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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Fisher, Duncan, and Jolyon Mitchell. "Portraying Forgiveness through Documentary Film." Studies in World Christianity 18, no. 2 (August 2012): 154–68. http://dx.doi.org/10.3366/swc.2012.0013.
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At the heart of this article is an analysis of two documentary films that focus on the topic of forgiveness, one in Rwanda, in the wake of the 1994 genocide, and the other in northern Uganda, following the ravages of the Lord's Resistance Army. This essay includes a description of the production background of both films, a brief outline of the historical context in which they are set, and a more detailed examination of both documentaries. Special focus is placed upon how these films reflect the way in which local traditions are used in the aftermath of violence in an attempt to bring about reconciliation. Through this discussion the observation is made that while neither film actually shows the local Gacaca gathering in Rwanda nor the Mato Oput rituals in Uganda at work, the films do draw these practices into a larger narrative about forgiveness. These traditions of ritualised forgiveness and local justice pre-date the arrival of Christianity in central East Africa. In this context, it is suggested that the filmmakers have appropriated and used these practices for a particular rhetorical purpose: to show how forgiveness is possible even after unimaginable cruelties.
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Török, Ervin. "Inventions of personalness in Hungarian documentary filmmaking." Apertura 17, no. 1 (2021): 1–42. http://dx.doi.org/10.31176/apertura.2021.17.1.12.
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The study examines the “personalness” of Hungarian creative documentary films, and compares this new kind of personalness to the one characteristic of Hungarian documentaries from the 1970s. Three traditions of Hungarian documentaries are distinguished: vérité-films, avant-guard experimental films, and tabloid cinema, adapting the heritage of direct cinéma. The argument offers a discussion of diverse interpretive conditions of personalness for each of the three trends. Films in the tabloid cinema tradition make up the decisive trend of Hungarian documentaries, offering a specific attempt at “novelification”, the introduction of a sociological sensitivity, an attempt at representing social relationships in an objective way, as well as an ambiguous flirting with forms of fiction films. With the rhetorical structuring of the theme, the countrapuntal and dialogical representation and diverse stylization techniques, contemporary documentaries shift the sociological perspective of the documentaries from the 1970s, and point to its frequently limiting nature. They change the point of departure of films close to or continuing the tradition of verité-films: the “singularity of the witness” in these films takes over the fiction of neutral/objective observation dominant in the films of the 1970s. As a result, the documentary nature of the film image is fundamentally rethought in these films.
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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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Stroganov, Mikhail. "Leo Tolstoy in the documentary films." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА 2 (2019): 178–99. http://dx.doi.org/10.35852/2588-0144-2019-2-178-199.
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The article deals with the detailed research of the documentary shootings connected with Leo Tolstoy. Starting with the life chron¬icles up to works of modern documentary film directors. The question of difference between the documentary cinema and documentary files that was made by the operators-contem¬poraries of Tolstoy is set as a main problem. They fixed the last years of writer’s life. Their shootings became the basis to many docu¬mentaries made by the foregoing directors (starting from E. I. Shub to G. M. Evtushenko). The genre of the double portrait that is mostly demanded in nowadays documen¬tary cinema add the dramatic tension to the film and helps to rethink already well observed materials. Numerous aspects are summing into the common and vast review of the writer and cinema relations.
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kim, joohyun. "Reflection on the Fourth Stage of Historical Consciousness in Korean Independent Documentary Films: Dynamics of Societal Conflict and Integration." Korean Society of Human and Nature 5, no. 1 (June 30, 2024): 109–43. http://dx.doi.org/10.54913/hn.2024.5.1.109.
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This paper aims to redefine Korean independent documentary films as historical documentaries and explore their historical consciousness. To achieve this, Agnes Heller’s theory of historical consciousness stages was applied, and various independent documentary works were analyzed, classified by era, theme, and style, to meticulously delineate the historical consciousness of Korean independent documentary films into four stages. In the first stage, ‘General History’was transformed into ‘People’s History’, while the second stage reexamined ‘Grassroots History.’The significance of ‘Reflective Self and Historical Interpretation’was sought in the third stage, and the meaning of ‘Historical Participation and Action from Below’was found in the fourth stage. Through this process, the identity of Korean independent documentary films was further expanded into historical documentaries, laying the groundwork for diverse historical discussions. Consequently, Korean independent documentary films now offer opportunities for deeper understanding and exploration of historical aspects.
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Honess Roe, Annabelle. "Uncanny Indexes: Rotoshopped Interviews as Documentary." Animation 7, no. 1 (December 8, 2011): 25–37. http://dx.doi.org/10.1177/1746847711428851.
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This article considers the several animated interviews made by Bob Sabiston between 1997 and 2007, and the implications of considering these films as documentaries. The author argues that the films are liminal, discursive texts that negotiate tensions between reality and make-believe, observation and interpretation, and presence and absence. Textual analysis of the short films in question demonstrates an aesthetic presentation that confirms their documentary status at the same time as exploiting the expressionistic potential of Rotoshop. The nature of Rotoshop also emphasizes the absence of the physical body of the interviewee, replacing it with an excessively present style of animation. Other conventional markers of documentary authenticity and evidence, such as the visual index, are also absent in these films. These absences, coupled with the presence of an aesthetically liminal style of animation infer a pleasurably complex and challenging epistemological and phenomenological viewing experience.
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Lestari, Emilika Budi. "KONSEP NARATIF DALAM FILM DOKUMENTER PEKAK KUKURUYUK." Jurnal Nawala Visual 1, no. 1 (May 31, 2019): 9–17. http://dx.doi.org/10.35886/nawalavisual.v1i1.3.
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Documentary movie that present reality in various ways and are made for various purposes. Social, political and cultural life mostly inspiresthe documentary. The concept of documentary movie is to build a storyline based on the reality. Documentary movie are made according to certain versions based on the reality. Various techniques can be used to convey information and convince the audience about the situation and conditions in the movie. Unlike fiction films that have a clear narrative structure, documentary films do not have a narrative structure. The main key to a documentary is the presentation of facts. Documentary films relate to real people, figures, events and locations. The style of storytelling in documentaries is non-narrative because documentaries do not contain the composition of the stories in them. In the documentary film Pekak Kukuruyuk, it can be seen that the narrative concept that was built from this film is the concept of realism (real), which is to build a storyline based on reality. Where this concept is opposite to experimental films that have the concept of formalism (abstract). This film was made through a direct recording method when the event actually took place and inserted several reconstructions and interviews in it.
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Chmil, Hanna, and Yelyzaveta Buriak. "Human and Nature in Documentary Films." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (June 1, 2022): 46–53. http://dx.doi.org/10.31866/2617-2674.5.1.2022.257175.
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The purpose of the research is to study the interaction peculiarities of man and nature in documentary film, to establish separate dramatic techniques and features of the author’s documentaries on environmental topics using the examples of the creative work of leading masters. The research methodology includes comparative, factual and historical analysis. Films were chosen for observation, in which the author’s concepts of creating a documentary film on the topic of interaction between man and nature were most clearly manifested. The historical-comparative method expands the search for sources to create an objective historical picture and the time in which the events took place. The problem-chronological method of studying the historical reality made it possible to compare the documentary chronicles of different years, as well as to trace the consequences of its socio-cultural and ideological influence on the consciousness of people. Scientific novelty. The author analyzes the dramatic techniques and features that are, to one degree or another, relevant and relevant precisely in films on the topic of interaction between man and nature. In films on the chosen topic, a kind of cinematic space and a complex, multifaceted image of a hero, who is not necessarily a person (nature as the main character), is formed. All these abilities and techniques require special analysis and comprehension. Conclusions. The director’s desire to go beyond the traditional chronicle perception of a screen document, to turn it into a metaphorical sign, to create a purposeful author’s monologue, by manipulating screen signs – hieroglyphs, is analyzed. Editing techniques are considered – a sequential conclusion from the automatism of the screen material perception through the removal of some image techniques: the expression of the angle, the paradoxical composition, the choice of the size of objects, the change in the shooting speed, tonal and colouristic accents.
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RUSTAMOVA, Aysel Agashirin. "KARABAKH WAR IN AZERBAIJANIAN DOCUMENTARY FILMS." Humanities science current issues 2, no. 53 (2022): 78–83. http://dx.doi.org/10.24919/2308-4863/53-2-11.
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Menashe, Louis. "Festivals: Documentary Films in St. Petersburg." Soviet and Post-Soviet Review 20, no. 1 (1993): 241–44. http://dx.doi.org/10.1163/187633293x00242.
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Stover, John A. "Framing Social Movements Through Documentary Films." Contexts 12, no. 4 (November 2013): 56–58. http://dx.doi.org/10.1177/1536504213511218.
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Ryan, Katy. "Documentary Films on U.S. Social Issues." Humanities Collections 1, no. 3 (September 1999): 101–7. http://dx.doi.org/10.1300/j139v01n03_10.
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Исмаилов, Камолитдин Саидахмадович, and Александр Викторович Марков. "ACTING PERFORMANCES IN UZBEK DOCUMENTARY FILMS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 3(37) (March 30, 2023): 54–72. http://dx.doi.org/10.23951/2312-7899-2023-3-54-72.
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Советский кинематограф создал особый жанр кинопортрета, который поддерживался как визуальными нормами советского кинопроизводства, так и общей для литературы и кинематографа жанровой спецификой, направленной на упорядочение больших массивов произведений, предназначенных для просвещения советского человека. В статье устанавливается, что ключевую роль в становлении этого жанра и легитимации его в качестве художественной программы со своими иногда вполне провокационными особенностями сыграли Максим Горький и Дзига Вертов. На протяжении всей истории советского кинематографа этот жанр демонстрировал большую устойчивость, что объясняется и общим представлением советского зрителя о прогрессе и его визуальных репрезентациях, и каноничностью приемов документальных кинопортретов. При этом над нарративом преобладал общий образ репрезентации современности как исполнения прогресса, который не нуждается в дополнительных нарративах или эффектах. Поэтому игровые постановки в документальном кино либо осуждались, либо допускались как орнаментальные. В статье вычленяется два типа документалистики, этнографическая и биографическая, и показывается, как экранные принципы советского кино ограничивали внедрение игровых сцен. Разрушение советской системы кинематографии значительно изменило аудиторию. Прежде всего, исчез литературоцентризм советской культуры, при котором нарративы о прошлом и настоящем создавались литературой; теперь кинематограф стал создавать их самостоятельно. Далее, сами зрители стали дифференцировать ожидания от кинематографа, проецируя на него то опыт телесмотрения, то опыт знакомства с голливудским зрелищным кино. Наконец, новое поколение режиссеров стало шире использовать игровые вставки наравне со спецэффектами для создания нарратива, дополняющего национальный исторический нарратив и тем самым привлекающего больше зрителей. При этом зритель не вполне привык к нарративам вещей, воспринимая их исключительно как документальные свидетельства. Поэтому использование игровых вставок часто подрывало доверие к исторической достоверности фильма и вообще к достоверности нового документального кинематографа. Именно таковы были глубинные реакции зрителей, которые хотя и не высказывались прямо, но отмечались наиболее проницательными узбекскими режиссерами в интервью, взятых специально для данного исследования. Исследование узбекских фильмов последних трех десятилетий показало поиск новых способов создания кинопортретов, учитывающих и игру нарративов, и изменчивость зрительских ожиданий. Не все эти поиски были удачными, но они показали неуклонное стремление режиссеров избегать эмоциональной вялости, которая возникает в документальных фильмах постсоветского времени из-за отсутствия единой идеи всеобщего прогресса, которая принимается зрителями как достоверная. Национальное строительство требует и обновления идеи прогресса, и нового конфликта нарративов при безупречном использовании приемов, которые не выбираются режиссером, но влекут друг друга за собой, создавая эстетику документального фильма с игровыми вставками. Soviet cinema established a specific genre of film portrait, which was supported both by the visual norms of Soviet film production and by the genre specification common to literature and cinematography, aimed at streamlining large arrays of works intended to educate Soviet people. Maxim Gorky and Dziga Vertov played a key role in establishing this genre and legitimizing it as an educational artistic program with its sometimes quite provocative features. throughout the history of Soviet cinema, this genre showed great resilience, which can be explained both by the Soviet viewer’s general conception of progress and its visual representations, and by the canonical nature of the techniques of documentary film portraits. At the same time, the general image of the representation of modernity as the performance of progress prevailed over the narrative, which therefore did not need additional narratives or effects. Acting performances in documentary films were thus either condemned or tolerated as ornamental. The article delineates two types of documentaries, ethnographic and biographical, and shows how the screen principles of Soviet cinema limited the introduction of acting inserts. The collapse of the Soviet film production system significantly changed the audience. First of all, the literature-centrism of Soviet culture, in which narratives about the past and present were generated by literature, disappeared; now the cinema began to develop them independently. Next, audiences themselves began to differentiate their expectations from cinema, projecting onto it the experience of watching television and the experience of encountering Hollywood performing films. Finally, a new generation of filmmakers began to make greater use of acting inserts along with special effects to build a narrative that complemented the national historical narrative and thereby attracted more viewers. At the same time, viewers were not fully accustomed to narratives of things, perceiving them exclusively as documentary evidence. Therefore, the use of acting inserts often undermined the credibility of the film’s historical accuracy and the credibility of new documentary filmmaking in general. Such were the underlying reactions of the audience, which, although not explicitly expressed, were noted by the most perceptive Uzbek filmmakers in interviews conducted specifically for this study. The study of Uzbek films in the last three decades has shown the search for new ways to make film portraits that take into account both the play of narratives and the variability of viewer expectations. Not all of these pursuits have been successful, but they have shown a steady desire on the part of filmmakers to avoid the emotional lethargy characteristic in post-Soviet documentaries due to the lack of a single idea of universal progress that viewers accept as credible. Nation-building requires both a renewal of the idea of progress and a new conflict of narratives with a flawless use of techniques that are not chosen by the director, but entail each other, and create the aesthetics of a documentary with acting performance inserts.
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Kosachova, O. "Historical Themes in Fiction and Documentary Cinematography: Comparative Analysis." Culture of Ukraine, no. 79 (March 23, 2023): 46–59. http://dx.doi.org/10.31516/2410-5325.079.05.
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The purpose of this article to investigate the peculiarities of the representation of historical transformations in fiction and documentary cinematography, to reveal the artistic potential of cinema in the coverage of historical issues.
The methodology. The main methods of cognition were used: socio-communicative, axiological, culturological approaches, figurative-stylistic analysis and structural-functional method, art history approach combined with morphological analysis, hermeneutic approach. The specified methods contributed to the in-depth study of fiction and documentary films aimed at the coverage of historical or current events.
The results. In the course of the study, it was found that the line between documentary and fiction films is extremely thin, especially when the films claim to cover historical events or real figures. Despite the fact that fiction cinema is realized thanks to the play of actors, and documentary cinema is realized thanks to the shooting of real participants in the events, the means of expression of both types of cinematography are similar. One of the results of the analysis was the conclusion that documentary cinema uses a greater number of expressive means than fiction films. This is due to the fact that the directors of fiction films strive to document the aesthetics of the film, and the directors of the documentary, on the contrary, to strengthen the artistic component. Historical themes combine documentary and fiction films, while the aesthetics of documentary films is more diverse.
The scientific novelty of the research. In this research for the first time, we investigated the historical transformations in fiction and documentary cinematography from the point of view of cultural meanings and aesthetic foundations of both types of cinema, and also analyzed the potential of cinematography to reveal hot and controversial topics on the example of contemporary cinema works.
The practical significance of the article. The presented research can be used by filmmakers in both the field of fiction and documentary cinema in order to create an objective, unbiased and artistically valuable screen product. In addition, the conducted analysis can be useful in teaching professional courses in the specialty 021 “Audiovisual art and production”.
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Lei, Qu, Teo Miaw Lee, and Candida Jau Emang. "Presentation of Chinese Rural Society in Documentary Films on Rural Revitalization: An Analysis." Journal of Research in Social Science and Humanities 2, no. 10 (October 2023): 43–54. http://dx.doi.org/10.56397/jrssh.2023.10.06.
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On January 1, 2011, in order to promote a better global understanding of China, China Central Television’s Documentary Channel began broadcasting 24 hours a day worldwide. With the launch of the documentary channel, documentaries officially entered the field of vision of ordinary Chinese citizens, serving as a medium to record the lives of the Chinese populace and presenting their authentic everyday lives and personal stories to the world. This also left behind precious social memories in the rapidly developing China (Wu Haili, 2013). As an agricultural powerhouse, rural areas constitute a significant component of Chinese society, retaining rich historical and cultural traditions. Farmers carry immense spiritual strength and touching narratives, prompting numerous socially responsible documentary filmmakers to turn their cameras towards China’s countryside and its people. This effort has led to the creation of a substantial number of outstanding documentary films centered on Chinese rural themes. Chinese rural-themed documentary films have emerged as prime artistic samples reflecting rural societal conditions and transformations. This paper focuses on the rural society portrayed in documentary films with rural themes and analyzes how these films depict various aspects of China’s rural society, such as economic production, living environment, education, and employment, within the context of rural revitalization documentaries. Through the analysis and examination of this theme, the paper elucidates the genuine face of China’s rural society and its monumental changes depicted in these documentary films, providing a comprehensive perspective and a macroscopic view for the creation of related documentary works (Mao Yurong, 2022).
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Loh, Yoke Ling, and Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (March 31, 2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.
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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.
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Suleimenova, A. E., and A. K. Ishanova. "Fact and fiction in documentary films (Using the example of television films about the Great Patriotic War)." BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 141, no. 4 (December 30, 2022): 56–65. http://dx.doi.org/10.32523/2616-7174-2022-141-4-56-65.
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This article is devoted to the study of methods of transmitting facts and artistic techniques in a documentary on television. The purpose of the scientific research is to determine the characteristic features of these techniques. The object of the study is documentaries about the Great Patriotic War of 1941-1945, released on television in Kazakhstan and Russia. The functional difference in the techniques of constructing a documentary film will allow us to further study the transformation processes in the structure of television documentaries. In addition, marking the boundaries between the methods of transmitting facts and artistic techniques can become the basis for the analysis of a documentary film. With the help of content analysis, calculations were made of the quantitative ratio of two types of techniques for constructing a documentary film, which clearly showed the crisis of dramaturgy and artistic image on modern television. The analysis also showed that the authors of documentaries on television do not always skillfully use artistic techniques. Manipulation of facts and mixing of feature films with documentaries negatively affects the structure of the documentary as a journalistic work. 65No 4(141)/2022ВЕСТНИК Евразийского национального университета имени Л.Н. Гумилева. Серия ЖурналистикаBULLETIN of L.N. Gumilyov Eurasian National University. Journalism SeriesThis conclusion makes us think about the quality of documentary films on television and about the possibilities of minimizing the risk of its manipulative impact through further research of documentary film construction techniques
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Tsachi, Adam. "Trauma Processing in Israel’s Contemporary Documentary Cinema." Iyunim, Multidisciplinary Studies in Israeli and Modern Jewish Society 34 (December 1, 2020): 36–60. http://dx.doi.org/10.51854/bguy-34a102.
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This article investigates a new phenomenon in contemporary Israeli documentary cinema: the processing of war trauma. For the first time since the onset of the Second Intifada, films whose heroes suffer from PTSD are dealing with the processing of past experience. Using case studies, the article analyzes films directed by PTSD victims, which deal with the processing of war trauma, including among others One Battle Too Many (Joel Sharon, 2013) and Closed Story (Micha Livne, 2015). The films’ heroes are seeking to free themselves from the amnesia that is concealing the traumatic events deep within their memory. They manage to locate the repressed memory and then weave the traumatic story anew. The films propose various cinematic strategies for processing trauma, strategies that are meant to demarcate both the subjective traumatic past and the objective safe present and to place a defined aesthetic border between them. The films are analyzed by means of close reading of the cinematic aesthetic and the discussion of trauma in the Humanities. The interweaving of unrealistic and realistic symbolization practices dismantles the classic form of documentary cinema and facilitates an encounter between the viewer and the overwhelming nature of trauma.
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Martín, Marcos P. Centeno. "Legacies of Hani Susumu’s Documentary School." Arts 8, no. 3 (July 3, 2019): 82. http://dx.doi.org/10.3390/arts8030082.
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This article seeks to cast light on some of Hani Susumu’s theoretical and practical contributions to post-war Japanese documentaries. The article will also show how he created a documentary school at Iwanami Eiga based on authors’ closeness to the filmed object. This is crucial in order to understand the tendencies that developed in non-fiction films from the late 1950s. Hani’s influence can be seen in the leaders of militant cinema, Tsuchimoto Noriaki and Ogawa Shinsuke, who were trained at Iwanami Eiga. However, some of his theoretical writings, together with his documentary films Hōryūji (1958) and Gunka Ken 2 (1962), reveal how his singular subjective realism is applied to unusual shooting objects, landscapes. This article assesses this lesser-known aspect of Hani’s work and its links to certain developments in Japanese documentary films led by other filmmakers, such as Teshigahara Hiroshi and Adachi Masao, which have not yet been addressed.
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Stamboldžioski, Katja. "The Rise of the Ljubljana School of Documentary Film at TV Ljubljana (1981–1990) and the Transformation of the Documentary." Ars & Humanitas 17, no. 1 (September 6, 2023): 271–84. http://dx.doi.org/10.4312/ars.17.1.271-284.
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The article discusses a specific period of the production of the documentary genre at TV Ljubljana, known as the period of the Ljubljana School of Documentary Film (19811990). The focus of this research is predominantly the conditions and limitations of production, under which documentary films and practices, as well as the routines of the creators, were created, to analyse how production practices were reflected in the form and style of documentary films. The documentary films of this period began to move away from news coverage with current political content and the explanatory mode of representation, and moved towards the participatory and observatory modes of representation. The routines and practices became more professional. In particular, journalists began writing scripts and collaborating with talented directors from AGRFT (Academy of Theatre, Radio, Film and Television). Despite financial and production limitations, which placed numerous bureaucratic tasks into the creative process, and the self-censorship of creators, under the leadership of editor Drago Pečko and with the collaboration of directors, numerous authorial documentary films were made that were recognized in the Yugoslav space. Owing to the changed circumstances of the media, the management of public television saw the direction of the development of the medium after 1990 tend towards entertainment programmes, which meant that the documentary began losing its former importance in the name of ratings and advertising revenues.
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Morozova, Ekaterina Vladimirovna. "Teaching audiovisual translators discourse analysis of documentary films." KANT 38, no. 1 (March 2021): 291–95. http://dx.doi.org/10.24923/2222-243x.2021-38.60.
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The article discusses teaching the analysis of documentary films from the standpoint of a discursive approach. The importance of teaching the analysis of documentary films is due to the specifics of audiovisual production. A documentary film is a polyosemiotic construct combined with verbal, pictorial and sound signs, which are important for the translator to take into account in the translation process. The discursive approach allows to teach future translators to analyze not only the work as a whole, but also to analyze the historical and socio-cultural context in which it was created.
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Gbambu, Abdul Rashid, Jemilatu Saaka Dramani, and Morolake Omowumi Adekunle. "A Contextual Analysis of Documentary Film as a Product and Tool for Academic Exercise." European Journal of Communication and Media Studies 2, no. 4 (October 27, 2023): 25–35. http://dx.doi.org/10.24018/ejmedia.2023.2.4.22.
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This paper examines the justifications for using documentary film as a product of academic exercise, using the films "Return of the Biblical Plague: Mosquitoes" and "Bitter Lake" as case studies. Through an analysis of the production and reception of these films, the paper explores how documentary can be used to visually tell stories that follow the replicability of academic research procedures, from the selection of subject matter and site to planning and interviewing subjects to data collection and analysis. The paper also addresses the challenges and ethical considerations associated with using documentary film as an academic exercise, including representation, power, and objectivity issues. Ultimately, the paper argues that documentary films have the potential to enhance academic exercise by providing a compelling, engaging medium through which to explore complex issues and promote critical thinking. The paper is structured into four segments of analysis. The initial segment encompasses the foundational aspects of documentary film production, which involves establishing the core argument and exploring its historical contexts. The subsequent segment delves into research as a reproducible methodology, establishing empirical evidence concerning a particular phenomenon. The third part also examines the essence of the documentary film-making process, accompanied by a comparative analysis juxtaposed with research as a scientific procedural endeavor, including the analysis of two documentary films, "The Biblical Plague" and "Bitter Lake". Using the Auteur film theory, the final segment centers on, culminating in a comprehensive conclusion that substantiates the contention that documentary film-making serves as both a creative output and a valuable tool within the realm of academic exploration.
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Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.
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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.
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Louw, Lieza. "Documentary film politics and the politics of documentary film." Communicare: Journal for Communication Studies in Africa 40, no. 1 (October 5, 2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.
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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice forthe mine workers by offering his personal reaction to the deaths of the 34 black men by interviewsand archival material. Miners Shot Down was received well locally and internationally, but as an overt political narrativepresented in a subjective reconstruction, some of the omissions may impact on a fuller understandingof the tragic event.tion. This finding prompted recommendations for entrepreneurs, policymakersand scholarship.
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Shestakova, I. V. "ALTAI DOCUMENTARY FILM TEXT." Culture and Text, no. 44 (2021): 116–28. http://dx.doi.org/10.37386/2305-4077-2021-1-116-128.
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The article defines the methodological principles of the analysis of a film text, considers the historical, thematic, genre dynamics of «Altai documentary film text». The author uses the concept of text proposed By V. Toporov and developed in the research of «local texts» using the methods of intertextual and intermediate analysis. The article traces the formation of symbolic constants in films about Altai that determine the status of the region in the Russian and foreign media space.
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Hill, Annette. "Documentary imaginary: Production and audience research of The Act of Killing and The Look of Silence." European Journal of Cultural Studies 24, no. 4 (August 2021): 801–15. http://dx.doi.org/10.1177/13675494211033291.
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Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting the ways we imagine ourselves, the ways we know ourselves’. This research analyses the documentary films The Act of Killing (Director Oppenheimer, co-directors Christine Cynn and anonymous 2012) and The Look of Silence (director Oppenheimer 2014), and the documentary imaginary. The research combines normally separate sites of analysis in production and audience studies in order to understand the power of documentary and the spectrum of social stories we inhabit. The article asks: how do the films document and imagine fear and impunity in memories of the genocide, and how do audiences engage with this documentary imaginary? Particular focus is paid towards the endings of the two documentary films and how audiences in this study reflect on the absence of justice for the victims of the genocide. Through the empirical research, we take a journey with the director and his film making process, understanding the lengthy and complex filming for the two documentaries in Indonesia. The films signal Oppenheimer’s political and ethical commitment towards victim recognition, the possibility and impossibility of forgiveness, and the challenge of reconciliation between victims and perpetrators. The filmmaker’s journey is intertwined with the enactments of the genocide by the perpetrators in their own surreal ways of imagining themselves, and the experience of victims seeking recognition. Audiences become intertwined in these journeys, finding along the way a critically productive space for documentary and the imaginary.
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Grinberg, Daniel. "Troubling histories: Re-viewing documentary production and surveillance through the Freedom of Information Act." Media, War & Conflict 12, no. 3 (July 11, 2018): 331–53. http://dx.doi.org/10.1177/1750635218784966.
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This article examines the variety of risks that critical independent filmmakers have confronted to expose government abuses. It considers the threats to the documentarians and their documents, as they chronicle incidents of state surveillance while they are themselves under state surveillance. It does so by constructing an alternative production history of Laura Poitras’ (2014) documentary film Citizenfour in relation to the antecedent case of Emile de Antonio, Mary Lampson, and Haskell Wexler’s 1976 film Underground (Whitney Museum of American Art, 2016). These production histories are primarily based on the Freedom of Information Act (FOIA) files that the filmmakers extracted from the US government agencies that targeted them. The article argues that these official files provide an under-explored vantage on the logistical and affective dimensions of making a dissident film. In addition, this article re-views the films the documentarians created under precarious labour conditions to investigate how state intimidation and interference perceptibly impacted these archival records. It examines how the mechanisms of censorship and filmmakers’ counteractive security measures registered significant visible traces in the films. Consequently, it argues that the troubling histories captured in both the files and the films can also trouble the authority of official historiography.
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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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MAGHAYDA, Alaa. "THE ROLE OF DOCUMENTARY FILMS AT AL JAZEERA T.V CHANNEL IN PROVIDING JORDANIAN POLITICAL ELITES WITH KNOWLEDGE/ A SURVEY STUDY." International Journal of Humanities and Educational Research 5, no. 2 (April 1, 2023): 269–301. http://dx.doi.org/10.47832/2757-5403.19.19.
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The study aimed to identify the role of documentary films on Al-Jazeera channel in providing Jordanian political elites with knowledge, and to identify the effects resulting from exposure of the study sample to documentary films on Al-Jazeera channel by conducting a field study based on the survey method on a sample of (300) participants using the random sampling method. The sample was distributed among the Jordanian political elites: (MPs, senators , party leaders, political science professors, workers in the diplomatic corps). The study revealed that (63.7%) of the study sample are exposed to documentaries on AlJazeera channel, and the degree of dependence of Jordanian political elites who object to documentary films on Al-Jazeera is medium with a rate of (50.3%), while the degree of their confidence in the information provided by documentary films is high, at a rate of (54.5) %), And the results of the study showed that the most important reasons for Jordanian political elites displaying documentaries on Al-Jazeera are: following up on the epidemic trade file about the emerging corona virus and controversy over the possibility of its manufacture, then “following up the file of human rights violations and issues of opinion-holders in the prisons of Arab regimes, then“ follow-up ” The file of the military coups, "Identifying the scenes of the conflict in Libya". The most prominent effects resulting from the exposure of the study sample to these films came as follows: Cognitive effects, most notably “documentary films contributed to uncovering ambiguous details in the case of the Saudi journalist Jamal Khashoggi,” and then the emotional effects, most notably the documentary films that dealt with some sensitive issues in creating of our feelings of sympathy and solidarity with the affected parties, "then the behavioral influences, the most prominent of which was" invited my colleagues to watch documentaries because of the important information they provide.
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Drees, Stefan. "Zur Verwendung von Musik in Agnès Vardas Filmen über Jacques Demy." Kieler Beiträge zur Filmmusikforschung 17 (September 4, 2023): 61–92. http://dx.doi.org/10.59056/kbzf.2023.17.p61-92.
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Im filmischen Schaffen der Regisseurin Agnès Varda (1928–2019) spielen dokumentarische Elemente eine zentrale Rolle. So hat Varda im Laufe ihrer Karriere nicht nur eine höchst individuelle Art des essayistischen Dokumentarfilms entwickelt, sondern auch ihre narrativen Filme mit (fiktiven oder realen) dokumentarischen Passagen durchsetzt. Anhand ausgewählter Beispiele befasst sich der Vortrag mit den Grundlagen von Vardas Praxis des Musikgebrauchs. Im Mittelpunkt steht dabei eine Gruppe von Filmen, in denen sich die Regisseurin mit der Arbeit ihres verstorbenen Ehemannes Jacques Demy (1931–1990) befasst: JACQUOT DE NANTES (1991), LES DEMOISELLES ONT EU 25 ANS (1993) und L’UNIVERS DE JACQUES DEMY (1995). Diese drei Filme erweisen sich als besonders aufschlussreich, weil sie nicht nur eigene Filmmusik besitzen, sondern zugleich auch Material aus Demys Musikfilmen (z. B. aus LES PARAPLUIES DE CHERBOURG, 1964; LES DEMOISELLES DE ROCHEFORT, 1967; PEAU D’ÂNE, 1970; UNE CHAMBRE EN VILLE, 1982) verwenden und es – auf sehr unterschiedliche Weise – als dokumentierten Gegenstand filmisch inszenieren.
Documentary elements are a key feature in the films of director Agnès Varda (1928–2019). During her career, Varda not only developed a highly individual type of essayistic documentary film, but also interspersed her narrative films with (fictional or real) documentary passages. Us-ing selected examples, the paper examines Varda’s use of music. The focus is on a group of films in which the director deals with the work of her late husband Jacques Demy (1931–1990): JACQUOT DE NANTES (1991), LES DEMOISELLES ONT EU 25 ANS (1993) and L’UNIVERS DE JACQUES DEMY (1995). These three films prove to be particularly interesting because they not only have their own film music, but at the same time also use musical material from Demy’s films (e. g. from LES PARAPLUIES DE CHERBOURG, 1964; LES DEMOISELLES DE ROCHEFORT, 1967; PEAU D’ÂNE, 1970; UNE CHAMBRE EN VILLE, 1982) and present it – in different ways – as the subject of documentation.
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Vogan, Travis. "Irrational Power: Jack Johnson, Prizefighting Films, and Documentary Affect." Journal of Sport History 37, no. 3 (October 1, 2010): 397–413. http://dx.doi.org/10.5406/jsporthistory.37.3.397.
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Abstract Though prizefighting films provoked contention in late nineteenth- and early twentieth-century America, they were legal and exhibited in places where the sport itself was prohibited. The insertion of Jack Johnson’s black body into the previously white-dominated context of prizefighting films increased significantly the controversy these texts elicited. Discourses surrounding fight films cast Johnson as an exceptionally excessive signifier who so amplified the nonfiction film image’s affectivity that films featuring him necessitated containment. While federal legislation eventually suppressed the circulation of prizefighting films, representations of Johnson’s fights in different media forms were produced and distributed without problem. Combining the discourses calling for the containment of films that displayed Johnson’s 1910 victory against “white hope” Jim Jeffries with an examination of unproblematic representations of the same fight, this essay considers the relationship among prizefighting films’ presumed affectivity, the content they displayed, and their form during this moment in American sport history.
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Nushur, Rizki Dhian, and Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION." Getsempena English Education Journal 8, no. 1 (May 28, 2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.
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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.
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Adhyanggono, G. M. "Between the Documentary Voices and the Storytelling Methods of Four Indonesian Biographical Documentaries." Celt: A Journal of Culture, English Language Teaching & Literature 22, no. 1 (June 30, 2022): 148–79. http://dx.doi.org/10.24167/celt.v22i1.4138.
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This article examines the correlation between the voices of documentary films and the storytelling methods of four Indonesian biographical documentaries as the objects of analysis. They are Mendengar Si Bisu Bernyanyi: Biografi Pramoedya Ananta Toer (Srikaton, 1995), Ki Hadjar Dewantara: Mata Air Kebangsaan (Anshoriy, 2017), Bapak Komik Indonesia: Biografi R.A. Kosasih (Ahdan, 2019), Melawan Lupa: Polisi Jujur itu Bernama Hoegeng (Taharani, 2020). The documentary voice suggests the perspective, argument, or position of the filmmakers expressed in their works. As to the scope of storytelling includes elements of documentary narrative style, modes and power of documentary storytelling, modes of documentary presentation, and montage editing. With these two aspects – the voices and the storytelling methods – the audience has better access to gain insights from the documentaries. The analysis is carried out by making use of the filmic close reading and note-taking method through cinematic observation and interpretation. The finding suggests that the voices of the films are ideationally and aesthetically articulated through their storytelling methods. The documentary voices and their storytelling methods play a crucial part in helping the films build their credibility in line with the evidence employed.
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Mąka-Malatyńska, Katarzyna. "Wyprawa do krainy prawdopodobieństwa – o dokumentach animowanych Marcina Podolca." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 20, no. 29 (March 15, 2017): 289–300. http://dx.doi.org/10.14746/i.2017.29.18.
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The article analyses two student short films by Marcin Podolec, Dokument and Olbrzym, which represent the animated documentary genre. In her analysis and interpretation of films, the author uses Annabelle Honess Roe’s methodology to research this phenomenon. She expands the definition of the animated documentary base on Roe’s work.
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Stepanyan, Aik Vaganovich. "SPECIFICITY OF AUTHOR’S AND TV DOCUMENTARY FILMS." Philological Sciences. Issues of Theory and Practice, no. 2-1 (February 2018): 44–46. http://dx.doi.org/10.30853/filnauki.2018-2-1.11.
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Murray, Robin L., and Joseph K. Heumann. "Contemporary eco-food films: The documentary tradition." Studies in Documentary Film 6, no. 1 (May 21, 2012): 43–59. http://dx.doi.org/10.1386/sdf.6.1.43_1.
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Işıkman, Nihan Gider. "UNVEILING SECRETS: RETHINKING HISTORY THROUGH DOCUMENTARY FILMS." IJASOS- International E-journal of Advances in Social Sciences 1, no. 3 (2015): 345. http://dx.doi.org/10.18769/ijasos.67151.
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Carta, Silvio. "Sardinia in fascist documentary films (1922–1945)." Journal of Italian Cinema & Media Studies 1, no. 2 (March 1, 2013): 171–87. http://dx.doi.org/10.1386/jicms.1.2.171_1.
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Winn, Peter. "Recent Documentary Films on Latin American Workers." International Labor and Working-Class History 70, no. 1 (October 2006): 159–64. http://dx.doi.org/10.1017/s0147547906000226.
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Vikram, Jaycey, Kiran Bala, and Archana Durgesh. "Women-centric documentary films and audience reception." Mass Communicator: International Journal of Communication Studies 16, no. 3 (2022): 4–11. http://dx.doi.org/10.5958/0973-967x.2022.00012.6.
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