Relevant bibliographies by topics / Documentary film media

Academic literature on the topic 'Documentary film media'

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Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Documentary film media"

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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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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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Alexander Sardi, Syamswisna Syamswisna, and Titin Titin. "Feasibility of Submatery Documentary Film of Diversity Concepts, Types, Ecosystems Based on Nepenthes." Mangifera Edu 5, no. 2 (January 31, 2021): 78–92. http://dx.doi.org/10.31943/mangiferaedu.v5i2.93.

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This research aimed to know the Nepenthes plant species in the Nanga Nyabau forest, Kapuas Hulu Regency, and determine the feasibility of documentary film media as a learning media in the Submission of the Concept of Diversity in Genes, Types, and Ecosystems. This research was conducted through two stages. First, the Nepenthes inventory in the Nanga Nyabau Indigenous Forest, Kapuas Hulu District, then continued with the making and feasibility test of documentary films as learning media. The form of this research was descriptive. Sampling used a purposive sampling technique with the explored method. The documentary media was tested for feasibility by five validators. The validators are two lecturers of Biology Education Study Program FKIP Universitas Tanjugpura, one Biology teacher in class X of SMA Negeri 1 Putussibau, one Biology teacher in class X SMA Negeri 2 Putussibau, and one teacher of Biology in class X of SMAS Karya Budi Putussibau. Based on the results, there were five types of Nepenthes plants, namely Nepenthes bicalcarata, Nepenthes mirabilis var. echinostoma, Nepenthes rafflesiana Jack., Nepenthes reinwardtiana, and Nepenthes xneglecta. The CVI value of documentary film media was one and categorized valid to be used as a learning media
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Irawanto, Budi, and Theresia Octastefani. "FILM DOKUMENTER SEBAGAI KATALIS PERUBAHAN SOSIAL: STUDI KASUS AMBON, ACEH DAN BALI." Jurnal Kawistara 9, no. 1 (May 1, 2019): 107. http://dx.doi.org/10.22146/kawistara.40986.

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Since democratization (Reformasi) in 1998, documentary films gradually evolve with their locus of production spreading across the Indonesian archipelago. With the spirit of democratization brought about by digital technology, film communities and civil organizations in outer islands of Java utilize digital documentary film to capture several pertinent socio-political issues and raise public and government attention and responses. Those issues are commonly overlooked by the local media and were never a part of local government’s policies. Based on our fieldwork conducted in three areas outside of the Java Island (Ambon, Aceh and Bali), where digital documentary filmmaking and civil organizations are active and vibrant, our study indicates that rather than simply producing documentaries, film communities or non-governmental organizations disseminated documentaries through public screenings to invite further engagement of audiences by discussing the film with authorities (policy makers) that were often invited in that event. In this article, we attempt to illuminate how documentary filmmaking allows the unseen and neglected issues to be articulated visually and sonically. Therefore, it would be compelling public or media attention and encouraging further government policy to resolve that matters. In other words, documentary films are a catalyst for social change by taking their roles as witness for the public and demanding responsibilities of the political authority.
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Prananda, Moh Namiraz, Sarkadi Sarkadi, and Nurzengky Ibrahim. "Efektivitas Sumber Pembelajaran Sejarah." Jurnal Pendidikan Sejarah 7, no. 2 (July 31, 2018): 67–84. http://dx.doi.org/10.21009/jps.072.04.

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Abstrac: This study aims to describe the effectiveness of learning resources in history learning by using documentary films to foster interest in learning history and nationalism of students. This study uses descriptive qualitative methods. The time for this study began from March to July 2018. At SMAN 61 Jakarta and SMAN 103 Jakarta. Data collection techniques by observation, interviewing informants were students who took history learning with the documentary film media and key informants, subject teachers who used the Opinion expert documentary. This study describes some of the findings and discussion of the research, namely what the teacher's goal is to use the documentary, how students' interest in learning after watching the film and the film can foster student nationalism. The goal of the teacher to use documentary films as a medium is to help students make it easier to absorb the lessons that teachers convey. In terms of interest, students are more interested in learning history and learning independently. The film effectively fosters student nationalism. students better understand the meaning of Indonesian nationalism after doing the learning. Abstrak: Penelitian ini bertujuan untuk mendeskripsikan efektivitas sumber belajar pembelajaran sejarah dengan menggunakan film dokumenter untuk memupuk minat belajar sejarah dan nasionalisme siswa. Penelitian ini menggunakan metode deskriptif kualitati. Waktu penelitian ini dimulai dari maret sampai juli 2018. Di SMAN 61 Jakarta dan SMAN 103 Jakarta. Tehnik pengumpulan data dengan observasi, wawancara informan yaitu siswa yang mengikuti pembelajaran sejarah dengan media film dokumenter tersebut dan key informan, guru mata pelajaran yang menggunakan film dokumenter expert Opinion. Penelitian ini menjabarkan beberapa temuan dan pembahasan penelitian yaitu apa tujuan guru menggunakan film dokumenter tersebut, bagaimana minat belajar siswa setelah menonton film tersebut serta filmtersebut dapat memupuk nasionalisme siswa. tujuan guru menggunakan film dokumenter sebagai media adalah untuk membantu siswa agar lebih mudah untuk menyerap pelajaran yang guru sampaikan. Untuk segi minat, siswa lebih terterik belajar sejarah danbelajar secara mandiri. Film tersebut efektif memupuk nasionalisme siswa. siswa lebih mengerti makna dari nasionalisme Indonesia setelah melakukan pembelajaran tersebut.
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د. المعز حمودة علي حمودة. "الفيلم الوثائقي ودوره في الترويج للسياحة في السودان." Omdurman Islamic University Journal 33, no. 1 (June 27, 2021): 1–24. http://dx.doi.org/10.52981/oiuj.v33i1.773.

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This study explored the extent of documentary films’ effectiveness in introducing and promoting tourism in Sudan in which the film series Ard-AlSomur was taken as a case study. The basic premise was that documentary films which promoted tourism in Sudan had not been subjected toexistening professional and technical standards in television production process; many questions were presented, however, the most important of which was the extent thatArd-AlSomur series’ had contributedto promoting and guiding tourists to sites and tourism landmarks in Sudan. The descriptive and case study approach was used for which a questionnaire and an interview were adopted as data collection tools. The study was divided into three sections: the first tackled the documentary film; the second was on tourism and media; and the third covered the field study’s procedures. A number of findings were reached, the most important of which are that: The Ard-alsumor films series have significantly contributed to the promotion of tourism in Sudan and that there are production weaknesses in documentaries that promote tourism in Sudan incompatible with theprofessional and artistic standards. Accordingly, the researcher recommends the conduction of more research to develop the area of documentary film industry in Sudan and to encourage investment in the media by engaging in the production of documentary films that promote tourism.
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Nenoliu, Tince Taela Margirita, Dawud Dawud, and Endah Tri Priyatni. "Penggunaan Media Film Dokumenter dalam Pengembangan Bahan Ajar Menulis Cerita Pendek untuk Siswa Kelas XI." Jurnal Pendidikan: Teori, Penelitian, dan Pengembangan 5, no. 9 (September 1, 2020): 1308. http://dx.doi.org/10.17977/jptpp.v5i9.14039.

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<div><table cellspacing="0" cellpadding="0" align="center"><tbody><tr><td align="left" valign="top"><p><strong>Abstract: </strong> Documentary film is one type of film in the form of actual, creative reports based on reality. Documentary films are films made based on facts not fiction or imagination so that documentaries portray the problems of real human life. Documentary film is used as a medium that is used as a reference for students in writing short stories, because documentaries tell stories about history and real life that occur in students' daily lives. The development of teaching materials starts from conventional to innovative that can help the learning process itself, especially for teachers to help students in the learning process to become interested and fun with a variety of diverse themes. Basically, the material compiled includes knowledge and skills and contains information, facts,<strong> </strong>concepts and learning objectives. Teaching material that has been compiled shows how to write short stories using documentary films as a source of inspiration.</p><p> </p></td></tr></tbody></table></div><strong>Abstrak: </strong> Film dokumenter merupakan salah satu jenis film berupa laporan aktual yang kreatif berdasarkan kenyataan. Film dokumenter merupakan film yang dibuat berdasarkan fakta bukan fiksi atau hasil imajinasi sehingga film dokumenter menggambarkan permasalahan kehidupan manusia yang nyata. Film dokumenter digunakan sebagai media yang dijadikan acuan siswa dalam menulis cerpen karena film dokumenter bercerita tentang sejarah dan kehidupan nyata yang terjadi dalam kehidupan sehari-hari siswa. Pengembangan bahan ajar berawal dari konvesional menuju inovatif yang dapat membantu proses pembelajaran itu sendiri, terutama bagi guru untuk membantu siswa dalam proses belajar agar menjadi tertarik dan menyenangkan dengan berbagai tema yang beragam. Pada dasarnya, bahan yang disusun mencakup pengetahuan maupun keterampilan dan berisi informasi, fakta, konsep serta tujuan pembelajaran. Bahan ajar yang telah disusun menampilkan cara menulis cerpen dengan menggunakan film dokumenter sebagai sumber inspirasi.
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Ratmanto, Aan. "Beyond The Historiography: Film Dokumenter Sejarah Sebagai Alternatif Historiografi di Indonesia." SASDAYA: Gadjah Mada Journal of Humanities 2, no. 2 (June 24, 2018): 405. http://dx.doi.org/10.22146/sasdayajournal.36452.

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The Department of History, Faculty of Cultural Sciences, the University of Gadjah Mada in 2015 made a milestone in the development of historiography in Indonesia. They made a bold move to produce a scholar with a documentary film work instead of a thesis. In the future, it is not impossible that this step will soon be followed by other universities in Indonesia. This paper was written in response to these developments. In this digital era-and in the midst of still low interest in reading in Indonesia-emerged the discourse to seek new media for historiography in Indonesia. The film, especially documentary films are seen as new media that match the characteristics of history because of they both present real-life reality. Moreover, Indonesia with the diversity of tribes and culture and history, of course, save a variety of themes that will not run out to be appointed a documentary. Based on that, this paper will discuss the types, forms, and format of the documentary that is suitable and possible to be produced by history students as a substitute for thesis-considering the cost of film production tends to be higher than thesis research. Thus, the film of a documentary a college student, especially a history produces the quality of research and aestheticsKata
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Shaw, Gareth, and Xiaoling Zhang. "Cyberspace and gay rights in a digital China: Queer documentary filmmaking under state censorship." China Information 32, no. 2 (October 30, 2017): 270–92. http://dx.doi.org/10.1177/0920203x17734134.

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Owing to China’s austere censorship regulations on film media, directors of films and documentaries engaging with lesbian, gay, bisexual and transgender themes have struggled to bring their work to domestic attention. Working outside of the state-funded Chinese film industry has become necessary for these directors to commit their narratives to film, but without approval of China’s State Administration of Press, Publication, Radio, Film and Television, these artists have had little chance of achieving widespread domestic distribution of their work. However, advancements in new media technology and Web 2.0, ranging from digital video formats to Internet-based distribution via social media networks and video-hosting platforms, provide opportunities for Chinese audiences to access films and documentaries dealing with LGBT themes. This empirical study assesses how production, promotion and consumption of queer documentary films are influenced by the development of social media within Chinese cyberspace. Through close readings of microblogs from SinaWeibo, this study combines analysis of contemporary research with digital social rights activism to illustrate contemporary discourse regarding film-based LGBT representation in China. Finally, the study comments on the role that documentary filmmaking plays in China’s gay rights movement, and discusses the rewards (and challenges) associated with increased levels of visibility within society.
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Yasa, Desak Putu Yogi Antari Tirta, and I. Nyoman Payuyasa. "PEMANFAATAN FILM DOKUMENTER THE COVE SEBAGAI MEDIA KAMPANYE PENYELAMATAN LUMBA." Gorga : Jurnal Seni Rupa 8, no. 2 (December 22, 2019): 440. http://dx.doi.org/10.24114/gr.v8i2.16072.

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AbstrakFilm dokumenter merupakan sebuah film yang menyajikan fakta kepada penontonnya dan dapat menjadi sebuah media kampanye mengenai suatu permasalahan. Film The Cove menampilkan kekejaman industri penangkaran dan pertunjukkan lumba-lumba dari sudut pandang seorang aktivis bernama Richard O’ Barry. The Cove kemudian tidak hanya menjadi sebuah film dokumenter, tapi juga menjadi media kampanye untuk bergerak melawan kekejaman terhadap industri tersebut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dimana metode analisis data yang digunakan adalah metode kualitatif-interpretatif. Teori yang digunakan dalam penelitian ini adalah teori mengenai film dokumenter, genre dan gaya film dokumenter, unsur-unsur film dan teori komunikasi terkait dengan kampanye. Film The Cove menggunakan gaya participatory atau yang dikenal dengan istilah observasi partisipan. Gaya ini dapat membawa penonton merasa berada pada situasi yang sama dengan pembuat film sehingga dapat menimbulkan pengaruh yang kuat dalam diri penonton. Unsur-unsur dalam film The Cove terdiri dari unsur visual dan unsur verbal, dimana kedua unsur tersebut membangun satu kesatuan dalam film. Pemanfaatan The Cove sebagai media kampanye penyelamatan lumba-lumba mampu memberi dampak yang kuat di masyarakat berkat pemilihan gaya dokumenter serta pemanfaatan unsur visual dan verbal film yang tepat, sehingga pesan penyelamatan lumba-lumba dapat sampai kepada masyarakat.Kata Kunci: film dokumenter, media kampanye, cove.AbstractDocumentary film is a film that presents the facts to the audience and can be a media campaign about an issue. The Cove film shows the cruelty of the captivity industry and dolphin shows from the point of view of an activist named Richard O 'Barry. The Cove then not only became a documentary film, but also became a media campaign to move against cruelty to the industry. The method used in this study is a qualitative method, where the data analysis method used is a qualitative-interpretative method. The theory used in this study is the theory of documentary film, documentary film genre and style, elements of film and communication theory related to the campaign. The Cove film uses a participatory style, known as participant observation. This style can bring the audience to feel in the same situation as the filmmaker so that it can cause a strong influence in the audience. The elements in the film The Cove consist of visual elements and verbal elements, where the two elements build a unity in the film. Utilization of The Cove as a media campaign to save dolphins can have a strong impact on the community thanks to the selection of documentary styles and the use of appropriate visual and verbal elements of the film, so that the message of saving dolphins can reach the public.Keywords: documentary film, campaign media, cove.
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Dissertations / Theses on the topic "Documentary film media"

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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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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.

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Lange, Shara K. "The Documentary, “The Dressmakers,” & Film Screening." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3664.

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Lange, Shara K. "Opportunities for Engagement: Documentary & Public Health." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3656.

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Pichaske, Kristin. "Colour adjustment : race and representation in post-apartheid South African documentary." Doctoral thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8248.

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The goal of this dissertation is to examine the process of racial transformation within South Africa's documentary film industry and to assess how the nation's shifting identity is both influenced by and reflected in documentary film. Drawing examples from a diverse collection of local and international films, I have examined changes in who is making documentaries in South Africa and how, as well as the representations of race that result. In particular, I have focused on how the balance of insider vs. outsider storytelling may be shifting and to what effect. At the same time, I have qualitatively examined the representations produced by black/insider filmmakers as compared to those of white/outsider filmmakers in order to assess the impact of the filmmaker's racial status on outcomes. Finally, I have investigated ways in which the tradition of white-onblack storytelling must change in order to satisfy the political shift that has taken place in South Africa and the cultural sensitivities that have resulted.
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Lange, Shara K. "Documentary Production as a Way to Talk about and Engage with Community." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3657.

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Camillo, Seth Jordan. "The circus: a city symphony." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3437.

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In The Circus: A City Symphony, I took the visual notes and phrases I had collected and considered while traveling with Carson and Barnes Circus year after year and created tunes and themes, revealing through gestures rather than stating through words
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Hong, Jiachun. "DOCUMENTARY PRODUCTION AS A SITE OF STRUGGLE: STATE, CAPITAL, AND PRECARITY IN THE CONTEMPORARY CHINESE DOCUMENTARY." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1627.

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Documentary filmmakers have been considered artists, authors, or intellectuals, but rarely as labor. This study investigates how the nature of work as well as life is changing for those who work in the expanding area of TV documentary in China, in the midst of China’s shift towards a market-based economy. How do documentary makers reconcile their passion for documentary making with the increasingly precarious conditions of work? And, how do they cope with and resist the pressures of neoliberalism to survive in increasingly competitive local and global markets? Based on data gathered through the interviews with 40 practitioners from January 2014 to August 2017 and my own experience as a director and worker in the Chinese documentary for a decade, I outline the particularity and complexity of the creative work in China. My research indicates that short-time contracts, moonlighting, low payments and long working hours, freelancing, internship, and obligatory networking have become normal working conditions for cultural workers. Without copyright over their intellectual creations, cultural workers are constrained to make a living as waged labor, compelled to sell their physical and mental labor in hours or in pieces. Self-responsibility and entrepreneurism have become the symbols of the neoliberal individual. Following the career trajectories of my interviewees, I elaborate on the mechanisms by which cultural workers are selected, socialized and eliminated. When they decide to escape from the production line, they use four types of strategies: going international, surviving in the market, switching to new media career, and sticking to journalistic ideals. This dissertation also reveals that global production has intensified exploitation by increasing working hours through a 24/7 production line that works across national borders and time zones, amplifies competition by introducing global talent, and alienates local workers by imposing the so-called “universal” aesthetics of global production. The crisis of cultural work is the outcome of the incapacity of the neoliberal imagination to imagine plausible and feasible futures for sustained creative work. It is through my research into the history of documentary production in China and conversations with cultural workers that I found explanations for the increasing precarity of work and possible forms of resistance to it in post-socialist China.
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Watson, Ryan Grant. "Re-claiming the radical: documentary and video advocacy in the age of new media." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5677.

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This project interrogates the status of documentary film as an oppositional force and conduit for radical social and political change. The first two chapters examine the interconnected transnational history of the radical or "committed" documentary. This historical inquiry leads me to construct a set of parameters for how the radical documentary was defined and codified between 1926 and 1990. My investigation is particularly attuned to how documentary filmmakers in this tradition moved away from a didactic mode of address that sought to educate a state sanctioned "citizen subject." Instead, I argue that the radical documentary tradition grew out of the modernist avant-garde movement and activated a "revolutionary subject" in opposition to the state. To date, there have only been a handful of accounts locating post-1990s documentary practices within the domain of radical political concerns and the possibilities presented by the intersection of documentary and new media technology. The second part of the dissertation examines how such practices extend and challenge the aforementioned historical definitions while intervening in a diverse range of contexts. The final three chapters focus on an eclectic corpus of films and videos that include the work of the video advocacy organizations WITNESS and B'Tselem, student documentaries made in Iraq, and interactive documentary projects by new media artists Zohar Kfir and Sharon Daniel. I argue that these groups and artists create an "activist subject" that intervenes within specific social and political situations during wars, occupations, and cases of human rights abuses. Ultimately, I conclude that the radical power of documentary film lies not in and of itself as singular object of art or evidence, but in the discourses it engenders and within the discourses and contexts in which it is placed. In the increasingly post-digital age of new media, the study and practice of radical documentary demands a multi-faceted approach as well as an openness to expanding definitional boundaries of what a documentary is, how it functions, how it circulates, and how its impact is measured.
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Books on the topic "Documentary film media"

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A new history of documentary film. 2nd ed. New York, NY: Continuum, 2012.

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Aitken, Ian. Documentary film: Critical concepts in media and cultural studies. Abingdon, Oxon [England]: Routledge, 2012.

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Hoover, Dwight W. Middletown: The making of a documentary film series. Chur: Harwood Academic Publishers, 1992.

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Communicating ideas with film, video, and multimedia: A practical guide to information motion-media. Carbondale: Southern Illinois University Press, 2004.

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Nordic Anthropological Film Association. Conference, ed. Beyond the visual: Sound and image in ethnographic and documentary film. Højbjerg: Intervention Press, 2010.

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Creating the witness: Documenting genocide on film, video, and the Internet. Minneapolis: University of Minnesota Press, 2012.

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Chan, Felicia. Genre in Asian film and television: New approaches. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
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Genre in Asian film and television: New approaches. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2011.

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The AIDS movie: Representing a pandemic in film and television. New York: Haworth Press, 2000.

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Book chapters on the topic "Documentary film media"

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Roy, Carole. "Politics, Media, and Documentary Film Festivals." In Documentary Film Festivals, 1–13. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0_1.

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Hueth, Alan C. "Documentary." In Scriptwriting for Film, Television, and New Media, 311–39. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-12.

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Battaglia, Giulia. "Film festivals, small media and online networks." In Documentary Film in India, 159–77. New York : Routledge, 2017. | Series: Routledge contemporary South Asia series: Routledge, 2017. http://dx.doi.org/10.4324/9781315147727-7.

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Jones, Sara. "Documentary Film: Being Moved by Memory." In The Media of Testimony, 161–86. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137364043_7.

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Parham, John. "‘Eco-Cinema’: Art Film and Documentary." In Green Media and Popular Culture, 177–204. London: Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-00948-7_7.

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Battaglia, Giulia. "The Development of Documentary Film Festivals in India: A Small-Media Phenomenon." In Documentary Film Festivals Vol. 1, 221–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17320-3_14.

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Rony, Fatimah Tobing. "Transforming Documentary: Indonesian Women and Sexuality in the Film Pertaruhan [At Stake] (2008)." In Women and the Media in Asia, 159–76. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137024626_9.

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Iqani, Mehita. "New Yuppies? Documentary Film Representations of Middle-Class Consumer Lifestyles in China and South Africa." In Consumption, Media and the Global South, 87–120. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137390134_4.

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Trencsényi, Klára, and Vlad Naumescu. "Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking." In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.

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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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Xavier, Ismail. "Character Construction in Brazilian Documentary Films: Modern Cinema, Classical Narrative and Micro-Realism." In Realism and the Audiovisual Media, 210–23. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230246973_15.

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Conference papers on the topic "Documentary film media"

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Ling, Loh Yoke. "Media Literacy Of Sarawak Youth Towards The Official Documentary Film." In 7th International Conference on Communication and Media. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.06.02.6.

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Magal, Slavomir. "THEORY OF DOCUMENTARY FILM IN THE NEW MEDIA LANDSCAPE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/41/s16.034.

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Camellia, Kurnisar, and Edwin Nurdiansyah. "The Development of Documentary Film Media in Civics Education Subject." In 1st International Conference on Character Education (ICCE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210204.005.

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Perdana, Dionni Ditya. "Reception Analysis of Related Audience by Watching “Sexy Killers” the Documentary Film." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.009.

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Cirstea, Remus Petre. "The Fulldome Documentary Film In The Contemporary Media And Education Context." In Edu World 7th International Conference. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.05.02.119.

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Tanjung, Ida, Hidayat Hidayat, and Ika Sari. "Development of Documentary Film Media Based on Historical Sites in Maritime History." In Proceedings of the 2nd International Conference on Social Sciences and Interdisciplinary Studies (formerly ICCSSIS), ICCSIS 2019, 24-25 October 2019, Medan, North Sumatera, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.24-10-2019.2290626.

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Irfan Ismail, Anugrah, Ercilia Rini Octavia, and Ibnu Kuncorobroto. "Creative Strategy Of Documentary Films To Embrace College Students Viewers." In Proceedings of the 3rd International Conference on Creative Media, Design and Technology (REKA 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/reka-18.2018.70.

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Aszo´di, Attila, Bogda´n Yamaji, Judit Silye, and Tama´s Pa´zma´ndi. "Expedition to the 30-km Chernobyl Exclusion Zone and the Utilization of Its Experience in Education and Communication." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89510.

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Between May 28 – June 4, 2005, under the organization of the Hungarian Nuclear Society (HNS) and the Hungarian Young Generation Network (HYGN) — which operates within the framework of the HNS — a scientific expedition visited the Chernobyl Nuclear Power Plant and the surrounding exclusion zone. The participants were young Hungarian nuclear professionals supervised by more experienced experts. The main scientific goals of the expedition were the followings: • Get personal experiences in a direct way about the current status of the Chernobyl Power Plant and its surroundings, the contamination of the environment and about the doses. • Gather information about the state of the shut down power plant and the shelter built above the damaged 4th unit. • Training of young nuclear experts by performing on site measurements. The Hungarian expedition successfully achieved its objectives by performing wide-range of environmental and dosimetric measurements and collecting numerous biological and soil samples. Within the 30-km exclusion zone the influence of the accident occurred 20 years ago still could be measured clearly; however the level of the radioactivity is manageable in most places. The dosimetrical measurements showed that no considerable exposure occurred among the members of the expedition. The analysis of samples has been started at the International Chernobyl Center in Slavutich. During the expedition not only environmental sampling and in-situ measurements were carried out but it was also well documented with photos and video recordings for educational, training and PR purposes. A documentary TV film was recorded during the expedition. The first-hand knowledge acquired during the expedition helps the authentic communication of the accident and its present-day consequences, which is especially important in 2006, 20 years after the Chernobyl accident. Since Ukraine and Hungary are neighbor countries the media constantly discuss the accident, the consequences and the risks of using nuclear energy. In addition in November 2005 Hungary’s parliament approved plans to extend the lifetime of the country’s four-unit nuclear power plant. In order to have the crucial public support for nuclear energy it is very important to dispel unrealistic dismay and misbelieves regarding these questions. Thus it is extremely beneficial to have a film on this topic created by nuclear professionals especially for the public audience. In 2005 a book on the Chernobyl accident was published in Hungary that covers this expedition in a full chapter [2]. We plan to present the film to the audience of the conference.
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Miasnikova, Marina, and Alexandra Trukhina. "Character, Author, Viewer of Documentaries in the Public Space of New Media." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-54.

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Any screen message usually comprises three components: life drama in the form of a story about a real person as the character; the author’s intention to create an artistic world containing footprints of the creative personality and the author’s concept; and the viewer’s mindset regarding this world. Thus, a screen document is created by three participants of communication: character, author, viewer, though each of them differently manifests itself in turbulent conditions of ongoing media-transformations. Under the new direction named ‘real’, ‘actual’, ‘horizontal’ cinema, the documentary screen is increasingly featuring a new hero: a private, ‘simple’ person who is easy to watch with a lightweight digital camera, and who himself, blurring the line between the personal and the public, does not mind picking up the camera for the purpose of self-presentation. The author has an opportunity to demonstrate his films on new media platforms. And the viewer participates in the creation of interactive documentaries. Thus, the article covers the essential and functional changes taking place with characters, authors, and viewers of modern documentaries as an open system at their transition (alongside this movie type itself) from the existence within the framework of old, conventional media (big-screen cinema and television) to relevant media platforms (social media, new media, mobile devices, etc.).
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Berner, Elias. "Alle Menschen werden Brüder?! Ein historisches Dokument aus dem Nationalsozialismus in den sozialen Medien." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.110.

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This article deals with the recent emergence on social media of a particular kind of audiovisual sources from the time of National Socialism, namely extracts from a performance of the 9th Symphony that took place in 1942 at the ‘Berlin Philharmonie’ on Hitler‘s birthday. The concert was conducted by Wilhelm Furtwängler. In the footage, Joseph Goebbels can be seen in the applauding audience, before he congratulates the conductor with a handshake at the end of the concert. The material was filmed for propaganda purposes and used in a German News Reel in April 1942. Excerpts from the concert have, in varying lengths and usually without any context, been uploaded to YouTube by different users. This article examines these excerpts, revealing different layers of media within the collaged material. It then illustrates how the original propaganda material was also incorporated into documentary films after the war as part of a strategy to rehabilitate Furtwängler from his involvement with National Socialism. In the second part of the article, an analysis of user comments shows how the relationship between National Socialism, Furtwängler and the symbolism of the symphony is evaluated differently, and how these evaluations may be aligned with four political ideologies – each of which manifests a different understanding of the relationship between society and music.
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