Journal articles on the topic 'Documentary film media'
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1
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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Besschastnaya, A. M., and V. E. Gorshkova. "Documentary Film-Investigation: Manipulation or Impartiality?" Vestnik NSU. Series: History and Philology 18, no. 6 (2019): 92–103. http://dx.doi.org/10.25205/1818-7919-2019-18-6-92-103.
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Purpose. The television film “Ukraine. Revolution masks” (directed by Paul Moreira, France, 2016), which main genre characteristics are comparable to journalistic investigation, is analyzed as a part of a documentary film as a whole. Results. Various points of view on objectivity / subjectivity of documentaries authors are covered. Ambiguous critics and audience’s reaction to the designated film investigation is explained by the interpretation distinction of the last. Conclusion. The Dogme film objectivity principles in terms of the Danish director Lars von Trier being assumed as basic, it is proved that the aspiration to follow these principles doesn’t rid the director of some plugola manifested in the use of a number of manipulative strategies and also of the psychological bluff, which are common in mass media.
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., I. Wayan Supastika, Gede Saindra Santyadiputra, S. T. ,. M. Cs ., and I. Gede Mahendra Darmawiguna, S. Kom ,. M. S. . "Film Dokumenter Penting “Chordophone dari Timur Pulau Dewata”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 7, no. 1 (February 26, 2018): 30. http://dx.doi.org/10.23887/karmapati.v7i1.13596.
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Penelitian ini bertujuan untuk (1) menghasilkan rancangan dan implementasi hasil rancangan film dokumenter Penting “Cordophone dari Timur Pulau Dewata”, (2) mengatahui respon kalangan masyarakat terhadap hasil film dokumenter Penting “Cordophone dari Timur Pulau Dewata”. Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan model Cyclic Strategy yang terdiri dari tahap Brief (riset awal dan penawaran ide), tahap 1 (pengumpulan data dan analisis kebutuhan film), tahap 2 (pra produksi), evaluasi uji ahli (ahli media dan ahli isi), Tahap 3 (produksi dan pasca produksi), evaluasi uji ahli (ahli media dan ahli isi), tahap 4 (burning, desain poster, dan desain DVD), outcome (publikasi film) dan uji respon penonton. Hasil penelitian menunjukan bahwa film dokumenter Penting “Cordophone dari Timur Pulau Dewata” dalam kriteria sangat baik. Simpulan yang didapatkan yaitu perancangan film dokumenter Penting “Cordophone dari Timur Pulau Dewata” telah berhasil dilaksanakan dengan model cyclic strategy dengan menggunakan tahapan produksi film. film dokumenter Penting “Cordophone dari Timur Pulau Dewata” sudah berhasil masuk dalam kategori sangat baik sesuai dengan hasil uji ahli isi dan media. Serta berdasarkan analisis terhadap 25 orang responden yang berasal dari kalangan masyarakat umum dinyatakan bahwa film dokumenter ini mendapatkan total presentase sebesar 90% yang masuk kategori sangat baikKata Kunci : Penting, Alat Musik Tradisional, Film Dokumenter, Cyclic Strategy This research aims to (1) create a design and implement the design result of documentary film of Penting “Chordophone From The Eastern Island Of The Gods”. (2) to know about the responds of the society toward the documentary film of Penting “Chordophone From The Eastern Island Of The Gods”. The research method that is used in this study was research and development with cyclic strategy model. Cyclic strategy model consist of brief step (early research and idea proposal), step 1 (data collection and film needs analysis), step 2 (pre-production), expert evaluation 1 (media expert and content expert), step 3 (production and post-production), expert evaluation 2 (media expert and content expert), step 4 (burning, poster design, and DVD design), outcome (film publication) and test of audience respond. The result of this research shows that the documentary film of Penting “Chordophone From The Eastern Island Of The Gods” is in very good criteria. The conclusion gained is that the design of the documentary film of Penting “Chordophone From The Eastern Island Of The Gods” has successfully done by using cyclic strategy model with film production steps. Documentary film of Penting “Chordophone From The Eastern Island Of The Gods” has successfully counted into very good criteria in accordance with the result of expert of content and media test. And also, based on the analysis of 25 respondents that are come from the society, it is shows that this documentary film gained 90% in total that is counted as very good category.keyword : Penting, traditional musical instruments, Documentary Film, Cyclic Strategy.
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Middleton, Jason. "Documentary Horror: The Transmodal Power of Indexical Violence." Journal of Visual Culture 14, no. 3 (December 2015): 285–92. http://dx.doi.org/10.1177/1470412915607913.
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This article reevaluates critical distinctions between so-called ‘art-horror’ and ‘natural’ or real-world horror to challenge larger modal distinctions between fiction and documentary film and their ostensibly divergent spectatorial practices. It focuses on images of animal slaughter, which traverse boundaries between fiction and documentary, art-horror and natural horror. The indexical force of animal slaughter may displace or undo the metaphorical in fictional horror film, producing a spectatorial wavering between the registers of the figurative and the literal. Shaun Monson’s documentary film Earthlings (2005) demands of viewers a mode of spectatorial discipline derived from the horror film experience. Earthlings and its viewer reaction videos reinvent the collective performance of terror among theatrical horror film audiences for a documentary context and for online media platforms like YouTube. Earthlings functions as a form of spreadable media in which viewers’ horrified reactions are harnessed in the production of knowledge and political commitment.
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Russell, Patrick. "Dust and Shadows … A Progress Report." Journal of British Cinema and Television 10, no. 3 (July 2013): 415–29. http://dx.doi.org/10.3366/jbctv.2013.0148.
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This article considers postwar British documentary films in light of recent curatorial initiatives and wider historiographical issues. The article places the BFI's 2010 Shadows of Progress project in the context of a wider and substantial shift of perception of non-fiction film in the early twenty-first century, which has caused the canon of British documentaries to increase in size, scope and profile. The article argues that archivists, media producers and the general public have played at least as large a role in these developments as scholars of the documentary film. The article summarises some of the key features of postwar British documentary as it is now understood and mentions other aspects of postwar, and other, British factual film meriting future research.
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MEDINA, RAQUEL. "From the medicalisation of dementia to the politics of memory and identity in three Spanish documentary films: Bicicleta, cullera, poma, Las voces de la memoria and Bucarest: la memòria perduda." Ageing and Society 34, no. 10 (June 27, 2013): 1688–710. http://dx.doi.org/10.1017/s0144686x1300041x.
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ABSTRACTThis paper explores how the concept of Alzheimer's disease (AD) is constructed through Spanish media and documentary films and how it is represented. The article analyses three documentary films and the cultural and social contexts in and from which they emerged: Solé's Bucarest: la memòria perduda [Bucharest: Memory Lost] (2007), Bosch's Bicicleta, cullera, poma [Bicycle, Spoon, Apple] (2010) and Fabrá, Peris and Badia's Las voces de la memoria [Memory's Voices] (2011). The three documentary films approach AD from different perspectives, creating well-structured discourses of what AD represents for contemporary Spanish society, from medicalisation of AD to issues of personhood and citizenship. These three films are studied from an interdisciplinary perspective, in an effort to strengthen the links between ageing and dementia studies and cultural studies. Examining documentary film representations of AD from these perspectives enables semiotic analyses beyond the aesthetic perspectives of film studies, and the exploration of the articulation of knowledge and power in discourses about AD in contemporary Spain.
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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.
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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nicolas Bourriaud signifying a new state of affairs when all texts of culture are already available (mostly as digital objects) and the artist intervenes on existing materials rather than produces artworks ex nihilo. Belonging to the tradition of essay film – a cinematic documentary and experimental mode in which moving images and off-screen verbal voice or textual captions establish complex relations – desktop video essays introduce new post-media aesthetics. Similar to the idea of using everyday materials in the artistic context, initially proposed with Duchamp’s ready-mades, which unprecedentedly effaced every notion of the style from their avant-garde aesthetics, desktop documentaries often minimize and abolish cinematic stylistic qualities. One of the most significant aspects of desktop documentaries is that the act of film viewing does not differ from common computer user experience: having replaced traditional film screen with the computer interface, the interactive process of computational multitasking and navigation, performed on various digital data and files, becomes the very content of the film. After the historical overview of the phenomenon and general introduction into the post-media theory, selected works of representative desktop documentarists such as Kevin B. Lee and Louis Henderson are analyzed in their deconstructive approach to traditional and digital filmmaking – subversive both formally and politically. Article received: May 28, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies 20 (2019): 51-60. doi: 10.25038/am.v0i20.323.
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Cohen, Hart. "Database Documentary: From Authorship to Authoring in Remediated/Remixed Documentary." Culture Unbound 4, no. 2 (June 1, 2012): 327–46. http://dx.doi.org/10.3384/cu.2000.1525.124327.
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The engagement with documentary from its inception as a film form is frequently a set of references to documentary auteurs. The names of Flaherty, Grierson, Vertov and later Ivens, Leacock and Rouch are immediate signifiers of whole documentary film practices. These practices have given rise to histories and criticism that have dominated discussion of documentary and provided the foundation for more nuanced thinking about problems of the genre. One of the seminal texts in the field, Documentary by Erik Barnouw (1974) celebrates the auteur as the structuring principle for his historical review of documentary. It may be a reflection of the influence of this book, that so much of documentary criticism reflects the auteur approach as a starting point for analysis.
The shift towards a new documentary format, the Database Documentary, challenges the concept of an auteur in its presentation of documentary materials. This format relies on a remediation technique that recalibrates documentary media within new distributive networks supported by the web and enhanced by converged and designed visual and sonic interfaces. The reception modalities are necessarily removed from the familiar forms of projection and presentation of documentary film and television.
The research focus for this paper is how the concept of authorship (the “auteur”) is transformed by the emergence of the relatively new screen format of the database documentary.
The paper reviews some of the more recent examples of Database Documentary, the contexts for their production and the literature on new conceptions of documentary knowledge that may be drawn from these examples. An analysis of the authoring program, Korsakow and the documentaries that have been made using its software will demonstrate the route documentary has travelled from authorship to authoring in contemporary media production.
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Canella, Gino. "Youth Documentary Academy: The social practices of filmmaking and media advocacy." Journal of Alternative & Community Media 4, no. 2 (July 1, 2019): 31–43. http://dx.doi.org/10.1386/joacm_00047_1.
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Youth Documentary Academy (YDA) is a seven-week documentary workshop in Colorado Springs, Colorado. Through ethnographic research and collaborative filmmaking, I examine documentary production and exhibition as social practices that foster meaningful relationships between media makers and community organisations working for social justice. Between November 2016 and July 2018, I conducted 20interviews with current and former YDA filmmakers, faculty and community organisers. Many YDA filmmakers produced films through first-person point-of-view testimonials, which explored intimate details of their lives and the issues facing their families and communities. Although this narrative style may individualise systemic injustices, I argue that the affective nature of filmmaking and film exhibition, and the partnerships that YDA developed with community organisations, helped youth realise an advocacy role. For filmmakers, the empathic dialogues that emerged at public screenings of YDA films illuminated the way media have the potential to foster solidarity.
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Rieser, Klaus. "First-Person Documentary Film and Self-Life Narration." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 144–47. http://dx.doi.org/10.47060/jaaas.v1i1.75.
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In lieu of an abstract, here is the first paragraph of this forum contribution: My contribution to this forum on life writing contemplates life narrative practices in documentary film and proposes two theses that also bear relevance for other fields and media under discussion here. Firstly, it problematizes the concepts of autobiography and life writing for their applicability to (documentary) film, arguing with Alisa Lebow for a notion of "first person film."[1] Secondly, it contends that representations of the self in documentary film are more appropriately comprehended as a discourse rather than a genre.
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Widiantara, Dewa Made, I. Made Ardwi Pradnyana, and I. Gede Partha Sindu. "FILM DOKUMENTER PERMAINAN TRADISIONAL "PENYU MATALUH"." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 2 (July 17, 2019): 120. http://dx.doi.org/10.23887/karmapati.v8i2.18193.
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Penelitian ini bertujuan untuk (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan dari film dokumenter permainan tradisional “Penyu Mataluh”, (2) mengetahui respon masyarakat terhadap hasil akhir Film Dokumenter Permainan Tradisional “Penyu Mataluh”. Metode Penelitian yang digunakan pada film dokumenter permainan tradisional “Penyu Mataluh” adalah metode Pengembangan dengan model Cyclic Strategy. Cyclic Strategy merupakan sebuah metode yang ada kalanya suatu tahap perlu diulang kembali sebelum tahap berikutnya dilanjutkan. Adapun tahap – tahap dari Cyclic Strategy diantaranya adalah brief, tahap 1, tahap 2, evaluasi 1, tahap 3, evaluasi 2, tahap 4 dan Outcome. Hasil penelitian menunjukan bahwa film dokumenter permainan tradisional “Penyu Mataluh” dalam kriteria sangat baik. Hasil yang diperoleh dari uji ahli isi dan uji ahli media sudah sesuai. Sedangkan dari uji respon penonton disebar ke 30 responden didapatkan hasil presentase yaitu 91.8% dengan tingkat pencapaian “sangat baik”. Kesimpulan yang didapatkan yaitu film dokumenter permainan tradisional “Penyu Mataluh” sudah “sangat baik” dan bisa digunakan sebagai media pelestari dan promosi permainan tradisional “Penyu Mataluh” dalam bentuk dokumentasi digital. Kata kunci: Film Dokumenter, Penyu Mataluh, Permainan Tradisional, Cyclic Strategy.This study aims at (1) producing a project and implementing the results of the project of a documentary film of a traditional game entitled "Penyu Mataluh," (2) finding out public responses to the final results of the Documentary Film of Traditional Game "Penyu Mataluh". The research method used in the documentary film of traditional game of "Penyu Mataluh" is a development method using the Cyclic Strategy model. Cyclic Strategy is a method that sometimes has to be repeated before continuing to the further stages. The stages of Cyclic Strategy include briefs, stage 1, stage 2, evaluation 1, stage 3, evaluation 2, stage 4 and Outcome. The result of the study shows that the documentary film of traditional game of "Penyu Mataluh" is considered "very good". The results obtained from the content expert tests and the media expert tests are appropriate. Meanwhile, from the audience response test that has been distributed to 30 respondents, the percentage is 91.8% with a "very good" achievement level. The conclusions obtained were the documentary film of traditional game of "Penyu Mataluh" was very good and could be used as a preservation media and promotion of traditional games of "Penyu Mataluh" in the form of digital documentation. Keywords: Documentary Film, Penyu Mataluh, Traditional Game, Cyclic Strategy.
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Prahayuda, I. Kadek Ary, Gede Saindra Santyadiputra, and Gede Aditra Pradnyana. "Film Dokumenter Permainan Tradisional “Kelik-kelikan”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 2 (July 19, 2019): 238. http://dx.doi.org/10.23887/karmapati.v8i2.18347.
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Penelitian ini bertujuan untuk (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan dari film dokumenter permainan tradisional “Kelik-kelikan”, (2) mengetahui respon masyarakat terhadap hasil akhir film dokumenter permainan tradisional “Kelik-kelikan”. Metode Penelitian yang digunakan pada film dokumenter permainan tradisional “Kelik-kelikan” adalah metode pengembangan dengan model Cyclic Strategy. Cyclic Strategy merupakan sebuah metode yang ada kalanya suatu tahap perlu diulang kembali sebelum tahap berikutnya dilanjutkan. Adapun tahap – tahap dari Cyclic Strategy diantaranya adalah brief, tahap 1, tahap 2, evaluasi 1, tahap 3, evaluasi 2, tahap 4 dan Outcome. Hasil penelitian menunjukan bahwa film dokumenter permainan tradisional “Kelik-kelikan” dalam kriteria sangat baik. Hasil yang diperoleh dari uji ahli isi dan uji ahli media sudah sesuai. Sedangkan dari uji respon penonton disebar ke 30 responden didapatkan hasil presentase yaitu 92.73% dengan tingkat pencapaian “sangat baik”. Kesimpulan yang didapatkan yaitu film dokumenter permainan tradisional “Kelik-kelikan” sudah sangat baik dan bisa digunakan sebagai media pelestari dan promosi permainan tradisional “Kelik-kelikan” dalam bentuk dokumentasi digital. Kata kunci: Film Dokumenter, Kelik-kelikan, Permainan Tradisional, Cyclic Strategy. This study aims at (1) producing a project and implementing the results of the project of a documentary film of a traditional game entitled "Kelik-kelikan" (2) finding out public responses to the final results of the Documentary Film of Traditional Game " Kelik-kelikan ". The research method used in the documentary film of traditional game of " Kelik-kelikan" is a development method using the Cyclic Strategy model. Cyclic Strategy is a method that sometimes has to be repeated before continuing to the further stages. The stages of Cyclic Strategy include briefs, stage 1, stage 2, evaluation 1, stage 3, evaluation 2, stage 4 and Outcome.The result of the study shows that the documentary film of traditional game of " Kelik-kelikan" is considered "very good". The results obtained from the content expert tests and the media expert tests are appropriate. Meanwhile, from the audience response test that has been distributed to 30 respondents, the percentage is 92.73% with a "very good" achievement level. The conclusions obtained were the documentary film of traditional game of " Kelik-kelikan" was very good and could be used as a preservation media and promotion of traditional games of " Kelik-kelikan" in the form of digital documentation. Keywords: Documentary Film, Kelik-kelikan, Permainan Tradisional, Cyclic Strategy.
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Schiff, Rebecca Adler. "The Roma and documentary film: Considerations for collection development." Journal of Librarianship and Information Science 51, no. 4 (February 21, 2018): 1022–32. http://dx.doi.org/10.1177/0961000618759592.
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This paper explores the issues and criteria involved in developing a creditable documentary film collection about the Romani people for an academic library. Throughout their history, the Roma, or Gypsies, have dealt with biased, romanticized versions of their story, perpetuated by stereotypes found in legend, literature, song, and film. The expectation in the present undertaking is that the evidence coming from documentary films provides an effective antidote for misrepresentations. The paper reviews pertinent literature, suggests a selection process, and furnishes commentaries on individual titles as they relate to a framework based on the Romani historical and geographical narrative. A critical lens, namely, an awareness of the misrepresentations that abound in all media, is recommended as the instrument through which the films should be viewed. It is this dual approach – applying a historical framework and a critical lens – that can offer librarians a foundation upon which to build and grow a well-balanced collection.
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., I. Putu Aditya Narayana, Gede Saindra Santyadiputra, S. T. ,. M. Cs ., and Gede Aditra Pradnyana, S. Kom ,. M. Kom . "Film Dokumenter Tok Lait Kancing: Sebuah Warisan Karakter Budaya Bangsa." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 15, 2017): 84. http://dx.doi.org/10.23887/karmapati.v6i1.9327.
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Penelitian ini bertujuan untuk (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan film dokumenter Tok Lait Kancing (sebuah warisan karakter budaya bangsa). (2) mengetahui respon kalangan masyarakat terhadap hasil film dokumenter Tok Lait Kancing (sebuah warisan karakter budaya bangsa). Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan model ciclyc strategy. Model ciclyc strategy terdiri dari tahap brief (riset awal dan penawaran ide), tahap 1 (pengumpulan data dan analisis kebutuhan film), tahap 2 (pra-produksi), evaluasi peneliti, tahap 3 (produksi dan pasca produksi), evaluasi uji ahli (ahli media dan ahli isi), tahap 4 (burning, desain poster, dan desain DVD), outcome (publikasi film) dan uji respon penonton. Hasil penelitian menunjukan bahwa film dokumenter Tok Lait Kancing (sebuah warisan karakter budaya bangsa) dalam kriteria sangat baik. Simpulan yang didapatkan yaitu perancangan film dokumenter Tok Lait Kancing telah berhasil dilaksanakan dengan model cyclic strategy dengan menggunakan tahapan produksi film. Film dokumenter Tok Lait Kancing sudah berhasil masuk dalam kategori sangat baik sesuai dengan hasil uji ahli isi dan media. Serta berdasarkan analisis terhadap 30 orang responden yang berasal dari kalangan masyarakat umum dinyatakan bahwa film dokumenter ini mendapatkan total presentase sebesar 94,33% yang masuk kategori sangat baik.Kata Kunci : Tok Lait Kancing, Permainan Tradisional, Film Dokumenter, Cyclic Strategy. This research aims to (1) create a design and implement the design result of documentary film of Tok Lait Kancing (the nation’s cultural heritage character). (2) to know about the responds of the society toward the documentary film of Tok Lait Kancing (the nation’s cultural heritage character). The research method that is used in this study was research and development with cyclic strategy model. Cyclic strategy model consist of brief step (early research and idea proposal), step 1 (data collection and film needs analysis), step 2 (pre-production), researcher evaluation, step 3 (production and post-production), expert evaluation (media expert and content expert), step 4 (burning, poster design, and DVD design), outcome (film publication) and test of audience respond. The result of this research shows that the documentary film of Tok Lait Kancing (the nation’s cultural heritage character) is in very good criteria. The conclusion gained is that the design of documentary film Tok Lait Kancing has successfully done by using cyclic strategy model with film production steps. Documentary film of Tok Lait Kancing has successfully counted into very good criteria in accordance with the result of expert of content and media test. And also, based on the analysis of 30 respondents that are come from the society, it is shows that this documentary film gained 94,33% in total that is counted as very good category.keyword : Tok Lait Kancing, Traditional Games, Documentary Film, Cyclic Strategy.
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Bakulev, Gennady P. "Cinematic media in digital culture." Journal of Flm Arts and Film Studies 11, no. 1 (March 15, 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.
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Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
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Hariana, Made Satya, I. Gede Partha Sindu, and Dewa Gede Hendra Divayana. "Film Dokumenter :"Pelestarian Lingkungan Melalui Permainan Tradisional Mapoh - Pohan"." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 2 (July 26, 2019): 415. http://dx.doi.org/10.23887/karmapati.v8i2.18387.
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Penelitian ini bertujuan: (1) Untuk menghasilkan rancangan dan mengimplementasikan hasil rancangan film dokumenter: ”Pelestarian Lingkungan Melalui Permainan Tradisional Mapoh-pohan”, (2) Untuk mengetahui respon masyarakat terhadap hasil akhir film dokumenter: ”Pelestarian Lingkungan Melalui Permainan Mapoh-pohan”. Metode penelitian yang digunakan pada film dokumenter Mapoh-pohan adalah Research and Develompent dengan model cyclic strategy. Tradisi Mapoh-pohan yang dipilih sebagai subjek penelitian adalah Mapoh-pohan yang ada pada Banjar Ole, Desa Dauh Puri, Kecamatan Marga, Kabupaten Tabanan. Adapun tahap – tahap dari Cyclic Strategy diantaranya adalah brief, tahap 1, tahap 2, evaluasi 1, tahap 3, evaluasi 2, tahap 4 dan Outcome. Hasil penelitian menunjukkan bahwa film dokumenter: ”Pelestarian Lingkungan Melalui Permainan Tradisional Mapoh-pohan” dalam kriteria sangat baik. Hasil yang diperoleh dari uji ahli isi dan uji ahli media seluruhnya sudah sesuai. Sedangkan dari uji respon penonton disebar ke 30 responden didapatkan hasil rata-rata presentase yaitu 93,66% dengan tingkat pencapaian “sangat baik”. Kesimpulan yang didapatkan film dokumenter: ”Pelestarian Lingkungan Melalui Permainan Tradisional Mapoh-pohan” sudah sangat baik dan bisa digunakan sebagai media pelestari dan promosi permainan tradisional “Mapoh-pohan” dalam bentuk dokumentasi digital. Kata kunci: Film Dokumenter, Mapoh-pohan, Permainan Tradisional, Cyclic Strategy This study aims: (1) To produce a design and implement the result of documentary film: "Environmental Preservation through Mapoh-pohan Traditional Game", (2) To find out the public response to the final result of documentary film: "Environmental Preservation Through Mapoh-pohan Traditional Game". The research method used in the Mapoh-pohan documentary film was Research and Develompent with a cyclic strategy model. Mapoh-pohan tradition chosen as the research subject was Mapoh-pohan in Banjar Ole, Dauh Puri Village, Marga District, Tabanan Regency. The results showed that the documentary film: "Environmental Preservation through Mapoh-pohan Traditional Game" was in very good criteria. The results obtained from the content expert test and the media expert test are all appropriate. Whereas from the audience response test spread to 30 respondents, the average percentage was 93.66% with a "very good" achievement level. The conclusion obtained by the documentary film: "Environmental Preservation through Mapoh-pohan Traditional Game" has been very good and can be used as a preservation media and promotion of "Mapoh-pohan" traditional games in the form of digital documentation. Keywords: Documentary Film, Mapoh-pohan, Traditional Game, Cyclic Strategy.
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Saufi, Indra Arif Maulana, and M. A. Rizka. "Analisis Pengaruh Media Pembelajaran Film Dokumenter Terhadap Motivasi Belajar Siswa." Jurnal Teknologi Pendidikan : Jurnal Penelitian dan Pengembangan Pembelajaran 6, no. 1 (April 14, 2021): 55. http://dx.doi.org/10.33394/jtp.v6i1.3626.
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The purpose of this study was to analyze the effect of documentary film learning media on student learning motivation. This study used an experimental method with one group design with a total sampling of 19 students. Data collection techniques using questionnaires, documentation and observation. The data analysis technique of this research is using statistical analysis. The results of this study indicate x2hitung 6.477> x2tabel 3.841 with a significant level of 5% and dk (fh-1) = 2-1 = 1, it is obtained that Ho is rejected and Ha is accepted, so it can be concluded that there is an influence of documentary film learning media on learning motivation of class VIII students. SMP Negeri 2 Sakra Barat.
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., Kadek Adi Sidiantara, I. Gede Mahendra Darmawiguna, S. Kom ,. M. S. ., and Gede Aditra Pradnyana, S. Kom ,. M. Kom . "Film Dokumenter Permainan Tradisional “Adu Gangsing” di Buleleng “Sebagai Warisan Budaya”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 1 (February 28, 2019): 66. http://dx.doi.org/10.23887/karmapati.v8i1.17007.
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Permainan Tradisional “Adu Gangsing” adalah salah satu jenis permainan tradisional yang diwariskan sejak lama oleh nenek moyang kita. Penelitian ini bertujuan untuk (1) menghasilkan rancangan dan mengimplementasikan hasil rancangan film dokumenter Permainan Tradisonal “Adu Gangsing” di Buleleng (sebagai warisan budaya leluhur yang tidak lekang oleh waktu), (2) Untuk mengetahui respon masyarakat terhadap hasil akhir film dokumenter “Adu Gangsing” di Buleleng (sebagai warisan budaya leluhur yang tidak lekang oleh waktu) Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dengan model cyclyc strategy. Model ciclyc strategy terdiri dari tahap brief (riset awal dan penawaran ide), tahap 1 (pengumpulan data dan analisis kebutuhan film), tahap 2 (pra-produksi), evaluasi peneliti, tahap 3 (produksi dan pasca produksi), evaluasi uji ahli (ahli media dan ahli isi), tahap 4 (burning, desain poster, dan desain DVD), outcome (publikasi film) dan uji respon penonton. Hasil penelitian menunjukan bahwa film dokumenter Permainan Tradisonal “Adu Gangsing” di Buleleng (sebagai warisan budaya leluhur yang tidak lekang oleh waktu) dalam kriteria sangat baik. Simpulan yang didapatkan yaitu perancangan film dokumenter Permainan Tradisonal “Adu Gangsing” di Buleleng (sebagai warisan budaya leluhur yang tidak lekang oleh waktu) telah berhasil dilaksanakan dengan model cyclic strategy dengan menggunakan tahapan produksi film. Film dokumenter Permainan Tradisonal “Adu Gangsing” sudah berhasil masuk dalam kategori sangat baik sesuai dengan hasil uji ahli isi dan media. Serta berdasarkan analisis terhadap 30 orang responden yang berasal dari kalangan masyarakat khususnya generasi muda dinyatakan bahwa film dokumenter ini mendapatkan total presentase sebesar 90,59% yang masuk kategori sangat baik.Kata Kunci : Kata kunci: Permainan Tradisional, Adu Gangsing, Film Dokumenter, Cyclic Strategy. Traditional games "Adu Gangsing" is one type of traditional game that has been inherited for a long time by our ancestors. This study aims to (1) produce designs and implement the results of the documentary documentary "Adu Gangsing" Traditional Games in Buleleng (as a timeless heritage), (2) To find out the public response to the final results of the documentary "Adu Gangsing" "In Buleleng (as a timeless cultural heritage) The type of research used in this study is research with a cyclyc strategy model. The Ciclyc strategy model consists of a brief stage (initial research and idea offering), stage 1 (data collection and film needs analysis), stage 2 (pre-production), researcher evaluation, stage 3 (production and post-production), expert test evaluation ( media expert and content expert), stage 4 (burning, poster design, and DVD design), outcome (film publication) and audience response test. The results of the study show that the documentary film "Adu Gangsing" Traditional Games in Buleleng (as a timeless cultural heritage) is in very good criteria. The conclusions obtained were the design of the documentary film "Adu Gangsing" Traditional Games in Buleleng (as a timeless cultural heritage) that has been successfully implemented with a cyclic strategy model using the stages of film production. The documentary film "Adu Gangsing" Traditional Games has successfully entered the excellent category according to the results of the content and media expert test. And based on the analysis of 30 respondents from the community, especially the younger generation, it was stated that the documentary film received a total percentage of 90.59% which was in the excellent categorykeyword : Keywords: Traditional Games, “Adu Gangsing”, Documentary Film, Cyclic Strategy
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Sarasmayana, Ketut Yoga, I. Gede Partha Sindu, and I. Made Agus Wirawan. "Film Dokumenter Permainan Tradisional “Goak Maling Taluh”." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 2 (July 18, 2019): 131. http://dx.doi.org/10.23887/karmapati.v8i2.18259.
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Penelitian ini bertujuan untuk (1) menghasilkan pengembangan berupa Film Dokumenter Permainan Tradisional “Goak Maling Taluh”. (2) mengetahui respon siswa dan guru Sekolah Dasar terhdap hasil akhir Film Dokumenter Permainan Tradisional “Goak Maling Taluh”. Jenis penelitian yang digunakan adalah penelitian dan pengembangan model cyclic strategy. Cyclic Strategy merupakan sebuah metode yang ada kalanya suatu tahap perlu diulang kembali sebelum tahap berikutnya dilanjutkan. Adapun tahap – tahap dari Cyclic Strategy diantaranya adalah brief, tahap 1, tahap 2, evaluasi 1, tahap 3, evaluasi 2, tahap 4 dan Outcome. Hasil penelitian menunjukan bahwa film dokumenter permainan tradisional “Goak Maling Taluh” dalam kriteria “sangat baik”. Hasil yang diperoleh dari uji ahli isi dan uji ahli media seluruhnya sudah “sesuai”. Sedangkan dari uji respon penonton yang telah disebar ke 30 orang responden didapatkan hasil rata-rata presentase yaitu 91,93% dengan tingkat pencapaian “sangat baik”. Kesimpulan yang didapatkan yaitu film dokumenter permainan tradisional “Goak Maling Taluh” sudah “sangat baik” dan bisa digunakan sebagai media pelestari dan promosi permainan tradisional “Goak Maling Taluh” dalam bentuk dokumentasi digital. Kata kunci: Film Dokumenter, Goak Maling Taluh, Cyclic Strategy. This research purpose to (1) produces development in the form of Traditional Game Documentary Film “Goak Maling Taluh”. (2) Find out the response from student and Primary School teachers toward the final result of Traditinal Game Documentary Film “Goak Maling Taluh”. Type of research that used is research and development design cyclic strategy. Cyclic Strategy is a method that sometimes has to be repeated before continuing to the further stages. The stages of Cyclic Strategy include briefs, stage 1, stage 2, evaluation 1, stage 3, evaluation 2, stage 4 and Outcome. The result of the study shows that the documentary film of traditional game of “Goak Maling Taluh” is considered "very good". The results obtained from the content expert tests and the media expert tests are all "appropriate". Meanwhile, from the audience response test that has been distributed to 30 respondents, the average percentage is 91.93% with a "very good" achievement level. The conclusions obtained were the documentary film of traditional game of “Goak Maling Taluh” was "very good" and could be used as a preservation media and promotion of traditional games of “Goak Maling Taluh” in the form of digital documentation. Keywords: Documentary Film, Goak Maling Taluh, Cyclic Strategy.
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., I. Gusti Ngurah Bagus Suryawan, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and I. Gede Partha Sindu, S. Pd ,. M. Pd . "Film Dokumenter Kain Gringising Di Desa Tenganan Pegringsingan." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 22, 2017): 150. http://dx.doi.org/10.23887/karmapati.v6i1.9458.
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Tujuan dari penelitian ini adalah untuk : (1) mengimplementasikan Film Dokumenter Kain Gringsig di Desa tenganan Pegringsingan (2) mengetahui respon pengguna terhadap Film Dokumenter Kain Gringsing di Desa Tenganan Pegringsingan.
Metode penelitian yang digunakan adalah penelitian dan pengembangan. Film Dokumenter Kain Gringsing di Desa Tenganan Pegringsingan di kembangkan menggunakan metode cyclic. Aplikasi ini diimplementasikan menggunakan Adobe Premiere Pro Cs6 sebagai pembuat video dengan bantuan Adobe After Effect sebagai penambah efek video.
Pemanfaatan aplikasi pembuat video dari dampak kemajuan teknologi menyebabkan para remaja atau anak muda mampu berkreasi dalam mengolah video dengan berbagai efek sesuai kemampuan dan keinginan sehingga video dapat dijadikan berbagai sarana yang vital dalam berbagai media promosi. Oleh karena itu, penulis mengembangkan sebuah film documenter yang berjudul “Film Dokumenter Kain Gringsing”. Dengan dikembangkannya film documenter ini, diharapkan keberadaan kain gringsing di desa tenganan pegringsingan semakin di kenal, serta dapat dijadikan sebuah media pembelajaran baik dari segi penggunaan dan makna di balik sebuah kain gringsing yang berada di desa tenganan pegringsingan. Hasil akhir film documenter kain gringsing dapat memberikan wawasan bagi penonton terkait proses pembuatan kain gringsing , penggunaan kain gringsing dalam upacara yang ada di desa tenganan pegringsingan serta makna filosofi yang terkandung dalam kain gringsing.. Respon pengguna terhadap film documenter kain gringsing dapat dikategorikan sangat positif dengan persentase 88%.
Kata Kunci : Kain Gringsing, Tenganan Pegringsingan, Film Dokumenter, Tradisi. The purpose of this study was to: (1) implement Documentary Fabric Gringsig in the village of Tenganan Pegringsingan (2) determine the user response to the Documentary Fabric Gringsing in Tenganan Pegringsingan.
The method used is research and development. Documentary Fabric Gringsing in Tenganan Pegringsingan developed using cyclic method. This application is implemented using Adobe Premiere Pro CS6 as a maker of video with the help of Adobe After Effects as an addition to video effects.
Utilization maker application video of the impact of technological advances led to the teenagers or young child is able to be creative in the process the video with various effects according to ability and desire so that video can be used as the means vital in a variety of media promotion. Therefore, the authors developed a documentary film titled "Documentary Fabric Gringsing". With the development of documentary film, it is expected the presence of cloth in the village of Tenganan Pegringsingan gringsing increasingly well known, and can be used as a medium of learning in terms of both the use and the meaning behind a Cloth gringsing located in the village of Tenganan Pegringsingan. The final result documentary gringsing fabric can provide insight for the audience related to the process gringsing fabric, use fabric gringsing in a ceremony in the village of Tenganan Pegringsingan and philosophical meaning contained in the fabric gringsing . user response to the documentary film gringsing fabric can be categorized as very positive percentage of 88%.
keyword : Fabric Gringsing, Tenganan Pegringsingan, Documentary, Tradition.
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., I. Gede Adhi Narayana, I. Made Putrama, S. T. ,. M. Tech ., and I. Gede Partha Sindu, S. Pd ,. M. Pd . "Film Dokumenter Tradisi Mebuug-buugan, Tradisi Desa Adat Kedonganan yang Telah Kembali." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 1 (February 27, 2019): 1. http://dx.doi.org/10.23887/karmapati.v8i1.16980.
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Penelitian ini bertujuan: (1) Untuk menghasilkan rancangan dan mengimplementasikan hasil rancangan film dokumenter Tradisi Mebuug-buugan, ”Tradisi Desa Adat Kedonganan yang Telah Kembali”, (2) Untuk mengetahui respon masyarakat terhadap hasil akhir film dokumenter Tradisi Mebuug-buugan, “Tradisi Desa Adat Kedonganan yang Telah Kembali”.
Metode penelitian yang digunakan pada film dokumenter Mebuug-buugan, “Tradisi Desa Adat Kedonganan yang Telah Kembali” adalah dengan metode cyclic strategy. Tradisi Mebuug-buugan yang dipilih sebagai subjek penelitian adalah Mebuug-buugan yang ada pada Desa Adat Kedonganan, Kecamatan Kuta, Kabupaten Badung.
Hasil penelitian menunjukan bahwa film dokumenter Mebuug-buugan dalam kriteria sangat baik. Hasil yang diperoleh dari uji ahli isi dan uji ahli media seluruhnya sudah sesuai. Sedangkan dari uji respon penonton disebar ke 30 responden. Berdasarkan data uji responden yang telah dilakukan, didapatkan hasil rata-rata presentase yaitu 91,20% dengan tingkat pencapaian “sangat baik”. Kesimpulan yang didapatkan yaitu film dokumenter Mebuug-buugan sudah sangat baik dan bisa digunakan sebagai media pelestari dan promosi Mebuug-buugan.
Kata Kunci : Desa Adat Kedonganan, Film Dokumenter, Mebuug-buugan, Cyclic Strategy This study aims: (1) to produce a design and implement the results of the documentary design of the Mebuug-buugan tradition, "The Return of Traditional Village Traditions of Kedonganan", (2) to investigate the community response to the final results of the Mebuug-buugan tradition, "The Return of Traditional Village Traditions of Kedonganan".
The research method used in the Mebuug-buugan documentary film, "The Return of Traditional Village Traditions of Kedonganan" was the cyclic strategy method. The Mebuug-buugan tradition chosen as the subject of this study was Mebuug-buugan in Kedonganan Traditional Village, Kuta District, Badung Regency.
The results of the study showed that the Mebuug-buugan documentary film was in very good criteria. The results gained from the content expert test and the media expert test were all appropriate. Meanwhile the audience response test was distributed to 30 respondents. According to the respondents' test data that had been conducted, the average percentage was 91,20% with a "very good" achievement level. To conclude, the Mebuug-buugan documentary film was very good and could be used as a preservation media and promotion of Mebuug-buugan.
keyword : Kedonganan Traditional Village, Documentary Film, Mebuug-buugan, Cyclic Strategy
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Devasundaram, Ashvin Immanuel, and Ravinder Barn. "Performativity of rape culture through fact and fiction: An exploration of India’s Daughter and Anatomy of Violence." International Journal of Cultural Studies 23, no. 6 (May 27, 2020): 879–97. http://dx.doi.org/10.1177/1367877920911937.
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The power and influence of film and documentaries in public discourse and in formal pedagogical practices is recognized as critical. The content and message of a documentary are likely to be regarded as the ‘truth’. This is generally located in the belief that since a documentary is focused on a real-life event, it seeks to objectively expose key issues and concerns to reveal the veracity of the phenomenon under scrutiny. This article explores the portrayal of fact and fiction through film and documentary as exemplified by Deepa Mehta’s film Anatomy of Violence and Leslee Udwin’s film India’s Daughter (2016 and 2015 respectively), selected for their focus on the rape and murder of a Delhi student dubbed by the media as ‘Nirbhaya’ in 2012. The article investigates how these two media forms make use of fact or fiction to enhance understanding of a key social quandary, examining notions of temporality, spatiality, determinism and patriarchy.
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Wisnu Wijaya, PG. "Film Dokumenter Penenun Tapis Lampung Sebagai Media Identitas Kultural." AKSA: JURNAL DESAIN KOMUNIKASI VISUAL 3, no. 1 (April 20, 2020): 389–432. http://dx.doi.org/10.37505/aksa.v3i1.31.
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The Lampung Wastra, called the Tapis, is an intangible artifact that has exotic characteristics and uniqueness like fabrics in other parts of Indonesia. All typical fabrics in the archipelago become cultural icons in each region, especially the Tapis discussed in this paper are indeed in the 'critical' space. In fact, the number of Tapis weavers and the process of regeneration of weavers is not going well. In fact, the number of Tapis weavers and the process of regeneration of weavers is not going well. Weavers who understand the history of Tapis, the meaning of motifs, patterns, types as well as their functions remain one person in Lampung, the rest only have an understanding in the aesthetic area and do not understand the deeper layers of the Tapis, both the meaning, historical value, articulation of forms and motifs used in the Tapis . The design of this documentary film will be made by combining direct cinema and social reconstruction documentary, referring to the form of direct cinema which is the disclosure of a fact that occurs about this Tapis fabric. polemic that occurs in the development of Tapis cloth in terms of philosophical, function and economic aspects, which will provide a strong dramatization in this documentary. For this reason, efforts should be made to build the image of Tapis fabric as a distinctive identity of Lampung cloth, build brand personality through weavers who still preserve cultural processes in making Tapis fabrics. Along with that there must be an effort to re-inform the philosophical values contained in the process of making Tapis fabric.
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Pedersen, Peter Ole. "The Never-ending Disaster: 9/11 Conspiracy Theory and the Integration of Activist Documentary on Video Websites." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 49–64. http://dx.doi.org/10.2478/ausfm-2014-0004.
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Abstract The article examines how documentary film is transformed when distributed through video sharing web sites. The conspiracy-theoretical production Loose Change (2005, 2006, 2007, and 2009) is used as a case study of how the mediation process connected with net-based distribution affects the materiality of film and alters our conception of both visual evidence and genre. With a point of departure in the media theory of Jay David Bolter and Richard Grusin and their twin concepts of immediacy and hypermediacy it is discussed how the film culture on the internet develops new media institutions and establishes what could be described as “live” archives. A concluding reflection illustrates how this type of film is part of an ongoing media-determined and cultural transformation of the documentary genre, a process that places its historical and political content halfway between fact and fiction
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Fox, Jo. "From Documentary Film to Television Documentaries: John Grierson andThis Wonderful World." Journal of British Cinema and Television 10, no. 3 (July 2013): 498–523. http://dx.doi.org/10.3366/jbctv.2013.0152.
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In October 1957, John Grierson, the founder of the British documentary film movement, made the transition to a new medium: television. His series for STV, This Wonderful World, which ran in its original form until August 1965, introduced audiences to international documentary in an ‘inter-generic’ magazine format and was among the most popular broadcasts of the fledgling station, which was formed in August 1957 following the introduction of Independent Television (ITV) in 1954. This article analyses how cinematic documentarists made the transition to television and what their experiences reveal of the documentary's place in British society in the 1950s and 1960s. It argues that Grierson's series stood at the centre of debates over ‘prestige’ programming and ‘cultural uplift’, as well as over fears of the allegedly negative influence of ITV on the mass audience, and shows how British television negotiated an increasingly global media and the emergence of the modern television personality. It concludes with an examination of the legacy of early British documentary on television and demonstrates how its pioneers exploited the memory of the 1930s in order to carve out their place in the genre's history.
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., I. Dewa Gede Angga Sitangga Putra, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and Gede Aditra Pradnyana, S. Kom ,. M. Kom . "Film Dokumenter Anjing Bali Tuan Rumah Sejuta Kisah." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 21, 2017): 134. http://dx.doi.org/10.23887/karmapati.v6i1.9405.
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Tujuan dari penelitian ini adalah untuk: 1) menghasilkan rancangan dan mengimplementasikan hasil rancangan Film Dokumenter Anjing Bali, Tuan Rumah Sejuta Kisah; 2) mengetahui respon masyarakat terhadap Film Dokumenter Anjing Bali, Tuan Rumah Sejuta Kisah.
Jenis penelitian yang digunakan dalam penelitian ini adalah penelitian dan pengembangan dengan menggunakan metode cyclic strategy. Metode cyclic strategy dimulai dari Teknik pengumpulan data dilakukan dengan cara observasi, wawancara, studi literature, angket, dan dokumentasi. Penelitian ini diimplementasikan menggunakan Adobe Premiere Pro CC Pro 2012 sebagai aplikasi pengedit video dan Adobe After Effect CS 6 sebagai aplikasi penambahan efek serta animasi pada video serta menggunakan adobe audition Pro CC 2017 sebagai pengedit suara. Hasil penelitian dan pengembangan menunjukkan bahwa Film Dokumenter Anjing Bali, Tuan Rumah Sejuta Kisah adalah kriteria baik.
Hasil yang diperoleh berdasarkan analisis uji ahli isi, uji ahli media, uji ahli film documenter, dan uji respon penonton. Untuk isi dari film dokumenter Anjing Bali, Tuan Rumah Sejuta Kisah dapat dikategorikan baik dengan presentase 89,20%.
Kata Kunci : Anjing Bali, Cyclic Strategy, Film Dokumenter The purpose of this study are to: 1) resulted in the design and implementation of the draft outcome for Film of Documentary Anjing Bali, Tuan Rumah Sejuta Kisah; 2) know the public response for Film of Documentary Anjing Bali, Tuan Rumah Sejuta Kisah.
Type of this research is research and development using cyclic strategy. Methods of cyclic strategy starts from Data collected by observation, interview, literature study, questionnaires, and documentation. This study was implemented using Adobe Premiere Pro CC Pro 2012 as a video editing application and Adobe After Effects CS 6 as additional applications in video effects and animation as well as using adobe audition Pro CC 2017 as a sound editor. The results of research and development shown that the film of documentary Anjing Bali, Tuan Rumah Sejuta Kisah is good criteria.
The results obtained by the content analysis, media analysis, analysis of documentary film, and audience's response. The content of the documentary film Anjing Bali, Tuan Rumah Sejuta Kisah can be categorized as good with a percentage of 89.20%.
keyword : Cyclic Strategy, Balinese dog, Documentary Film
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Wijaya, I. Dewa Made Satria Sitangga, I. Made Agus Wirawan, and I. Gede Partha Sindu. "Film Dokumenter “Ngantung Ari-Ari” Antara Nalar dan Naluri Dari Tradisi Bali Kuno." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 8, no. 2 (July 18, 2019): 186. http://dx.doi.org/10.23887/karmapati.v8i2.18199.
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The purposes of the study were: 1) To develop a documentary film “Ngantung Ari-ari” antara Nalar dan Nalusi dari Tradisi Bali Kuno in Bayunggede village. 2) To find out the response of the people to the final results of the Documentary Film “Ngantung Ari-ari” antara Nalar dan Nalusi dari Tradisi Bali Kuno in Bayunggede VillageThis research was a research and development that used the Cyclic Strategy method, which is a method that uses a looping system at each stage if there are deficiency that determined by testing stage. Data collection techniques were carried out by observation, interviews, literature studies and documentation. This research was implemented using Adobe Premiere Pro CS6 as a video editing application and Adobe After Effect CS 6 as an application for adding effects and animations to videos and using Adobe Audition Pro CS6 as a sound editor.The test was did through several stages, there were the content expert test and media expert test in pre-production, content expert test and media expert test after the production until the audience respondent tests to determine the achievement and quality of the film. For the results of the test the audience respondents get very good results, by the percentage of 96%. After the film was finished, it was hoped that the people understanding of the tradition, both hanging and buried and tolerance between religious people is rising and solve the ongoing conflict. Keywords: Documentery Film, Cyclic Strategy, “ngantung ari-ari”
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Hawley, Steve. "War memorial: The Calling Blighty films and remembrance." Media, War & Conflict 12, no. 3 (April 2, 2018): 263–80. http://dx.doi.org/10.1177/1750635218763222.
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The Calling Blighty series of nearly 400 films were messages from servicemen in India and Burma to be shown to families in local cinemas at the end of the Second World War. They are remarkable because of their cinematic quality and the men’s direct address to camera, and the 64 remaining films reveal much about family memories, public remembrance and representation of the Northern voice on screen. Along with Marion Hewitt of the North West Film Archive, the author has been engaged in an ongoing project to find the relatives of the men of the ‘Forgotten Army’ in the films and recreate the screenings. These ritual ceremonies of remembrance have been augmented by a media memorial, a Channel 4 TV documentary about the project and creative critical reflection through an experimental artist’s film, drawing on the archive material. This analysis of the project looks at the relationship of the Blighty films to wartime film and documentary, in particular, as well as soldier self-representation, and their implications for both family and communal remembrance.
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Have, Iben. "The musicalized soundtracks of Armadillo. Emotional realism and real emotions." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 1 (April 13, 2012): 155–70. http://dx.doi.org/10.7146/se.v2i1.5196.
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“To you it’s film, to them it’s reality” is the translated poster headline of the Danish war documentary Armadillo (Janus Metz, May 2010), a much-debated Cannes award-winning film that follows Danish soldiers stationed in Afghanistan. The article uses this headline as a framework for analyzing, comparing and discussing the film’s “musicalized” soundtracks on various media platforms (cinema, YouTube, television, DVD), and it argues that these soundtracks contribute to the viewer’s experience of emotional realism, as well as to an experience of the emotional reality – the soldiers’ or the viewer’s own. The political, journalistic and in particular aesthetic ambitions of producers and directors have contributed to developing Danish documentary films into a successful brand within the last decade. Using examples from the public reception of and debate on Armadillo, the article discusses how this development may have led to an increased emphasis on the emotional impact of musicalized soundtracks and a new premise for documentary reception.
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., Komang Gede Wenten, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and I. Made Ardwi Pradnyana, S. T. ,. M. T. . "Film Dokumenter Pembayaran Kaul Dengan Bulu Geles Di Desa Tambakan Kecamatan kubutambahan Kabupaten Buleleng." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 15, 2017): 73. http://dx.doi.org/10.23887/karmapati.v6i1.9326.
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Tradisi lisan merupakan salah satu bentuk ekspresi kebudayaan daerah yang jumlahnya beratus-ratus di seluruh Indonesia. Tradisi Pembayaran Kaul dengan Bulu Geles adalah pembayaran janji atau hutang dengan menggunakan seekor anak sapi jantan sebagai sarananya.
Tujuan dari penelitian ini adalah untuk : (1) mengimplementasikan Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan (2) mengetahui respon pengguna terhadap Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan. Metode penelitian yang digunakan dalam Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan menggunakan metode cyclic strategy. Aplikasi ini diimplementasikan menggunakan Sony Vegas Pro 13.0 sebagai pembuat video.
Pemanfaatan aplikasi pembuat video dari dampak kemajuan teknologi menyebabkan para remaja atau anak muda mampu berkreasi dalam mengolah video dengan berbagai efek sesuai kemampuan dan keinginan sehingga video dapat dijadikan berbagai sarana yang vital dalam berbagai media promosi. Oleh karena itu, penulis mengembangkan sebuah film dokumenter yang berjudul “Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan”. Dengan dikembangkannya film dokumenter ini, diharapkan keberadaan tradisi Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan semakin di kenal, serta dapat dijadikan sebuah media pembelajaran baik dari segi proses dan makna di balik sebuah tradisi Pembayaran Kaul Dengan Bulu Geles yang berada di Desa Tambakan.
Hasil akhir film dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan dapat memberikan wawasan bagi penonton terkait tradisi Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan. Respon pengguna terhadap film dokumenter Pembayaran Kaul Dengan Bulu Geles dapat dikategorikan sangat positif.
Kata Kunci : Bulu Geles, Film Dokumenter, Tradisi. The oral tradition is one form of cultural expression of the region whose numbers hundreds throughout Indonesia. Payment tradition vows with Bulu Geles is a promise or debt payment by using a male calves as ingredients.
The purpose of this study was to: (1) implement Documentary Payments vows With Bulu Geles in Tambakan village. (2) Determine the user response to the Documentary Payments vows With Bulu Geles in Tambakan village.
The method used in the Documentary Payments vows With Bulu Geles in Tambakan village using cyclic strategy. This application is implemented using Sony Vegas Pro 13.0 as a video maker.
Utilization maker application video of the impact of technological advances led to the teenagers or young child is able to be creative in the process the video with various effects according to ability and desire so that video can be used as the means vital in a variety of media promotion.
Therefore, the authors developed a documentary titled "Documentary Payments vows With Bulu Geles in Tambakan village". With the development of this documentary, expected presence Payment tradition vows with Bulu Geles in Tambakan village increasingly well known, and can be used as a medium of learning in terms of both the process and the meaning behind the tradition Payment vows with Bulu Geles in Tambakan village.
The final result documentary Payment vows With Bulu Geles in Tambakan village can provide insight for the audience related payments tradition vows With Bulu Geles in the village. User response to the documentary film payment vows With Bulu Geles can be categorized as very positive.
keyword : Bulu Geles, Documentary, Tradition.
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Rouleau, Joëlle. "Film: Réflexions sur la Représentation du Handicap Retrouvée dans le Cinéma Québécois." Canadian Journal of Disability Studies 5, no. 3 (October 31, 2016): 57. http://dx.doi.org/10.15353/cjds.v5i3.296.
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Réflexions sur la représentation du handicap retrouvée dans le cinéma québécois est un court- métrage documentaire s’articulant autour de deux questions principales : comment aborder la représentation du handicap telle qu’elle se retrouve dans certains films québécois ; et, dans quelle mesure l’étude critique de cette représentation permet-elle de concevoir le cinéma comme un régime de la représentation (Hall 1997a) québécois articulé autour de certaines normativités (Butler, 2004)? Pour y parvenir, la réalisatrice a entretenu une discussion avec des réalisateurs, réalisatrices, actrices et activistes au sujet de la lutte de pouvoir autour de la représentation (Hall, 1997a; du Gay et al., 1997); celle-ci s’inscrivant dans une lutte plus large concernant des rapports de force dans la société québécoise. Cette discussion prend pour étude de cas le film Prends-moi (2014), court-métrage de fiction réalisé par André Turpin et Anaïs Barbeau- Lavalettte, deux personnes non-handicapées. Le documentaire met de l’avant une analyse critique des représentations capacitiste, explorant l’autoreprésentation comme une réappropriation de l’espace culturel et social de la représentation des personnes handicapées dans le contexte québécois. Réflexions sur la représentation du handicap retrouvée dans le cinéma québécois is a short documentary exploring two core questions: First, how can we approach the portrayal of disability in certain Québec films? And second, how can a critical study of disability facilitate a conceptualization of Québec cinema as part of a « regime of representation » (Hall, 1997) articulated around certain norms (Butler, 2004)? To do so, the director opens up a discussion with film directors, producers, actors and activists concerning the power struggles over representation (Hall, 1997; du Gay et al., 1997) and the broader power relations in Québec society of which they are a part. This discussion focuses on the Quebec film Prends-Moi (2014) directed by non-disabled filmmakers André Turpin and Anaïs Barbeau-Lavalette. The short documentary offers an exploration of cultural representations of disability in Quebec media that allows for a deeper analysis of Quebec’s ableist cultural conceptions as well as a space for self- representation, which can be understood as a form of re-appropriation of media space.
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Declich, Francesca. "Codifying Memories through Film." Journal of Global Slavery 5, no. 1 (February 28, 2020): 62–88. http://dx.doi.org/10.1163/2405836x-00501005.
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Abstract Before the exponential diffusion of modern video broadcasting media, the history of forced migrations within Africa was mainly transmitted through the spread of individual and collective memories. Filming, instead, agglomerates memories and images by producing new overarching and often convincing interpretations of the past. This article describes how and why a documentary video on slavery in the Indian Ocean was produced and the reasons behind its narrative form. Stemming from the urge of people regarded as descendants of slaves to have their ancestral dances documented as proof of their origins, this documentary is the result of a long-range ethnographic encounter spanning time and space from the Juba River in Somalia to Malawi and the Niasa region of Mozambique. It was only audiovisual equipment like video cameras and computers that made such an amazing encounter possible.
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Borish, David, Ashlee Cunsolo, Ian Mauro, Cate Dewey, and Sherilee L. Harper. "Moving images, Moving Methods: Advancing Documentary Film for Qualitative Research." International Journal of Qualitative Methods 20 (January 1, 2021): 160940692110136. http://dx.doi.org/10.1177/16094069211013646.
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With the widespread use of digital media as a tool for documentation, creation, preservation, and sharing of audio-visual content, new strategies are required to deal with this type of “data” for research and analysis purposes. This article describes and advances the methodological process of using documentary film as a strategy for qualitative inquiry. Insights are drawn from a multimedia study that explored Inuit-caribou relationships in Labrador, Canada, through the co-production of community-based, research-oriented, participatory documentary film work. Specifically, we outline: 1) the influence of documentary film on supporting the project conceptualization and collaboration with diverse groups of people; 2) the strength of conducting filmed interviews for in-depth data collection, while recognizing how place and activities are intimately connected to participant perspectives; and 3) a new and innovative analytical approach that uses video software to examine qualitative data, keep participants connected to their knowledge, and simultaneously work toward creating high impact storytelling outputs. The flexibility and capacity of documentary film to mobilize knowledge and intentionally create research outputs for specific target audiences is also discussed. Continued and future integration of documentary film into qualitative research is recommended for creatively enhancing our abilities to not only produce strong, rich, and dynamic research outputs, but also simultaneously to explore and communicate diverse knowledges, experiences, and stories.
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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (September 21, 2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.
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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.
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Karlsen, Joakim. "Aligning Participation with Authorship." Non-fiction Transmedia 5, no. 10 (December 31, 2016): 40. http://dx.doi.org/10.18146/2213-0969.2016.jethc111.
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The main contribution of this article is to describe how the concept of non-fiction transmedia has challenged the independent documentary film community in Norway. How the new possibilities afforded by web- and mobile media, with the potential of reconfiguring the current relation between author and audience, has been perceived and performed. Based on an extensive interview study and reflections on contributing to a non-fiction transmedia project, I argue that the emerging practice of making non-fiction transmedia face many of the same challenges as the participative documentary practice of the 70s, mainly that facilitation of real audience participation, requires a break from the broadcasting logic of the mainstream documentary film practice.
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Setiawati, Elis, Bobi Hidayat, and Umi Hartati. "Development of Historical Learning Media Based on Documentary Film to Strengthen Student’s Understanding of Local History." International Journal of Research and Review 8, no. 5 (May 21, 2021): 177–86. http://dx.doi.org/10.52403/ijrr.20210525.
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One of the goals of learning history is in addition to fostering historical awareness, it also introduces the concept of collective identity in students. Awareness of identity is very important for the life of the nation and state amidst the strengthening of globalization. Strengthening awareness of collective identity through historical education can use a local historical approach that contains local identities. Local history has a more contextual position from the student's point of view because it is closer to and around students. So that strengthening the understanding of local history is the initial stage that must be taken. Therefore, the use of historical learning media that utilizes local history material in schools is important. This study uses the first level Research and Development method, with a focus on designing learning product designs. The results showed that the design of learning media for historical documentary films with the material of the Implementation of Ethical Policies through Colonization Policies in Metro Lampung was by the core competencies and basic competencies in the 2013 Curriculum. The results of validation by stage 1 material experts were 59.3% with the criteria "Eligible", the second stage material expert was 93.3% with the criteria "Very Appropriate", while the results of the validation of the 1st stage design expert were 76.6% with the "Proper" criteria, the 2nd stage design expert was 88.6% with the criteria "Very Feasible". The results of the responses of students to the design of learning media were 88.4% (Very Feasible). It was concluded that the learning media in the form of a historical documentary film with the material of Ethical Policy Implementation through Colonization Policy in Metro Lampung deserves to be tested as a historical learning medium to strengthen students' understanding of local history in high schools. Keywords: Instructional Media, Documentary Films, Historical Understanding, Local History.
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Alemán, Sonya M., and Enrique Alemán. "Critical Race Media Projects." Urban Education 51, no. 3 (February 9, 2016): 287–314. http://dx.doi.org/10.1177/0042085915626212.
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This article maps out two critical race media projects – a documentary and a Chicana/o-centric student newspaper – developed by Chicana/o scholars seeking to fulfilll the promise of praxis hailed by critical race theorists. Fortified and guided by the quintessential tenets of critical race theory and Latino critical race theory, these critical race media projects not only apply, but also extend these principles to seek educational and community transformation. As such, the production process for both documentary and student newspaper merge research and activism in order to cultivate figurative and literal spaces that encourage and allow for the recuperation of memory, archiving forgotten history, and the self-determination of contemporary identities and belonging. By harnessing critical race theory’s counter story-telling focus, these projects cultivate the voices of resistance and reclamation in Latina/o communities, transcending the Black/White paradigm that bounds a majority of critical race scholarship. In addition, both the film and quarterly newspaper uniquely sharpen the theoretical framework’s analytic critique of language, discourse and representation, exemplifying the inimitable power of words to both heal and wound.
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Galloway, Ann-Christe. "Grants and Acquisitions." College & Research Libraries News 78, no. 8 (September 7, 2017): 467. http://dx.doi.org/10.5860/crln.78.8.467.
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The Washington University Libraries Film and Media Archive has received a grant from the National Film Preservation Foundation to preserve Code Blue, a 1972 recruitment film aimed at bringing minorities into the medical profession. Code Blue is one of the earliest existing films created by Henry Hampton’s Boston-based documentary company Blackside Inc., which produced the Emmy Award-winning civil rights series Eyes on the Prize. Blackside became the largest African American-owned film production company of its time and was home to many filmmakers from diverse backgrounds, including African Americans, immigrants, and women. The 27-minute documentary includes footage from an emergency room in Harlem, a tour through areas of Nashville with a doctor who did outreach to poor families, and discussions with young men and women from different backgrounds who could explain the value of medical education. Code Blue helped to bring new talent into the medical field and was used in hundreds of high schools and medical training curricula nationwide for more than 20 years. The film won a CINE Golden Eagle Award and was seen around the world, including at film festivals as far away as Venice’s Festival dei Popoli.
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Bondebjerg, Ib. "Documentary and Cognitive Theory: Narrative, Emotion and Memory." Media and Communication 2, no. 1 (April 9, 2014): 13–22. http://dx.doi.org/10.17645/mac.v2i1.17.
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This article deals with the benefits of using cognitive theory in documentary film studies. The article deals with general aspects of cognitive theory in humanities and social science, however the main focus is on the role of narrative, visual style and emotional dimensions of different types of documentaries. Dealing with cognitive theories of film and media and with memory studies, the article analyses how a cognitive approach to documentaries can increase our understanding of how documentaries influence us on a cognitive and emotional level and contribute to the forming of our social and cultural imagination. The article analyses case studies of documentaries dealing with climate change and the environment and documentaries dealing with social history.
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Leopeng, Bandile Bertrand. "Rise and #Fall: The unsuspended revolution." Journal of African Media Studies 11, no. 3 (September 1, 2019): 359–93. http://dx.doi.org/10.1386/jams_00006_1.
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This article utilizes a multimodal media analysis similar to Parker that takes place on three levels: (1) it connects an interview completed by professor Habib in a 2014 issue of the South African magazine publication Destiny Man, (2) with the events captured in photography of the 2015 #FeesMustFall protest as well as (3) the events recorded an Internet documentary entitled Decolonising Wits. This critical analysis utilizes a psychosocial perspective showing strong links between these events that led to the proliferation of decolonization in South African academic institutions as a result. The #FeesMustFall protests at Wits University is seen as a response to the inegalitarian modes of discourse present in the analysed interview, and the selected scenes of real events in the documentary film. This article includes direct quotes from that written interview, photography from the #Feesmustfall events, and links to specific scenes in the documentary film in order to provide a multimodal approach to analysing psychosocial politics in the media.
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Popielec, Dominika. "„Social media muckraking” na przykładzie filmu dokumentalnego Tylko nie mów nikomu – charakterystyka i kierunki oddziaływania." Zarządzanie Mediami 8, no. 4 (2020): 479–93. http://dx.doi.org/10.4467/23540214zm.20.047.12651.
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"Social Media Muckraking" on the Example of the Documentary Film Don't Tell Anyone - Characteristics and Directions of Impact In this paper the author has analyzed the phenomenon of investigative journalism in social media on the example of Tomasz Sekielski, which was defined by the author’s term “social media muckraking”. Muckraking, which dates back to the so-called “golden age of journalism” in the United States is one of the most ennobling terms for investigative journalism. The proposed term is the result of observing the increasingly popular practice of using social media in the work of an investigative reporter also in the context of increasing publicity of the pedophile theme among priests, which was presented in the documentary film Do Not Tell Anyone. Therefore, social media content analysis and case study were used. As a result of the analysis, it was found that the activity of Tomasz Sekielski reflects the nature of the concept of “social media muckraking” which is one of the possibilities of practicing investigative journalism in the era of new technologies.