentary film"

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Hole, Kristin Lené, and Dijana Jelača. "Documentary." In Film Feminisms, 175–221. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-6.

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Rosenstone, Robert A. "Documentary." In History on Film/Film on History, 62–77. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-5.

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Rosenstone, Robert A. "Documentary." In History on Film/Film on History, 81–100. 4th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377467-5.

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kydd, Elspeth. "Documentary Film." In The Critical Practice of Film, 63–82. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_4.

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Römhild, Ricardo. "Documentary Film." In Palgrave Studies in Education and the Environment, 143–212. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-44674-0_4.

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Dixon, Mark. "Documentary film." In Essential Revision for A Level Film Studies, 287–309. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-18.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Documentary film." In A Level Film Studies, 410–45. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-19.

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Piotrowska, Agnieszka. "Documentary film." In Psychoanalysis and Ethics in Documentary Film, 73–97. 2nd ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003320173-5.

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Chanan, Michael. "Music, Documentary, Music Documentary." In The Documentary Film Book, 337–44. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_38.

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Grant, Barry Keith. "The Documentary Film." In Film Genre, 197–224. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003292623-11.

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Conference papers on the topic "Documentary film"

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Azqiya, Azkal, Irwan Sarbeni, Nenden Suryamanah Annisa, Dendy Kanaya, and Nela Aulia Nurliani. "“Lentera Asa” Documentary Film." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.012.

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Prasetyaningsih, Sandi, and Gretchen Coombs. "Continuity Editing in Documentary Film." In The International Conference on Applied Engineering. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0010351200270033.

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Prasetyaningsih, Sandi. "Creative Editing in Documentary Film." In The Second International Conference on Social, Economy, Education, and Humanity. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009121902650271.

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

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Iwasaki, Patsy. "Gathering the Story: Documentary Film Research and Data Collection." In – The Asian Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2021. http://dx.doi.org/10.22492/issn.2186-5906.2021.2.

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Jones, Katie Baker. "Mything in action: Fashion designers in documentary film." In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.11857.

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Magal, Slavomir. "Theory of Documentary Film in the Modern Age." In Annual International Conference on Journalism & Mass Communications (JMComm 2016). Global Science & Technology Forum (GSTF), 2016. http://dx.doi.org/10.5176/2301-3710_jmcomm16.69.

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Azzahra, Shafira Yuna, Harry Thahjodiningrat, Naila Inas Zhafirah, Gebby Miranda, Dila Septiani, and Adhistie Thiara Zhafira. "Analyzing Grief in “Setelah Dia Pergi” Documentary Film." In 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.061.

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Рагимова, Фарида Сиражадиновна, and Денис Андреевич Фомин. "REPRESENTATION OF GLOBAL CHALLENGES IN DOCUMENTARY FILM DISCOURSE." In СЛОВО, ВЫСКАЗЫВАНИЕ, ТЕКСТ В КОГНИТИВНОМ, ПРАГМАТИЧЕСКОМ И КУЛЬТУРОЛОГИЧЕСКОМ АСПЕКТАХ. Челябинск: Челябинский государственный университет, 2022. http://dx.doi.org/10.47475/9785727118047_99.

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Bartindale, Tom, Guy Schofield, and Peter Wright. "Scaffolding Community Documentary Film Making using Commissioning Templates." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2858036.2858102.

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Reports on the topic "Documentary film"

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Rhee, Jongeun. Exploring the Impact of a Documentary Film on Young Consumers' Understanding of Sustainable Apparel Consumption and Behavioral Changes. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1558.

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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, May 2014. http://dx.doi.org/10.5783/rirp-7-2013-02-05-24.

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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, May 2014. http://dx.doi.org/10.5783/rirp-7-2014-02-05-24.

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Rangiwai, Byron, Marcel Croul, Allanna Goldsmith, Manaaki Fletcher, and Atareta Moses. Using Kaupapa Māori Research to Inform Practice. Unitec ePress, October 2023. http://dx.doi.org/10.34074/ocds.104.

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Abstract:

This paper explores the profound connections between Kaupapa Māori research and practice through the reflections of Māori practitioners. As part of a Kaupapa Māori research internship funded by Te Whatu Ora, hosted at Ngā Wai a Te Tūī, and co-led by Dr Hinekura Smith and Associate Professor Byron Rangiwai, this paper presents the perspectives of four Māori practitioners. Marcel Croul (Ngāti Tamaterā) discusses his film-editing practice in the context of a collaboration with Dr Hinekura Smith to create a short documentary on the wahine-led practice of whatuora. Allana Goldsmith (Ngāti Porou, Ngāi Tai) explores her jazz-singing practice, combining jazz music with a Māori worldview. Manaaki Fletcher (Ngāti Awa, Ngāi Tūhoe) examines the connection between Kaupapa Māori research and kapa haka, and discovers that kapa haka may be understood as a manifestation of Kaupapa Māori research. Atareta Moses (Ngāti Awa, Ngāi Tūhoe) investigates the intersections and opportunities concerning Kaupapa Māori and human-resource management.

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Documentary films: representing youth street groups through visual ethnography. Universitat Pompeu Fabra, 2023. http://dx.doi.org/10.31009/transgang.2023.fr06.

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