Relevant bibliographies by topics / Documentary films

Academic literature on the topic 'Documentary films'

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Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Documentary films"

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

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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.
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Soshnikov, V. D., and F. D. Shakhnazaryants. "Animation in Documentary Films." Университетский научный журнал, no. 61 (2021): 77–88. http://dx.doi.org/10.25807/22225064_2021_61_77.

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

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

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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.
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Carter, Holly, and Zoe Barnstone-Clark. "Teaching Empathy Through Documentary Films." Childhood Education 98, no. 4 (July 4, 2022): 62–67. http://dx.doi.org/10.1080/00094056.2022.2108297.

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Sark, Katrina. "Post-Wall Berlin Documentary Films." Film International 14, no. 2 (June 1, 2016): 70–88. http://dx.doi.org/10.1386/fiin.14.2.70_1.

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Declich, Francesca, and Marie Rodet. "African Slavery in Documentary Films." Journal of Global Slavery 5, no. 1 (February 28, 2020): 1–21. http://dx.doi.org/10.1163/2405836x-00501008.

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Zhu, Zhaoyu. "Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020)." Asian Cinema 34, no. 2 (October 1, 2023): 215–31. http://dx.doi.org/10.1386/ac_00072_1.

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This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.
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Irawanto, Budi. "Exploring the Terrains of Indonesian Cultural Policy: Learning from Singapore’s and Malaysia’s Experiences." Jurnal Ilmu Sosial dan Ilmu Politik 21, no. 1 (October 25, 2017): 28. http://dx.doi.org/10.22146/jsp.28681.

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This article seeks to examine Indonesian cultural policy in comparison to Singapore and Malaysia. It focuses particularly on documentary films as a field covered by the cultural policy, which is closely associated with the creative industry. Therefore, this article analyzes various official documents regarding cultural policy and the position documentary films within that policy. While Singapore’s cultural policy is quite comprehensive and visionary in managing and regulating arts and culture, it tends to neglect documentary films as it celebrates commercial feature (fiction) films. Similarly, Malaysian cultural policy pays scant attention to documentary films despite its nationalistic nature. Learning from those two neighboring countries, Indonesia should not only have a comprehensive cultural policy, but also a clear vision on the development of infrastructures while taking into account the fast changing ecology of documentary films in Indonesia.
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Przylipiak, Mirosław. "Defining documentary." Panoptikum, no. 29 (June 30, 2023): 11–38. http://dx.doi.org/10.26881/pan.2023.29.01.

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

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Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.

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Wang, Chi. "From véité to post-véité a critical analysis of Chinese "new documentaries" /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1258125393.

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Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
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Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.

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Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
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Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.

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A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.
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Dancsok, Michael. "Transcending the documentary : the films of Arthur Lipsett." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39429.pdf.

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Van, Laanen Michael Whitney. "The pose of neutrality in social documentary films." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/van_laanen/Van_LaanenM0510.pdf.

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From the outset, documentary filmmakers have sought to achieve the unobtainable goal of re-presenting reality in a purely objective manner. What began with an attempt to document a dying/evolving culture in Flaherty's Nanook of the North led to a century of debate about how closely documentary film could come to achieving the ultimate goal of representing our historical and social world accurately, objectively, and truthfully. The stem cell research debate has produced three documentaries that illustrate two models of filmmaking process: engaged filmmaking and non-engaged filmmaking. Within these two models, the filmmaker may utilize certain aesthetic techniques of vision and voice that reveal subjective manipulation. I intend to show how the rhetoric of the filmmaker presides over the content even when he presumes to maintain an objective stance.
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Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.
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Gainsborough-Waring, Craig. "Exegesis and dissertation for an interactive documentary program entitled NGO Advocacy Documentary : a dissertation submitted to Auckland University of Technology in partial fufilment of the requirements for the degree of Bachelor of Communication Studies (Honours) , 2008 /." Click here to access this resource online Click here to access this resource online, 2008. http://puka2.aut.ac.nz/ait/Dissertations/GainsboroughWaringC.pdf.

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Thesis (BCS(Hons)) - Bachelor of Communication Studies (Hons) -- AUT University, 2008.
Includes bibliographical references. Also held in print (23 leaves ; 30 cm. + 2 CD-ROMs) at the City Campus (T 070.18 GAI)
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Books on the topic "Documentary films"

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Grant, Barry Keith, and Jim Hillier. 100 Documentary Films. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0.

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Jim, Hillier, ed. 100 documentary films. London: BFI, 2009.

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Horst, Deinwallner, Schrot Eva, and Goethe-Institut (Munich Germany), eds. Documentary films: DEFA. München: Goethe Institut, 1992.

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Sharma, Aparna. Documentary Films in India. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137395443.

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Saunders, Dave. Documentary. New York, NY: Routledge, 2010.

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Mohan, Jag. Documentary films and national awakening. New Delhi: Publications Division, Ministry of Information and Broadcasting, Govt. of India, 1990.

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Rabiger, Michael. Directing the documentary. 2nd ed. Boston: Focal Press, 1992.

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Mograbi, Avi. Avi Mograbi: Films & video works. Edited by Öktem, Esra Sarigedik, 1976- editor, Blüminger Christa author, Eilat Galit author, Kosova Erden author, and Stedelijk Van Abbemuseum. Rotterdam: Veenman Publishers, 2007.

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Lee-Wright, Peter. The documentary handbook. London: Routledge, 2010.

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Lee-Wright, Peter. The documentary handbook. New York, NY: Routledge, 2009.

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Book chapters on the topic "Documentary films"

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Grant, Barry Keith, and Jim Hillier. "Introduction." In 100 Documentary Films, 1–6. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_1.

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Padilha, José. "Bus 174 (Ônibus 174)." In 100 Documentary Films, 25–26. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_10.

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Capra, Frank. "Why We Fight 1: Prelude to War." In 100 Documentary Films, 241–42. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_100.

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Wadleigh, Michael. "Woodstock." In 100 Documentary Films, 243–44. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_101.

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Gordon, Douglas, and Philippe Parreno. "Zidane: A 21st Century Portrait (Zidane: un portrait du 21ième siècle)." In 100 Documentary Films, 245–47. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_102.

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Lewis, Mark. "Cane Toads: An Unnatural History." In 100 Documentary Films, 27–28. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_11.

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Ophüls, Marcel. "Le Chagrin et la pitié (full title: Le Chagrin et la pitié: chronique d’une ville française sous l’occupation)(The Sorrow and the Pity: Chronicle of a French City under German Occupation)." In 100 Documentary Films, 29–31. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_12.

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Rouch, Jean, and Edgar Morin. "Chronique d’un été (Chronicle of a Summer)." In 100 Documentary Films, 32–34. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_13.

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Kiarostami, Abbas. "Close-Up (Nema-ye nazdik)." In 100 Documentary Films, 35–36. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_14.

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Cavalcanti, Alberto. "Coal Face." In 100 Documentary Films, 37–38. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_15.

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Conference papers on the topic "Documentary films"

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

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Li, Shu, and Maohua Li. "Analysis on the Art Therapy Function of Animated Documentary Films." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.113.

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"Educational Impact of Film and Television Culture Infiltrated by Environmental Documentary Films on Adolescents'Cognitive Level." In 2020 International Conference on Educational Training and Educational Phenomena. Scholar Publishing Group, 2020. http://dx.doi.org/10.38007/proceedings.0000945.

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Dux, Stefan. "The Impact of Camera Innovations on Visual Aesthetics in Documentary Films – A Filmmakers Perspective." In The European Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-9643.2020.4.

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Olărescu, Dumitru. "The evolution of the documentary film, dedicated to popular music performers." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.17.

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Our folk songs, coming from over centuries, still today express the deepest soul of the man’s inner world, his sentimental experiences in the middle of the world, the connections with loved ones, with his native land, with society. These musical pieces, very diverse from the melodic perspective and the ideational background, form a complex socio-cultural phenomenon, which has interested scientists, men of art and culture. Back in the 1950s, at the beginnings of our cinema, current affairs topical cinematographic magazines already included subjects about some folk music performers, such as Tamara Ceban, Maria Bieşu, Gheorghe Eşanu and some amateur singers. Since then, the creation of folk music performers has been the basis of several documentary films, made at the “MoldovaFilm” studio by the filmmakers: Emil Loteanu (“Fresco pe alb”, “Ecoul văii fierbinţi”), Andrei Buruiană (“Nicolae Sulac”, “Cantecele noastre”), Anatol Codru (“Tălăncuţa”), Ana Iuriev (“Fluieras”), Iacob Burghiu (“Surorile”), Vlad Druc (“Ploi de dor”, “Vai, sarmana turturica”), Ştefan Bulicanu (“Asa-i viata omului”) etc. We will try to elucidate the aesthetic-artistic specifics and the role of the documentary film in the preservation and valorization of the spiritual heritage of the people.
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"Effects of Documentary Films on Students’ Attitude towards Science: A Pretest and Posttest Study." In International Conference on Research in Social Sciences, Humanities and Education. Universal Researchers (UAE), 2016. http://dx.doi.org/10.17758/uruae.uh0516086.

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Rezapour, Rezvaneh, and Jana Diesner. "Classification and Detection of Micro-Level Impact of Issue-Focused Documentary Films based on Reviews." In CSCW '17: Computer Supported Cooperative Work and Social Computing. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/2998181.2998201.

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Putranto, Hendar, and Rony Agustino Siahaan. "Creating Digital Anti-Corruption Message Based on Pancasila Values through Documentary Films: Learning from Students' Experience." In International Conference of Communication Science Research (ICCSR 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/iccsr-18.2018.60.

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Olarescu, Dumitru. "Ethnological motifs in the non-fiction film." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.07.

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The possibilities of the documentary film to fix ethnological and ethnographic phenomena in all their audiovisual integrity contributed to the realization of this category of films right from the beginnings of non-fiction cinema. At the «Moldova-film» studio, despite the very vigilant ideological conditions of the totalitarian regime, especially when it came to the cultural heritage of the native people, our filmmakers released a series of films, dedicated to customs, rituals and traditions – important components of our national identity. This category of films has been talked about and written in some specialized studies. The cinematographic works “Trânta/Wrestling” (director Anatol Codru) and “Jocurile copilăriei noastre/The Games of our Childhood” (directors Vlad Druc, Mircea Chistrugă) serve as research topic for us. They are dedicated to popular sports games, which, besides being captivating manifestations that have survived through centuries until the present, are imposed in the context of national identity, but, through this prism, the respective works have not been researched yet.
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.
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Reports on the topic "Documentary films"

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

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

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3

Martínez Parra, Marc. El vulcanismo en el cine. Ilustre Colegio Oficial de Geólogos, October 2021. http://dx.doi.org/10.21028/mmp.2021.10.06.

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Como recurso argumental o temático, o bien como soporte, el cine ha empleado conceptos de la vulcanología, desarrollando historias enmarcadas, en diversos géneros cinematográficos, especialmente el cine de catástrofes, de aventuras y el documental, con filmes basados en sucesos reales o bien ficticios, como las acaecidos en las ciudades de Pompeya y Dante’s Peak, respectivamente. Son filmes en lo que los efectos especiales tienen gran importancia. También el género documental, tanto en noticiarios como en largometrajes, a causa de la espectacularidad de las imágenes de la naturaleza más primigenia, ha tenido en el vulcanismo un imán en cuanto a interés del público.
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Rhee, Jongeun. Exploring the Impact of a Documentary Film on Young Consumers' Understanding of Sustainable Apparel Consumption and Behavioral Changes. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1558.

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

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This paper explores the profound connections between Kaupapa Māori research and practice through the reflections of Māori practitioners. As part of a Kaupapa Māori research internship funded by Te Whatu Ora, hosted at Ngā Wai a Te Tūī, and co-led by Dr Hinekura Smith and Associate Professor Byron Rangiwai, this paper presents the perspectives of four Māori practitioners. Marcel Croul (Ngāti Tamaterā) discusses his film-editing practice in the context of a collaboration with Dr Hinekura Smith to create a short documentary on the wahine-led practice of whatuora. Allana Goldsmith (Ngāti Porou, Ngāi Tai) explores her jazz-singing practice, combining jazz music with a Māori worldview. Manaaki Fletcher (Ngāti Awa, Ngāi Tūhoe) examines the connection between Kaupapa Māori research and kapa haka, and discovers that kapa haka may be understood as a manifestation of Kaupapa Māori research. Atareta Moses (Ngāti Awa, Ngāi Tūhoe) investigates the intersections and opportunities concerning Kaupapa Māori and human-resource management.
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Documentary films: representing youth street groups through visual ethnography. Universitat Pompeu Fabra, 2023. http://dx.doi.org/10.31009/transgang.2023.fr06.

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