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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Sadegh-Vaziri, Persheng. "Iranian Documentary Film Culture: Cinema, Society, and Power 1997-2014." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/363567.
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Media & CommunicationPh.D.
Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant to their society. To focus this topic, my research explores media institutions, their filmmaking practices, and the strategies they use to produce and distribute their films. This research is important because it explores the inherent contradictions in the existence of a vibrant documentary film community in a country that is envisioned as uniformly closed and oppressive in the West. The research is also personally motivated, because I have close connections to the Iranian documentary film world, where I previously made films and produced television programs. I conduct the study with a multi-faceted approach, utilizing participant observation in the field in a four-month period, in-depth interviews with key players, personal reflections, and textual analysis of the films. I focus on about twenty filmmakers and their films, chosen from a pool of more than 500 documentary filmmakers, giving a cross section of this community based on their age, sex, and their professional history and success within Iran and internationally.
Temple University--Theses
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Zuber, Sharon Lynne. "Re-shaping documentary expectations: New Journalism and Direct Cinema." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623442.
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New Journalism and Direct Cinema reflect a unique conjoined moment in the evolution of nonfiction writing and filmmaking in the United States. I argue that these movements developed as a specific response to the shift from a modern to a postmodern aesthetic, a shift away from faith in a coherent reality at a historical moment, the 1960s. In an attempt to capture reality using new methods that would raise the status of nonfiction, writers and filmmakers in these movements call attention to process and "style." at first glance, these experiments with new styles appear radical; instead, New Journalism and Direct Cinema---in opposition to their "revolutionary" reputations---function to conserve traditional views of reality. Ultimately, I claim, their innovative narrative style and emphasis on process undermine their attempt to reinforce a correspondent relationship between print and film language and the "real" material world. However, the innovative methods of writers like Tom Wolfe and Truman Capote and filmmakers like Robert Drew, Albert and David Maysles, and Charlotte Zwerin sparked a discussion about genre, language, and representation that established specific expectations about nonfiction that continue to define documentary for readers and viewers into the twenty-first century.
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Largent, Julia E. "Documentary Dialogues: Establishing a Conceptual Framework for Analyzing Documentary Fandom-Filmmaker Social Media Interaction." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1497547704340843.
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Chen, Yeong-Rury, and na. "A fantasy China an investigation of the Huangmei Opera Film genre through the documentary film medium." Swinburne University of Technology, 2006. http://adt.lib.swin.edu.au./public/adt-VSWT20061009.132620.
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This doctoral research project intends to institute the study of the unique
and significant Huangmei Opera film genre by pioneering in making a
series of documentaries and writing an academic text. The combination
of a documentary series and academic writing not only explores the
relationship between the distinctive characteristics of the Huangmei Opera
film genre and its enduring popularity for its fans, but also advances a film
research mode grounded in practitioner research, where the activity of
filmmaking and the study of film theory support and reflect on each other.
The documentary series, which incorporates three interrelated subjects
- Classic Beauty: Le Di, Scenic Writing Director: Li Han Hsiang and
Brother Lian: Ling Po - explores the remarkable film careers of each figure
while discussing the social and cultural context in which they worked.
The section on Le Di introduces the subject of melodrama as a Chinese
tradition. The section on Li Han Hsiang discusses Li's film aesthetics and
his representation of a utopian Chinese world of the imagination. The final
section focuses on the popularity actor Ling Po gained through her roles of
male impersonation. All three topics provide an opportunity to rethink our
understanding of the social, political and cultural forces that contribute to
the genre, and to build an emotional connection between past and present
for the viewers. Meanwhile, by interviewing those surviving key figures
and assembling materials that have been lost, the documentary series not
only fulfils the needs of many fans, but also serves field studies in the area
by setting a direction in research and providing a valuable resource for
scholars involved in Chinese film and cultural studies. It is both accessible
to mainstream audiences and academically warranted.
As an adjunct to the documentary series, the written text explores
aspects of the same material in more depth through the use of structuralist
methodology, and psychoanalytic, auteur and genre theories. The text
combines these Western approaches with aspects of Chinese culture,
philosophy and aesthetic traditions, proposing links between Chinese
aesthetics and Western film theories that contribute new understandings
to both Chinese and Western film studies. On the other hand, because
these film theories were originally developed to study Western films, the
Chinese origins of the Huangmei Opera film genre may challenge existing
theoretical paradigms and so provide new interpretations. This doctoral
project also includes a complete report of all phases of the documentary
production and design process, and a unique, comprehensive filmography
of Huangmei Opera films, and as such supplies a research foundation
for both documentary filmmakers and academics who are interested in
studying the Huangmei Opera film genre further.
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Lange, Shara K. "Spotlight ETSU." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3660.
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Lange, Shara K. "Jeans & Djellabas." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3661.
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Lange, Shara K. "Guest Artist Talk." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/3652.
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Lange, Shara K. "Work Sticks." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3658.
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Lange, Shara K. "What Do We Do with our Bodies." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3659.
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Merilainen, Laura. "From Namibia with Love - the dissertation paper a reflective essay supporting the documentary film 'From Namibia with Love'. With special references from the director's and editor's perspective on making a politically sensitive documentary film." Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12001.
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This dissertation paper is a reflective essay supporting the documentary film From Namibia with Love (FNWL). The aim of this essay is to examine and analyse the production challenges, ethical considerations and the reconstruction of reality in the making of the film FNWL. The essay explores these issues from the director's and editor's point of view with special references to academics literature and different documentary films.
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Steinbach, Katherine. "Documentary adaptation: non-fiction transformations via cinema and television." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5643.
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Documentary and docudrama practices have expanded with increasingly convergent media. Cinema, television, and the web conspire to create new vehicles of information and entertainment. Footage is manipulated, reenacted, and narratively altered for viewers who must negotiate flexible and porous parameters of fact and fiction. Bill Nichols began a conversation about documentary’s “blurred boundaries” that has continued and intensified with scholars such as John Corner, Steven Lipkin, Alan Rosenthal, Vivian Sobchack, Derek Paget, and Jonathan Kahana. Documentary and docudrama techniques must be more closely scrutinized and categorized, with particular focus on the importance of reenactment and reflexivity.
A phenomenon that illustrates explicit interaction between documentary footage and fictional affect has remained undefined. My project proposes a new term, “documentary adaptation,” to explain the use of documentary films or television programs as source material for a fictional retelling. Films such as Rescue Dawn (2006), Grey Gardens (2009), Devil’s Knot (2013), or Loving (2016) have an uncanny and indeed literary relationship to previous documentary films conveying the same story. My research reads, theorizes, and contextualizes these adaptations. I note industrial and audience demand for narrative that engages with familiar facts. These unique dramas are sites of affective engagement with history as well as contemporary journalism. The project employs cinema and media studies terms and techniques to analyze documentary adaptation, to interpret a distinct merger of cinema and television aesthetics. This dissertation revises the dilemmas of documentary and reveals an invention to confront a new era of flexible media.
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Lange, Shara K. "ETSU Radio, TV, Film 1969-2011: Partnerships, Promise, Hope." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3663.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
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Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Makan, Amit J. "Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges." Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20093.
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Globally mental health is widely regarded by scholars as a neglected public health issue. Documentary film is recognised as an appropriate medium for addressing social and political issues, and mental health is both of these. Country comparative documentary films on mental health, set in low and middle-income countries, appear to be lacking. Prorgramme for Improving Mental health carE (PRIME) works in five low and middle income countries, two of which were selected for the film (Nepal and South Africa). This was motivated by across continent comparisons, financial and logistical viability within a one year timeframe, global interest and appeal and the support of PRIME colleagues and local country partners. Based on qualitative research including a literature review and 40 indepth interviews with stakeholders, this essay reports on, and critically assesses the ethical and production processes involved in making the documentary film. The essay includes several elements. Firstly, it considers the power relationship between the filmmaker and the subject. Whilst Nichols, Aufderheide and colleagues present useful ethical considerations for making a documentary film, both from the subject and audience perspectives, more care is required when making a film with persons living with mental illness. This is particularly because the subject may not have the mental capacity to consent, and if they do, participating in the media production process could potentially exacerbate their condition. Having weighed these risks up with the benefits of representing persons living with mental illness, and giving them a voice, the decision was made to give persons living with mental illness the opportunity to represent themselves. Secondly, and having made the decision to allow for representation, the various documentary modes (expository, performative, poetic, observational, reflexive, participatory) conceived by Nichols were explored, in an attempt to identify a conceptual framework for the film. The performative mode was most appropriate for telling deeply personal stories, and providing patients with an opportunity to be represented. However, this mode was ideally complemented with elements of the expository (verbal commentary of experts), poetic (use of rhythm, emotion and music), observational (footage of patients in their daily routines, and of their environment for cutaways) and participatory (through direct engagement between filmmaker and subject) modes. 2 Having identified a conceptual framework, the third element involved the institutional research ethics processes. These processes contributed to a more ethically sensitive film production. This included a check for mental health service users to ensure that they do have the capacity to consent. The process of developing a research protocol highlighted the synergistic benefits of integrating a qualitative research method in the form of in-depth interviews into the film production process (and vice versa), whilst remaining cognisant of not compromising research findings for more visually appealing footage. Following a research process for the production also contributed to a more robust discussion guide after translating communication objectives into research objectives. Finally, the process of implementing the film's production, and post-production, was assessed. A host of steps were identified, which included securing the funding for the filmmaking, establishing stakeholders support, briefing the crew on the vision and purpose of the documentary and having access to equipment and translators. During the post production process, a systematic approach to editing using a script outline was helpful in identifying main themes, and to ensure the narrative flow. Despite its typical use in fictional filmmaking, the three-act structure was fitting as a framework for the narrative. Timecoding during translation and transcription was found to be particularly expedient for inserting English sub-titles. The country comparative approach revealed similaries and differences, and developing and implementing stakeholder specific distribution strategies (including conferences, symposia, film festivals and broadcasters) was identified as critical to the public dissemination and reach of the film. Documentary film, and the performative mode complemented by other modes, has shown to be an advantageous means of representing persons living with mental illness, and their families. However, the paper calls for more evaluation research regarding the impact of the film on the main patient characters, amongst other stakeholders such as health workers and policy makers. The paper also proposes the integration of media production into a research process for researchers interested in using this medium to visually communicate their research findings, emphasising the value of systematically using the research findings to develop a narrative script in the context of a typical three act structure. A distribution strategy was also identified as necessary to maximise the research and stakeholder impact of the film.
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CHEUNG, Tit Leung. "Extending the local : documentary film festivals in East Asia as sites of connection and communication." Digital Commons @ Lingnan University, 2012. https://commons.ln.edu.hk/vs_etd/5.
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East Asian cinema is receiving increasing global attention. This attention is not focused merely on the fiction and feature films produced in the region, but also on the documentaries produced there; films such as Petition (2009) by Chinese director Zhao Liang which premiered at Cannes Film Festival in 2009. This attention to East Asian documentary can be traced to the documentary film festivals organised in the region, particularly those that devote their programming to independent documentary productions from the region. These festivals open a window that enables such works to be exhibited for the rest of the world.
But these festivals do not aim merely to exhibit and screen these works. They also pay attention to the filmmakers. The attendance of filmmakers at festivals has previously been assessed to be of low importance. By encouraging filmmakers to visit and participate the festivals examined here can be seen to represent shared concerns regarding the cultivation of documentary filmmaking in the Asian region. The four film festivals that serve to exemplify this are the Yamagata International Documentary Film Festival (YIDFF) in Yamagata, Japan; the Documentary Film Festival China (DOChina) in Beijing, China; the Taiwan International Documentary Festival (TIDF) in Taichung, Taiwan; and the Hong Kong’s Chinese Documentary Festival (CDF).
Each festival forms the basis of a case study in the hope that the context of documentary film festivals in the East Asia can be delineated. Particular aspects of the festivals are discussed in relation to a significant underlying dimension that is identified in each of the festivals in question: the emphasis on communication in YIDFF that enhances the sense of connectedness in the participating festival community; the independent and underground status of DOChina that is embedded in the festival as a form of resistance to the state government; the relocation of TIDF to a government-supported museum contextualises the festival and draws on the general functions and purposes of a museum: exhibition, education and collection. The fourth case study examines the multi-faceted nature of CDF through the previously examined concepts to demonstrate the generalisability of the concepts to, and the inherent complexity of film festivals.
A common theme underlies all of these concepts: a sense of the local, of ‘local-ness’. The ‘local’ here is a relative term that depends largely on where it is that these events regard as home. So, it is not merely the immediate locale of the festival that can be regarded as ‘local’; the ‘local’ can be extended to encompass the nation or the entire region if that is where ‘home’ has been identified. Such an extensive and fluid understanding of ‘local-ness’ not only defines those areas to which the festivals pay specific attention, it also furthers understanding of the festivals’ shared ambitions; ambitions rooted in the cultivation of a ‘local’ documentary filmmaking milieu.
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Farrell, Richard M. "Baltimore Mobility: The Wire, Local Documentary, and the Politics of Distance." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7783.
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Extending scholarship on Baltimore’s media landscape, I observe how two moving-image texts, HBO’s The Wire (David Simon, 2002-2008) and 12 O’clock Boys (Lotfy Nathan, 2013), figure space and, by extension, mobility in the city. Specifically, I articulate how both figures of mobility relate with each other and to the mobility inequality that has historically and disproportionately plagued communities along the city’s east-west axis. Overall, in both texts, I read a shared anxiety toward sources of distant mediation. Through its sober audio-visual style and serial organization, I find The Wire fatalistically figures Baltimore mobility as conditioned by omnidirectional flows of power. These nefarious flows inevitably stymie any attempt at improving mobility inequality in the city, rendering distant sources of mediation as frustratingly inescapable. In contrast, I find 12 O’clock Boys implicitly critiques The Wire’s fatalistic figuration. Relying heavily on cinéma vérité aesthetics, such as handheld cinematography, this film figures mobility inequality as the product of corrupt institutional mediation. By coding institutional mediation as intrinsically alienating, this film implicitly advocates for exclusively immediate sources of mediation when representing east-west communities. Furthermore, the film suggests that escape from distant sources of mediation is both possible and desirable. Employing Iris Marion Young’s critique of the ideal of community and Scott Ferguson’s theory on care, I find The Wire and 12 O’clock Boys’ figures of mobility to be overly contractive and problematic, due to their mutual eschewal of vital sources of care that always already mediate from a distance.
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Daley, KaRyn Elizabeth. "The Role of Documentary Film in the Emerging Social Entrepreneurial Culture." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5663.
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Considering the current skepticism surrounding the impact and efficacy of nonprofit and nongovernmental organizations, some believe that a unique category of innovator known as the social entrepreneur may be society’s best hope for bringing innovative, scalable, and systemic solutions to bear on the world’s most intractable problems. Social entrepreneurs, as defined by Ashoka, have a unique set of characteristics that determine not only how they move within the world of social change-making but also how they communicate their ideas and mission to the public.
This exploratory study reviewed how social entrepreneurs currently use documentary film and visual media in their communications strategy and public relations practice, what that tells us about the emerging culture of social entrepreneurs, and whether documentary, as defined by John Grierson, is an appropriate tool for these organizations. The author interviewed three founders, three communications professionals, and three filmmakers associated with social entrepreneurial organizations and observed a course for student filmmakers learning to make documentaries for social entrepreneurs. The findings of this study suggested that social entrepreneurs used documentary film as a communications tool when it aligned with their stated missions and goals but that cost, time, and control were significant barriers to implementation. Additionally, social entrepreneurs in all phases of development exhibited a unique set of cultural characteristics that interacted with the intent, content, and effect of their films in both positive and negative ways. The author also noted three distinct levels of filmmaker involvement with social entrepreneurial organizations that impacted the intent, content, and effect of their respective films. These levels of involvement are described as collaborative, independent, and interdependent.
While the author offers some provocative observations about the role of documentary in social entrepreneurial organizations, this study remains exploratory in nature. She suggests several additional avenues of research that may further the scholarly conversation and continue to shed light on documentary film as communication for and by social entrepreneurs.
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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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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.Anthropology
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Shaw, Neil. "Culture and gentrification on upper Long street : a study of Long street's evolution and contemporary incarnation, with a look at documentary styles and the cinematic city." Master's thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/7972.
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Palfreman, Jon. "Communicating controversy in the mass media." Thesis, University of South Wales, 2005. https://pure.southwales.ac.uk/en/studentthesis/communicating-controversy-in-the-mass-media(65320260-4d82-4ec9-82ac-a7cf363f0e13).html.
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This doctoral submission grew out of a series of long form documentaries that I wrote, produced, and directed between 1993 and the present. The films, which were broadcast on US television's PBS network, all deal with scientific, medical, or environmental issues that developed into prominent national and international controversies. DVDs and scripts of the seven programs are provided along with a detailed overview. The submission is organized as three projects and an overview. 1. Project One (discussed in chapters 3-7) consists of three documentaries: the first about a novel therapy for autism ; the second dealing with the alleged health effects of power line electromagnetic fields ; and the third focused on the silicone breast implant controversy. 2. Project Two (discussed in chapters 8-11) consists of programs on nuclear energy, Gulf War Syndrome, and genetically modified foods. 3. Project Three (discussed in chapters 12-14) features a two-hour special investigation of global warming. 4. The Overview, Communicating Controversy in the Mass Media not only provides an overarching analysis of the portfolio of films and the attendant theoretical issues, but also serves to summarize the works themselves. In the Project sections of the written overview (chapters 3-14), the analysis is interwoven with extracts from the various documentaries. This portfolio and overview tells the evolving story of a body of work at the intersection of documentary, investigative journalism and science. It reveals the journey of one producer who started out with an interest in unpacking complex controversies, but became increasingly fascinated with the psychological and political dimensions of these narratives. Whether a particular controversial belief holds up under scrutiny is undoubtedly important. But there are other fascinating questions: why do people adopt such beliefs in the first place; why do individuals cling to their beliefs in the face of contrary scientific evidence; and what roles do special interests and the media play in amplifying or attenuating the public's hopes and fears? This portfolio and overview, therefore, not only examine a series of high profile controversies, but go further by: explaining the process by which these topics were turned into documentaries; exploring the way humans analyze, perceive and communicate benefits and risks; and critically examining the validity and ethical standing of modern television journalism. This submission represents a significant contribution to knowledge in several ways. First this series of in-depth, original investigations of environmental and health controversies from one producer is unparalleled in broadcast journalism. Second, the overview's analysis synthesizes and extends a wide range of social science research on risk assessment, risk perception and risk communication and applies this research to the featured controversies and the media's role in them. Third, the portfolio and overview reveal how a blend of documentary, journalism and science is an especially effective way of advancing public understanding of and engagement with modern scientific controversies and goes on to suggest some exciting new directions for communicators. Finally, the case studies in this portfolio provide a basis of knowledge about how communicators can effectively use audiovisual media to navigate the world of risks and benefits that permeates many of society's most crucial policy dilemmas.
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Goldson, Annie. "A claim to truth: documentary, politics, production." Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.
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The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.Whole document restricted, but available by request, use the feedback form to request access.
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Schram, Katherine Elisabeth. "Images and Voices from the Cumberland Mountains: Surface Coal Mining and the Evolution of Appalshop's Documentary Activism." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/1056.
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Since the early 1970s, Appalshop, a regional film workshop in Whitesburg, Kentucky, has been examining social, economic, and environmental issues important to the people of Appalachia. Appalshop’s goal has always been to give a voice to a community that is often stereotyped and misunderstood by the media. Since its creation, Appalshop has devoted ample attention to the practice of surface mining, its potential consequences to the region, and most importantly, local opposition to the practice. While Appalshop’s early surface mining documentaries are focused on educating the general public about the issue, its later documentaries appeal to viewers’ emotions and develop an angry, passionate tone. Appalshop’s changing filmmaking techniques and increasing devotion to activism are discussed here with an incorporation of film theory and references to various environmental, literary, and historical texts. Comparisons and contrasts are drawn between Appalshop surface mining films from the 1970s, 1980s and 1990s.
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.East Asian Languages and Civilizations
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Lange, Shara K. "Screening: Banjo Romantika: American Bluegrass Music and the Czech Imagination." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3649.
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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika: Across Genres & Disciplines." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3653.
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Jensen, Rhonda Karen. "Manufacturing dissent." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16224/.
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There are two distinct but related parts to this exegesis. Firstly there is the production of a fifty-five minute documentary Return of the Trojan Horse, and secondly a written exegesis. The latter advances an academic argument centred around the research question - how to motivate the role of the expository documentary at a time when the documentary field is dominated by the debate between philosophical scepticism and empirical realism, while in aesthetic terms, the documentary mode itself is led by perfomative/interactive documentaries such as Michael Moore's Bowling for Columbine. My response to this question is informed in theoretical terms by the Critical Realist paradigm. The use of Critical Realism enables the exegesis to supply an integrated approach which seeks to transcend both the sceptical and the empirical realist positions. In doing so, the exegesis makes a contribution both to documentary theory and the Critical Realist paradigm itself by applying it to the field of documentary film theory. As such the exegesis addresses an absence of aesthetic theorising within the Critical Realist paradigm. As part of the process I review, analyse and synthesise the key theoretical arguments of authors Bill Nichols, Michael Renov, Brian Winston, John Corner and Noel Carroll. The documentary sub-genres are then located within the context of these theoretical debates while the emphasis is placed on the expository sub-genre as utilised in my own documentary film, Return of the Trojan Horse. The exegesis then critically discusses Return of the Trojan Horse from a Critical Realist perspective and reflects on the strategies involved in the production of the film. As the topic of the film deals with the negative impacts of economic liberalisation, the mass media is briefly discussed within the context of a deregulated market and right-wing politics, while reviewing Herman and Chomsky's 'A Propaganda Model' in Manufacturing Consent: The Political Economy of the Mass Media, 2002.
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Guerra, Karla M. "Listen to Me." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1084.
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Adaptation of personal experiences to a screen is no new concept, in fact it is the driving force to media content creation. All storylines and narratives are related to personal experience whether literally or metaphorically. These experiences are externalized in media by many forms, ranging from the visible and audible. Mainstream media is tied to an entertainment purpose, regardless of themes and topics presented. Therefore, it is important to understand that some of the depictions presented in media are linked to stigma or misrepresentation. This is particularly true for portrayals of mental illness and experiences of trauma. I plan on exploring how media, specifically animation, can communicate subjective experiences of mental illness and trauma. In my exploration I will also speak about the role of abstract and experimental animation in this endeavor. While live action contains an element of reality in contextualizing events or experiences, animation allows one to take full control of the visual representation of a subject and agency over constructing a narrative. Animation is a means of inquiry that exemplifies an art form and a journey of self-discovery. I created a short experimental film reconstructing my subjective experience with childhood sexual trauma. I will embrace visually stimulating abstract animation and stop motion to create an evocative visualization of my personal experience. This means of visual production takes the process of subjective experience a step further and literally becomes a process of laborious and tedious composition, culminating with a personal narrative piece.
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Phillips, Brett Michael. ""You want it all to happen now!": The Jinx, The Imposter, and Re-enacting the Digital Thriller in True Crime Documentaries." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6743.
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In this thesis, I outline the changing shape of the reenactment in the contemporary true crime documentary to illustrate a burgeoning crisis of epistemology and anxieties about the authority of evidence in the Digital Age. I examine two works—The Jinx and The Imposter—that deal with evidence in formally similar but ideologically opposite ways.
Logic in the Digital Age prioritizes an ever-widening collection of increasingly more precise artifacts and details, which supposedly paint a more complete picture but end up highlighting what is unknown more often. Key to this examination is the adoption of classic Hollywood thriller techniques (e.g., non-traditional narrative structures that emphasize subjectivity, twist endings that create uncertainty and doubt, etc.) which indicate a shift away from the traditional “cool” rhetorical control of social realist documentaries towards the emotionally charged manipulation of the thriller. This shift cannot be sufficiently explained by the overarching progression of the documentary towards more reflexive and performative modes. Rather, at the center of this shift is the use of stylized reenactments that share both the thriller’s preoccupation with subjectivity and uncertainty and digital logic’s pervading heterogeneous makeup.
This shift troubles the mastery true crime docs implicitly claim to offer through evidence and the authority of the American criminal justice system in a different way than the more self-reflexive modes of documentary. To resolve the trouble, these films appeal less to evidence and more to emotional certainty and pathos as a way of judging guilt and innocence, shifting the way concrete evidence is understood.
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Duff, Kristen Lesley. "Out of the box, into the bottle: an example of documentary film as a new research tool in the South African wine industry." Master's thesis, University of Cape Town, 2013. http://hdl.handle.net/11427/10389.
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Includes bibliographical references.Due to recent developments in digital video technology, the documentary film format is increasingly being used and adapted in unconventional ways, including in the illustration of research in academia and as an educational tool in corporate contexts. Generation Wine is a feature-length research documentary created by Gosia Podgorska and myself between 2012 and 2013 and submitted as a Master's in Media Creative Production at the University of Cape Town. The aim in creating the film was to use the documentary format as a research tool to investigate key contemporary marketing and media-related issues in the South African and French wine industries, and to ultimately communicate these research findings to academics, industry professionals and other interested parties in a highly engaging manner, thus demonstrating the effectiveness of the documentary format in research contexts. This paper serves as an explication to accompany the Generation Wine video, which uses the documentary as a departure point for discussing theoretical issues regarding the use of documentary film as a research tool, as well as the production process and wine industry-related content explored in the documentary.
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Seering, Ashley. "Postcards." Digital Commons at Loyola Marymount University and Loyola Law School, 2021. https://digitalcommons.lmu.edu/etd/984.
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The William H. Hannon Library at Loyola Marymount University has one of the largest collections of postcards in the world – over one million cards. The postcards span all decades of history since their conception in the late 19th century. They provide valuable insight into the culture and communication of the past. Head of Archives and Special Collections Cynthia Becht introduces viewers to some of the most important postcards in LMU’s collection. Professor Jason Jarvis provides additional insight on the communication and social aspect of postcards. Postcard designer and letterpress printer, Eric Woods, shares his thoughts on what makes a postcard visually impactful, and the value of handmade materials. Also, Frank Warren shares his journey of how his hit blog, Post Secret, came to be. Postcards is a journey through time and a reminder of why – in a digital world – human connection through material means is still relevant and important.
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Hodge, Tuarean M. ""Black Reparations Film Project: Descendants of Slavery and Institutional Racism"." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862812/.
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Black Reparations Film Project: Descendants of Slavery and Institutional Racism is a character driven film that sheds light on the consequences of slavery in the U.S. Through a personal narrative, the viewer comes to understand how these consequences support the argument for slavery reparations. The purpose of the film is to bridge the generational gap in awareness of reparation history. The film can be used to enlighten young Americans of all ethnicities to encourage them to find their purpose in this country, help build better race relations, and work towards building a true democracy.
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Mutibwa, Daniel Henry. "Changing imperatives in third sector media and cultural production : a study of news production, documentary film-making and arts and cultural programming." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3407/.
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Research on third sector media and cultural organisations has tended to focus on socio-political imperatives in organisational and production processes. However, my research shows that as socio-political circumstances have gradually changed, other imperatives especially of a professional, artistic and commercial nature now play an equally important role in these processes in the third sector. The interplay between the different imperatives can be conflicting, pulling producers in different directions. Moreover, producers can be subjected to systemic pressures such as demands from subsidy, other funders, broadcasters and politics, all of which impact third sector media and cultural work. Producers respond in ways that have not been sufficiently studied. This thesis aims to address this gap. Drawing on relevant theoretical perspectives and qualitative research methods, I address three key issues in this thesis. First, I examine the ways in which producers in the third sector respond to professional, artistic and commercial imperatives alongside socio-political ones in the organisation and production of news, documentary film and arts and cultural programmes. Where the interplay between these imperatives is conflicting, I analyse how producers negotiate between them. Second, I analyse the response of producers to systemic pressures. Third, I evaluate how producers perceive their work following competing imperatives and systemic pressures. I argue that the evolving environment in which third sector media and cultural organisations operate in some cases compels producers to prioritise commercial and professional imperatives over socio-political and artistic ones and to give in to systemic pressures. Based on British and German case study companies, my thesis provides crucial insights into the interplay between such pressures and competing imperatives in contemporary third sector media and cultural organisation and production.
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Peixoto, Hugo Cardoso Brandão. "Webdocumentário: a representação da ótica documental no ciberespaço." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5021.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research has the intention to discuss documentary language expansion and its ramifications in cyberspace, focusing on webdocumentaries, analyzing the relationship between documentary traditions and new media narrative processes. In order to contextualize the new possibilities of documentary point of view representations, based on the multiple forms of contemporary audiovisual production, which, marked by continuous development of digital technologies, production and manipulation of images, form the broader context of new media. Founded on the creative freedom afforded by new media, documentary cinema widened, and with the tools of digital technologies, its creative process and its experimental possibilities have expanded. Generating new narrative patterns, which are powered at all times by new productions, resulting in the documentary field, a constant modification and development of its language.
Esta pesquisa tem como intuito, discutir a expansão da linguagem documental e suas ramificações no ciberespaço, com o foco nos webdocumentários, analisando a relação entre as tradições documentais e os novos processos narrativos midiáticos. Visando contextualizar as novas possibilidades de representação da ótica documental, com base nas múltiplas formas de produção audiovisual contemporâneas, que, marcadas pelo desenvolvimento contínuo das tecnologias digitais, de produção e manipulação das imagens, agregam o contexto abrangente das novas mídias. Em função da liberdade criativa proporcionada pelas novas mídias, o cinema documentário se ampliou, e com as ferramentas das tecnologias digitais, seu processo criativo e suas possibilidades de experimentação se expandiram. Gerando novos padrões narrativos, que são alimentados a todo instante pelas novas produções, provocando no campo documental, uma constante modificação e desenvolvimento de sua linguagem.
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Weatherston, Kristine T. "Nonfiction, Documentary and Family Narrative: An Intersection of Representational Discourses and Creative Practices." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/3602.
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Nonfiction, Documentary, and Family Narrative:
An Intersection of Representational Discourses and Creative Practices explores the role of personal memory, family history, and inter-generational storytelling as the basis for making a nonfiction film. The film, American Boy, tells the story of my mother’s immigration to the United States after the failed Hungarian Revolution of 1956, opening a discussion of four generations of my family life in the context of historical events, exile, self re-invention, and identity formation. As a media producer and nonfiction author, I narrate my understanding of these events to my infant son, as a way of communicating my grandfather’s role in the revolution, my mother’s childhood, and my own mediation of my family’s trauma. Through the use of archival footage including newsreels and commercials, as well as my own archive of family photos and documents, I re-construct the existing materials to build my own associations concerning time, memory, and place. The film, as my creative practice, leads to a theoretical analysis of representational discourses which inform the work. This deconstruction of nonfiction and meta-analysis includes my study of several practitioners in the craft of non-fiction: Kati Marton, Robert Root, Primo Levi, Eva Hoffman, Patricia Hampl, Dinty W. Moore, Peter Balakian and others.
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Hoare, Lottie. "Secondary education in BBC broadcast, 1944-1965 : drawing out networks of conversation and visions of reform." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/273980.
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This study examines the representation of Local Education Authority (LEA) secondary schooling in England and Wales as it was portrayed in non-fiction British Broadcasting Corporation (BBC) programmes in the twenty-one years that followed the 1944 Education Act. The primary sources drawn on for this study include the surviving microfilmed radio scripts, dating from 1944–1965 and held at the BBC Written Archives (BBC WAC). The correspondence files from contributors to programmes also provide a key source from BBC WAC. The majority of the programmes considered are radio broadcast, however some documentary films on the topic of secondary education, made by the BBC and transmitted on television, are also analysed. Where audio-visual copies have survived, the programmes were viewed at the BFI Viewing Services. The study draws on 235 BBC programmes in total, made in the years 1944–1965. The details of these broadcasts can be seen in the three Appendices accompanying this study. The study also employs the use of drawing to present key ideas. This study explores how broadcasts are formed as cultural products. The research questions address: what was the content of these programmes? Who collaborated to create and edit these programmes and how were the programmes devised to inform the public about the provision of secondary education? What was the role of the All Souls Group (ASG) in this collaboration? The public included a domestic audience in England and Wales and an overseas audience for whom distinct broadcasts were usually created. A further element of the research is a scrutiny of the BBC as an organization that positions itself as neutral. The considered programmes enabled a group of eloquent educationalists to use their rehearsed and edited ‘conversation’ on a public stage. As the study unfolds it becomes apparent that the members of the informal education discussion group, the ASG, were lobbying to encourage the topic of secondary education to resurface sufficiently often on air. The study concludes with recognition that the reinforcing of loyalties between overlapping networks, such as the BBC and the ASG, should no longer be approached with reticence in academic research.
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Glueck, Lara A. "Contested Land: The Bernard Biological Field Station." Scholarship @ Claremont, 2001. https://scholarship.claremont.edu/cmc_theses/92.
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"Contested Land" is a senior thesis on the controversy surrounding plans to build on the Bernard Field Station in Claremont, California. The documentary satisfies a dual major in Intercollegiate Media Studies and Joint Sciences Biology.
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Riley, David. "Silver Sands." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5870.
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Silver Sands is a thirty-minute documentary film and accompanying installation that traces the story of Marc Hampton, a gay, desert-dwelling Vietnam vet, former Playgirl model, and vintage car collector who lost two lovers to AIDS. Drawing on videotaped interviews, shots of his house and environs, and extensive use of his personal photographic archive, this work addresses evolving ideas of memory and representation within the queer community. The film is divided into various chapters which function as meditations on masculinity, aging, loss, spirituality and intergenerational relationships. Marc becomes an archetypal figure––the survivor––whose meandering recollections illustrate some of the complexities of gay experience in the past fifty years, and the difficulty of historicizing them. By emphasizing overlooked stories and forgotten spaces, exploring the tension between visibility and invisibility, and summoning the ghosts of the AIDS era, Silver Sands proposes remembering as a form of resistance.
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Bidgood, Lee, and Shara K. Lange. "Banjo Romantika." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3655.
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This informal presentation will include discussion with the filmmakers about the background and production of the film "Banjo Romantika," as well as sneak peeks at a selection of key scenes from the film. For more information, visit http://music.virginia.edu/colloquium-lee-bidgood-and-shara-lange-banjo-romantika
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Varrasso, Federico. "Représentations et croyances dans le vodou haïtien : approche filmique d'une communauté religieuse de Port-au-Prince." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100079.
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A travers une exploration filmique menée auprès d'une communauté religieuse de Port-au-Prince, l’analyse des images enregistrées avec les personnes filmées et l’expérience pratique de constructions audiovisuelles participatives, la recherche interroge le système de représentation des adeptes et le rapport qu'il entretient avec la notion de croyance. Elle étudie simultanément par ce biais la réception de formes audiovisuelles spécifiques et l’observation différée des enregistrements en tant qu’outil privilégié d'une anthropologie audiovisuelle appliquée à l'étude des systèmes symboliques de représentation et à leur dynamique évolutive. Cette recherche est marquée par trois étapes de réalisations concrètes selon des paradigmes audiovisuels définis : un multimédia interactif, un film d’observation descriptif chronologique, et un film linéaire poursuivant l’objectif d’une mise en scène de l’autoreprésentation des agents suivant les précédentes étapes collaboratives d’observations, d’interprétations et de constructions audiovisuelles participatives qui forment l’enquête. L’image, sous ses multiples acceptions, est envisagée ici en tant qu’objet transactionnel agissant à différentes échelles sociales, depuis ses usages et fabrications à un niveau individuel jusqu’à ceux-ci à un niveau collectif et transnational. Cet aspect est analysé, d’abord, au moyen de la confrontation successive entre imagerie religieuse produite au sein de la confrérie et représentations audiovisuelles produites par la recherche elle-même et retournées aux agents, et ensuite, par confrontation avec l’iconographie religieuse et les représentations anciennes et contemporaines produites par des sources endogènes et exogènes à l’aire culturelle haïtienne. Le texte analyse ainsi la construction de représentations et leurs effets depuis les expériences pratiques menées avec les individus d’une communauté jusqu’à celles qui intègrent certains évènements sociohistoriques, certains clichés et certaines figures mythologiques d’inspirations vodou ayant intégrés la culture occidentale à travers, notamment, des représentations romanesques et hollywoodiennes ayant eu un fort succès et continuant à alimenter l’imaginaire occidental et haïtien aujourd’huiThe Haitian voodoo presents a profusion of practices and perceptible representations, symbolic ones, as material as corporeal. He influences the arts and the literature of a whole culture, well beyond the circle of his followers. If it is plural from origin, it was also collected and represented in a multiple way by his outer observers. Forged during a tempestuous history and present, its representation system seems to present a character at the same time persistent and permeable, connected to the faith itself. Through the analysis of worship images, a cinematic exploration conducted within a religious community of Port-au-Prince, and finally through a participatory experience of confrontation of the recorded images with the agents and film construction according to three different modalities, the study attempts to question the representation system of the followers and the relationship which it maintains with the faith. The research also tries to examine restitutions forms and specific visual anthropology tools applied to the study of symbolic representation systems and their dynamics