Dissertations / Theses on the topic 'Documentary films'
To see the other types of publications on this topic, follow the link: Documentary films.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Documentary films.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.
Full textAbstract:
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.
4
Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.
Full textAbstract:
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.
5
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.
Full text
6
Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full textAbstract:
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.
9
Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.
Full textAbstract:
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.
10
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.
Full textAbstract:
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)
11
Schilt, Paige Eileen. "Fables of authority : ethics, power, and authenticity in contemporary documentary film /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
Full text
12
Gordon, Stephani Rae. "Film and the illusion of experience." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/gordon/GordonS0510.pdf.
Full textAbstract:
Thesis (MFA)--Montana State University--Bozeman, 2010.Typescript. Chairperson, Graduate Committee: Dennis Aig. Chasing birds in Beringia is a DVD accompanying the thesis. Includes bibliographical references (leaves 34-39).
13
Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience." Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.
Full textAbstract:
Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.
14
Walker, Hannah Smith. "Moving beyond broadcast and traditional pedagogy making a children's documentary for the new media landscape /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2008/walker/WalkerH1208.pdf.
Full textAbstract:
Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Cindy Stillwell. Why don't we ride zebras is a DVD accompanying the thesis. Includes bibliographical references (leaves 29-34).
15
Lakpassa, Komlan Daholega Levin Ben. "Gods, have Merced! a documentary film /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9763.
Full text
16
Luna, Rassa Maria F. "Mapping heterotopias Colombian documentary films of the armed conflict." Doctoral thesis, Universitat Autònoma de Barcelona, 2014. http://hdl.handle.net/10803/284925.
Full textAbstract:
Los documentales del conflicto armado nos llevan hacia espacios otros. Lugares qde la realidad que para un ciudadano promedio son contra-espacios, territorios desconocidos. Los documentalistas experimentan físicamente con estos otros espacios. Construyen lazos de confianza con sus sujetos, siguen sus huellas o actualizan sus memorias. Sin embargo, siempre se sienten como testigos o turistas. Esto muestra una gran distancia entre las realidades de las zonas rurales aisladas y la vida urbana en mega-ciudades interconectadas. Esta distancia es la razón que me llevó a preguntarme por la producción de heterotopías entre los documentalistas urbanos y las comunidades filmadas en zonas rurales remotas del conflicto armado colombiano.
Mapa de las heterotopías es una cartografía física y conceptual de documentales rurales grabados en Colombia durante la política de seguridad democrática (2002-2010), una política que restringió la circulación de la gente en las zonas de conflicto armado. La primera etapa de esta investigación idenficó una base de datos de 110 documentales grabados en zonas rurales. El análisis espacial explora en detalle la producción de heteropías basada en la selección de diez películas representativas. El modelo de análisis comprende tres niveles: El primero localiza las zonas visitadas y a través de entrevisas semi-estructuradas con los documentalistas, explora las prácticas mediáticas espaciales en los documentales del conflicto armado. El secundo nivel, interpreta la producción de heterotopías, a través del cronotopo, como espacios poéticos que estructuran el discurso documental. En el tercer nivel se describen los espacios representacionales de la circulación y distribución de las películas.
Los resultados apuntan hacia la producción de ruralidades transnacionales en los documentales como un nuevo y contradictorio espacio de legitimación nacional que emerge cuando las heterotopías rurales son exhibidas en festivales de cine internacionales o canales de televisión transnacionales. La mirada documental, inspirada en la representación de zonas ruralses aisladas del confklicto armado ha sido determinante en la acutal co-producción de películas de ficción. Finalmente, subraya la importancia de construir redes sociales de confianza entre los documentalistas urbanos y las comunidades rurales, no únicamente para acceder a las zonas del conflicto, sino también para revelar las heterotopías invisibles del conflicto armado.Documentary films of an armed conflict take us to other spaces. Places of reality that for a regular citizen, are counter sites, unknown territories. Documentary filmmakers physically experiment with other spaces. They build trust bonds with their subjects, follow their pathways or re-enact memories of tragic experiences. Nevertheless they feel like witnesses or tourists. This shows a great distance between the realities of isolated rural zones and urban life in inter-connected megacities. This is the reason that led me to question the production of heterotopias between urban documentary filmmakers and communities filmed in remote rural zones of the armed conflict in Colombia. Mapping Heterotopias is a physical and conceptual cartography of rural documentaries recorded in Colombia during the the democratic security policy (2002-2010), a policy that restricted the circulation of people in the armed conflict zones. The first stage of this research identified a database of 110 documentaries recorded in rural zones. The spatial analysis explores in detail the production of heterotopias based on the selection of ten representative films. It is presented on three levels: First level, locating the visited zones and through semi-structured interviews with the filmmakers, describe the spatial media practice: the routines of production and the relationships with the communities in concrete rural zones. Second level interprets the production of heterotopias as poetic spaces that structure the documentary discourse. Third level observes the representational spaces of the film’s circulation. The results point out to the production of rural transnationalities in documentary films as a new contradictory space of national legitimisation that emerges when rural heterotopias are screened in international film festivals or on television channels. The documentary gaze, inspired in the representation of isolated rural zones of the armed conflict has been determinant in current co-productions of fictional films. Finally, it stresses the importance of social networking between the documentary filmmakers and the rural communities, not only to access to the distant territories, but to unveil the invisible heterotopias of the armed conflict.
17
Boyd, Laura Jean. "Mythologizing the History of Easter Island through Documentary Films." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/boyd/BoydL1205.pdf.
Full textAbstract:
Documentaries have the power to rewrite history and perpetuate myths in our society. In the case of Easter Island, documentary filmmakers have sensationalized the history of the Rapa Nui people, dwelling on dramatic concepts such as eco-disaster, cannibalism and mysteriously vanishing cultures. As a result of poor filmmaking, we have a mythologized history of Easter Island. In my attempt to create a science-based documentary about an issue affecting contemporary Easter Island society, this mythologizing of history became a major obstacle. It became apparent that I had to first inform audiences to the fact that they had been misinformed by previous documentaries about Easter Island and I had to change their interpretation of the alleged facts. In my thesis paper I examine the documentaries that created sensational statements about the island and reveal why documentary filmmakers rely on dramatic elements. I also examine my approach to the process of making my graduate thesis film, Caballo Loco on Easter Island, and review the methods I used to ensure the people of Rapa Nui were accurately represented.
18
Horst, Jennifer Lynne Levin C. Melinda. "The making of the documentary film Women in red." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9088.
Full text
19
Gallep, Larissa Tannus [UNESP]. "Anna dos 6 aos 18 anos." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/86901.
Full textAbstract:
Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0
Previous issue date: 2012-08-22Bitstream added on 2014-06-13T19:27:48Z : No. of bitstreams: 1
gallep_lt_me_ia.pdf: 1157277 bytes, checksum: b706aed8e8a39902338d9b0401639ea1 (MD5)Universidade Estadual Paulista (UNESP)
Com esta pesquisa a minha intenção foi a de realizar uma investigação do filme/documentário russo Anna dos 6 aos 18 e como ele expõe os momentos históricos do fim dos anos 1980 e começo dos 1990, com a queda da União Soviética e o surgimento da Perestroika. Tentei aqui apresentar uma análise de como esta obra, enquanto objeto de arte e documento histórico, se relaciona com as transformações e o discurso oficial do final da URSS. Foram analisadas as diferentes formas de articulação entre os elementos verbais e sonoros, mas com foco nos elementos estético-visuais (signos, ícones, sinais, movimentos de câmera, composições cênicas) e principalmente a montagem. O trabalho aqui aprestado é um estudo sobre o papel da montagem, do filme documentário enquanto documento histórico e do papel do diretor enquanto ―escultor do tempo‖. Para a realização deste trabalho foram realizadas entrevistas com profissionais desta área, bem como pesquisa e observação de diferentes obras cinematográficas e de artes plásticas que abordam a montagem. Também realizo a minha análise sobre algumas imagens escolhidas pelo diretor Nikita Mikhalkov que contam uma visão sobre este período da história russa vivenciada por ele juntamente com o crescimento de sua filha Anna, a heroína do filme objeto do nosso estudo
With this research the intention was to investigate the russian documentary film called Anna from 6 to 18 and how he exposes historic moments in the late 1980s and beggining of 1990s among the Soviet Union fall and the emergence of Perestroyka. We try to present how this work, as art object and historic document, relates itself with the changes and the official version about the end of URSS. We analyzed the different forms of articulation between the verbal elements and sound, but with a focus on aesthetic and visual elements (signs, icons, signs, camera movements, scenic compositions) and especially the assembly. The study presented here is a study on the role of the assembly, the documentary film as a historical document and the role of director as sculptor of the time. For this study, interviews were conducted with experts in this area as well as research and observation of different films and visual arts that address the assembly. Also realize my analysis on some images chosen by director Nikita Mikhalkov who have a vision about this period of Russian history experienced by him along with the growth of his daughter Anna, the heroine of the film object of our study
20
Blackall, David. "John Perceval an ethical representation of a delinquent angel /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050215.154037/index.html.
Full textAbstract:
Thesis (Ph.D.)--University of Wollongong, 2004.Typescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.
21
Sylvestre, Helena Schiavoni [UNESP]. "Análise da estrutura de interação do web documentário One Millionth Tower: um estudo semiótico." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/126495.
Full textAbstract:
Made available in DSpace on 2015-08-20T17:09:55Z (GMT). No. of bitstreams: 0
Previous issue date: 2015-02-27. Added 1 bitstream(s) on 2015-08-20T17:26:07Z : No. of bitstreams: 1
000841032.pdf: 1200389 bytes, checksum: 8ede8398f4a916c26e4a9702de5d11a9 (MD5)A pesquisa em questão visa analisar os rizomas de interação do web documentário One Millionth Tower sob a perspectiva da semiótica peirceana, estudar possibilidades de interpretações dadas a estes a presumir a importância dos mesmos, uma vez que tal estrutura de interação influencia diretamente no caráter da leitura que o usuário integrante faz do conteúdo faceado por ele. Assim como One Millionth Tower, outros tantos web documentários interativos em emergência no ciberespaço, vêm agregando em sua estrutura conceitos responsáveis pela reestruturação do paradigma das mídias audiovisuais em seu molde tradicional. O propósito de reestruturação de um gênero audiovisual em constante metamorfose, desde seu advento, inspira outras tantas mudanças a serem realizadas
This research aims to examine the interaction rhizomes of the web documentary One Millionth Tower from the perspective of Peirce's semiotics, study is possibilities of interpretations and assume its importance, since this interaction estructure influences directly in the way that interacting users reads the content visualized by him. As one Millionth Tower, as many interactive web documentaries in emergency in cyberspace are adding in its structure concepts resonsible for the paradigm restructuring of audiovisual media in its traditional mold. The purpose of restructuring an audiovisual media in its traditional mold. The purpose of restructuring an audiovisual genre in constant metamorphosi, since its advent, inspires so many changes yet to be executed
22
Rosa, Bruno Navarini. "A jornada do herói de Joseph Campbell e os ídolos do futebol brasileiro : uma análise de "Garrincha, alegria do povo" e "Isto é Pelé" /." Bauru, 2017. http://hdl.handle.net/11449/152170.
Full textAbstract:
Orientador: José Carlos MarquesBanca: Marcelo Magalhães Bulhões
Banca: Flavio de Campos
Resumo: Diante do enquadramento que a mídia atribui aos ídolos esportivos, conferindo-lhes aspectos mitológicos que os transformam em heróis, figuras corajosas o suficiente para adentrar no mundo da aventura, vencer desafios e conquistar dádivas em prol da sociedade, o presente estudo tem por objetivo analisar as narrativas presentes nos documentários "Garrincha, Alegria do Povo" (1963, direção de Joaquim Pedro de Andrade) e "Isto é Pelé" (1974, direção de Luiz Carlos Barreto e Eduardo Escorel). Mais especificamente, pretende estabelecer uma comparação entre as trajetórias dos futebolistas Garrincha e Pelé, retratadas nas referidas obras, e a estrutura da Jornada do Herói de Joseph Campbell, um dos mais renomados estudiosos da mitologia universal. As reflexões propostas visam analisar a possibilidade de enquadramento do atleta no âmbito do mito, o que se dá pela verificação da passagem dos protagonistas pelo núcleo Separação-Iniciação-Retorno do monomito, percurso padrão da aventura mitológica do herói, uma figura predestinada a superar desafios e a realizar feitos grandiosos.
Abstract: In the face of the media's attribution to sports idols, giving them mythological aspects that transform them into heroes, courageous enough figures to enter the world of adventure, overcome challenges and win gifts in favor of society, the present study aims to analyze the narratives present in the documentaries "Garrincha, hero of the Jungle" (1963, directed by Joaquim Pedro de Andrade) and "This is Pelé" (1974, directed by Luiz Carlos Barreto and Eduardo Escorel). More specifically, it intends to compare the trajectories of the soccer players Garrincha and Pelé, portrayed in the mentioned works, and the structure of the Hero's Journey of Joseph Campbell, one of the most renowned scholars of universal mythology. The proposed reflections aim to analyze the possibility of framing the athlete within the scope of the myth, which is verified by the verification of the protagonists' passage through the nucleus Separation-Initiation-Return of the monomyth, standard route of the mythological adventure of the hero, a predestined figure to overcome challenges and to perform great deeds.
Mestre
23
Sylvestre, Helena Schiavoni. "Análise da estrutura de interação do web documentário "One Millionth Tower" : um estudo semiótico /." Bauru, 2015. http://hdl.handle.net/11449/126495.
Full textAbstract:
Orientador: Leticia Passos AffiniBanca: Vania Cristina P. N. Valente
Banca: Vanessa Matos dos Santos
Resumo: A pesquisa em questão visa analisar os rizomas de interação do web documentário "One Millionth Tower" sob a perspectiva da semiótica peirceana, estudar possibilidades de interpretações dadas a estes a presumir a importância dos mesmos, uma vez que tal estrutura de interação influencia diretamente no caráter da leitura que o usuário integrante faz do conteúdo faceado por ele. Assim como "One Millionth Tower", outros tantos web documentários interativos em emergência no ciberespaço, vêm agregando em sua estrutura conceitos responsáveis pela reestruturação do paradigma das mídias audiovisuais em seu molde tradicional. O propósito de reestruturação de um gênero audiovisual em constante metamorfose, desde seu advento, inspira outras tantas mudanças a serem realizadas
Abstract: This research aims to examine the interaction rhizomes of the web documentary One Millionth Tower from the perspective of Peirce's semiotics, study is possibilities of interpretations and assume its importance, since this interaction estructure influences directly in the way that interacting users reads the content visualized by him. As "one Millionth Tower", as many interactive web documentaries in emergency in cyberspace are adding in its structure concepts resonsible for the paradigm restructuring of audiovisual media in its traditional mold. The purpose of restructuring an audiovisual media in its traditional mold. The purpose of restructuring an audiovisual genre in constant metamorphosi, since its advent, inspires so many changes yet to be executed
Mestre
24
Bryant, Marsha. "Auden and documentary in the 1930's /." Charlottesville (Va.) ; London : University press of Virginia, 1997. http://catalogue.bnf.fr/ark:/12148/cb37530577s.
Full text
25
Backus, Alison Lorraine. "Bringing Medicine to the Masses: Exploring the Relationship Between the Medical Documentary and the Public." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/backus/BackusA0506.pdf.
Full textAbstract:
The medical documentary seeks to bridge the gap between the traditional imbalance of knowledge between the patient and her medical practitioner. This paper will examine the issue of the imbalance of the doctor and patient throughout the history of medicine, explore how the medical documentary seeks to solve this imbalance, and the methods by which it does so. By comparing three related medical documentaries and examining the strengths and weaknesses of each one in its attempt to educate and engage the viewer, I will seek to create a broad model for future medical documentaries and relate how my thesis film fits this new model.
26
Kennerson, Elliott Doran. "Ocean Pictures the construction of the ocean on film /." Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/kennerson/KennersonE1208.pdf.
Full textAbstract:
Thesis (MFA)--Montana State University--Bozeman, 2008.Typescript. Chairperson, Graduate Committee: Ronald Tobias. Sealed Off is a DVD accompanying the thesis. Includes bibliographical references (leaves 31-35).
27
Greer, Daniel Levin Ben. "Snakes alive!" [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9101.
Full text
28
Tsakiri, Maria. "What are you looking at? : representations of disability in documentary films." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24517.
Full textAbstract:
This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a theoretical framework that responds to matters of intersectionality and criticality in relation to the analysis of representations of disability. To this end, I employ a mixed method design, which is based on participant observation, the methods of the written festival and a critical disability studies (crip) analysis for examining selected documentary films alongside a thematic analysis of semi-structured interviews that were conducted with disabled viewers who attended the Emotion Pictures – Documentary and Disability Film Festival in Athens, Greece. Its findings indicate that representations of documentary films familiarise viewers with disability. This familiarisation and the development of political engagement by depicting crip killjoys are the key elements that create representations of a different context and meaning in comparison to those produced by media and fiction films. My analysis reveals that depictions of crip killjoys who are conscious of their political identity, speak out and take action are depictions that ask for political engagement. As such, they can produce good staring. Visibility and social dialogue are two of the benefits of disability film festivals that are highlighted by disabled viewers.
29
Beam, Brooke W. "Lights, Cameras, and Agricultural Documentaries: Understanding viewers’ interpretation of source credibility in food documentary films." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1500448684766755.
Full text
30
Ferris, Mika Levin Ben. "Mama D's 2 blocks a documentary film /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3674.
Full text
31
Gallep, Larissa Tannus. "Anna dos 6 aos 18 anos /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/86901.
Full textAbstract:
Orientador: José Leonardo do NascimentoBanca: Omar Khoury
Banca: Simonetta Persichetti
Resumo: Com esta pesquisa a minha intenção foi a de realizar uma investigação do filme/documentário russo Anna dos 6 aos 18 e como ele expõe os momentos históricos do fim dos anos 1980 e começo dos 1990, com a queda da União Soviética e o surgimento da Perestroika. Tentei aqui apresentar uma análise de como esta obra, enquanto objeto de arte e documento histórico, se relaciona com as transformações e o discurso oficial do final da URSS. Foram analisadas as diferentes formas de articulação entre os elementos verbais e sonoros, mas com foco nos elementos estético-visuais (signos, ícones, sinais, movimentos de câmera, composições cênicas) e principalmente a montagem. O trabalho aqui aprestado é um estudo sobre o papel da montagem, do filme documentário enquanto documento histórico e do papel do diretor enquanto ―escultor do tempo‖. Para a realização deste trabalho foram realizadas entrevistas com profissionais desta área, bem como pesquisa e observação de diferentes obras cinematográficas e de artes plásticas que abordam a montagem. Também realizo a minha análise sobre algumas imagens escolhidas pelo diretor Nikita Mikhalkov que contam uma visão sobre este período da história russa vivenciada por ele juntamente com o crescimento de sua filha Anna, a heroína do filme objeto do nosso estudo
Abstract: With this research the intention was to investigate the russian documentary film called Anna from 6 to 18 and how he exposes historic moments in the late 1980s and beggining of 1990s among the Soviet Union fall and the emergence of Perestroyka. We try to present how this work, as art object and historic document, relates itself with the changes and the official version about the end of URSS. We analyzed the different forms of articulation between the verbal elements and sound, but with a focus on aesthetic and visual elements (signs, icons, signs, camera movements, scenic compositions) and especially the assembly. The study presented here is a study on the role of the assembly, the documentary film as a historical document and the role of director as "sculptor of the time." For this study, interviews were conducted with experts in this area as well as research and observation of different films and visual arts that address the assembly. Also realize my analysis on some images chosen by director Nikita Mikhalkov who have a vision about this period of Russian history experienced by him along with the growth of his daughter Anna, the heroine of the film object of our study
Mestre
32
Hogenkamp, Albert Peter. "The British documentary movement and the 1945-51 Labour governments." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280557.
Full text
33
Nelson, Jodi. "Digital technologies, social media and emerging, alternative documentary production methodologies." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54595/.
Full textAbstract:
My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.
34
Asquith, Daisy. "This is not us : performance, relationships and shame in documentary filmmaking." Thesis, University of Sussex, 2019. http://sro.sussex.ac.uk/id/eprint/81595/.
Full textAbstract:
This thesis investigates performance, identity, representation and shame in documentary filmmaking. Identities that are performed and mediated through a relationship between filmmaker and participant are examined with detailed reference to two decades of my own practice. A reflexive, feminist approach engages my own films - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of filmed participants using social media to contest their image on screen. In the space between documentary confession and the reception of a story by the audience, a dangerous moment comes, in which shame can be received, perceived, projected, internalised or imagined. The point of this research is to offer to existing documentary theory a practitioner's understanding of the processes which produce shame and to establish for documentary filmmakers some practical ways to resist and prepare against the rupture in identity that representation can cause those they film. Engaging both theory and practice in pursuit of the same research questions, I make a self-reflexive investigation into the ethics, affect and impact of representing others, employing the mediums and methods of fans to answer their complaints. All the films, artwork, documentation of the installation, sources, written work, appendices and past documentaries referred to in this thesis can be best experienced online at https://daisy-asquith-xdrf.squarespace.com, the website hosting this PhD, but are also provided on the accompanying USB drive.
35
Shier, Sara Ann. "The depiction of indigenous African cultures as other in contemporary, Western natural history film." Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/shier/ShierS1206.pdf.
Full text
36
Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.
Full textAbstract:
The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary.
Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice.
The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
Full Text
37
Rezaei, Rashin Maral. "To what extent are documentary films superior to fictional motion pictures?" Thesis, Umeå universitet, Institutionen för tillämpad fysik och elektronik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-94789.
Full textAbstract:
The aim of this study was to examine if documentaries have become more superior to fictional motion pictures. By focusing on defining the categories and pointing out what their differences are, viewers get a deeper understanding of what the project wants to tell. Even viewing some popular movies that are in its field, will help the conclusion become more accurate. My main source of method will lay in literature but my main focus will be on a survey that will be provided by the answers, to the topic in hand.
38
Pugsley, Bronwen E. "Challenging perspectives : documentary practices in films by women from Francophone Africa." Thesis, University of Nottingham, 2012. http://eprints.nottingham.ac.uk/12658/.
Full textAbstract:
This thesis is located at the intersection of three dynamic fields: African screen media, documentary studies, and women’s filmmaking. It analyses a corpus of fifteen films by Francophone sub-Saharan African women filmmakers, ranging from 1975 to 2009, within the framework of documentary theory. This study departs from the contextual approach to African women’s documentary, which has been predominant among scholarship and criticism thus far, in favour of a focus on the films as texts. The popular models developed for the study of documentary film by Western scholars are applied to African women’s documentaries in order to explore their innovative and stimulating practices; to determine the degree to which such models are fully adequate or, instead, are challenged, subverted, or exceeded by this new context of application; and to address the films’ wider implications regarding the documentary medium. Chapter One outlines the theoretical framework underpinning the thesis and engages with existing methodologies and conventions in documentary theory. Chapter Two considers women-centred committed documentary, analyses the ways in which these films uncover overlooked spaces and individuals, provide and promote new spaces for the enunciation of women’s subjectivity and ‘herstories’, and counter hegemonic stereotypical perceptions of African women. Chapter Three addresses recent works of autobiography, considers the filmmaking impulses and practices involved in filming the self, and points to the emergence of a filmmaking form situated on the boundary between ethnography and autobiography. Chapter Four explores the filmmakers’ ethnographic practices, considering their specificities in the light of pre-existing conventions within ethnographic filmmaking to emphasise the films’ formal and political reflexivity. The fifth and final chapter analyses a selection of works of docufiction, demonstrating their striking singularities and arguing for the significance of films that blur the boundaries between fiction and fact and thus push the borders of the real. The overall aim of the thesis is, therefore, to show the overlooked diversity of documentary voices and to demonstrate that the practice of documentary by women from Francophone sub-Saharan Africa is both formally innovative and reflexive, and politically challenging.
39
Patino, S. C. "Exploring the formal and informal distribution mechanisms for Colombian documentary films." Thesis, University of Salford, 2016. http://usir.salford.ac.uk/37891/.
Full textAbstract:
Historically, documentary films have always encountered very serious problems of distribution and have struggled immensely to find reliable audiences, even though, ironically, documentaries are accepted by many as significant tools for the promotion of important historical, social and cultural values. There is a very serious lack of proper tools and strategies to allow documentaries to reach their potential audience in a manner that is consistent with the importance of these films as enablers of important discussion and analysis inside a society. This is especially true in the case of most developing countries, where open discussion about social, economic or cultural issues that documentaries are perfectly suited to confront and explain is more than necessary. And among these countries, the case of Colombia will occupy this research as a remarkable case study, since it is a country that is producing a large number of documentaries about pressing matters but which unfortunately are not being seen, while at the same time it is a country whose ambivalent attitude towards film production and distribution embodies the contradictions between formal and informal economies as well as between legitimate and illegitimate ways to obtain access to films and other media. Considering this situation, the main concern of this research is to review and analyse the different mechanisms that have been used to distribute and promote documentary films (although in some cases, such as the informal markets, the focus will be placed on issues pertaining both fiction and nonfiction films), with the intention to understand how these mechanisms have failed or succeeded in allowing these films to meet their primary objective: reaching their audiences. To provide this analysis, this study will resort to several different resources such as economic studies, surveys, reports, interviews with filmmakers, producers and film distributors –both legal and illegal– from different countries, along with other different sources that will provide what is hopefully a well-rounded account on the complex situation of film distribution in developing countries in general, and Colombia in particular, XI and the challenges that result from such scenario. As a consequence of this analysis, this work also aims to propose new alternatives for the distribution of documentary films; alternatives that could ultimately be of use in improving the communication between documentary filmmakers, their work and their potential spectators.
40
Bussart, Anna Lynn Levin Ben. "The making of the documentary Women at work." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9791.
Full text
41
Frost, Stephen. "Natural Bridge: Environmental Art in New Media Documentary." Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367220.
Full textAbstract:
The Natural Bridge Project is a pilot study into design form as it applies to the Digital Media Documentation of Environmental Art. This component of the project aims to develop a new form of New Media Art Documentary that will help urban people reconnect with the natural environment.
The project throws doubt on existing assumptions surrounding “connectivity” via the Internet and the positive attributes of social media. It argues that social media actually disconnects people from each other and from the natural environment. In an attempt to offer a solution to this problem, the Natural Bridge Project seeks ways to use digital media not as a marketing tool but rather as a way to promote wellbeing through an appreciation of the natural environment through art.
It begins by studying the design of documentary films on art and identifies two dominant design formulas. It finds that one formula is primarily concerned with commerce and the other with ideology. The research then identifies “content-driven” design, as espoused by the Program for Art on Film (a joint venture between the New York Metropolitan Museum and the J.P. Getty Trust), as a viable alternative but discovers that the Program has not conducted studies into the practical application of content- driven design.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
Full Text
42
Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.
Full textAbstract:
Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.
43
MacLennan, Gary. "From the actual to the real : left wing documentary film in Australia." Thesis, Queensland University of Technology, 2000.
Find full textAbstract:
This thesis constructs and develops a critique of the tradition of left wing documentary film in Australia. The critique is from the perspective of the Critical Realist paradigm developed by Roy Bhaskar and others. The thesis is both an attempt to critique a tradition and to provide a new basis for documentary theory and criticism. On the theoretical level the thesis engages the work of the
leading documentary film theorists including Noel Carroll, Bill Nichols, Paula Rabinowitz, Michael Renov and Trinh T. Minh-ha. These theorists take up positions, which range from New Realist to Poststructuralist. It is the contention of this thesis that, because they lack a notion of a stratified ontology, they are unable to sustain either
a critique of or a coherent account of documentary practice.
The definition of left wing that underpins the selection of the films is a narrow one, namely, coming from or influenced by the Marxist tradtion. The criticism of the films begins with Joris Ivens Indonesia Calling (1946) and concludes with Tom Zubrycki's Billal (l996).
44
Solbrig, Heide Frances. "Film and function : a history of industrial motivation film /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3142448.
Full text
45
Mueller, Denis. "John Dewey and doccumentary [sic] narrative." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1195476626.
Full text
46
Bevins, Thomas Levin Ben. "Street chords and the truth a street level view of country music /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6134.
Full text
47
Daggett, Liz Levin C. Melinda. "Theoretical and practical record of the making of the documentary film, A Native American dream." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9110.
Full text
48
Horst, Jennifer Lynne. "The making of the documentary film Women in Red." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.
Full textAbstract:
Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.
49
Williamson, Harry Alexander. "The essay, the time image and the double : a study of the films of Chris Marker." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268596.
Full text
50
Gibson, Sarah Edith Levin C. Melinda. "Behind the scenes of The Steve Taylor story a documentary /." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/permalink/meta-dc-10992.
Full text