Dissertations / Theses on the topic 'Documentary history'
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Chen, Pin-Chuan. "A critical history of Taiwanese independent documentary." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/a-critical-history-of-taiwanese-independent-documentary(fa91871a-9257-477d-ba00-ca5b0501b6a1).html.
Full textIrwin, Mary. "BBC television documentary 1960-70 : a history." Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492389.
Full textLasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram." The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.
Full textJones, Rex Allan. "'We on history channel!' the representation of history in documentary film /." Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/jones/JonesRA0509.pdf.
Full textColbourne, John Kenneth. "A documentary on the evolutionary history of Daphnia." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0006/NQ40367.pdf.
Full textBRASIL, MARCIA PATERMAN. "HISTORY AND UTOPIA: THE DOCUMENTARY OF SILVIO TENDLER." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12998@1.
Full textCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho História e utopia: o documentário de Silvio Tendler investiga o compromisso com a construção da memória política assumido pelo cineasta brasileiro Silvio Tendler, bem como discute alguns mecanismos responsáveis pelo incômodo resultante da sua narrativa no cenário contemporâneo. Tendler realizou cerca de trinta filmes documentários sobre personagens públicos e processos históricos nacionais, ambos identificados à preocupação em reelaborar a memória política brasileira e conscientizar sobre os autoritarismos de Estado. Mas sua urgência em narrar os sonhos libertários, percorrer as rupturas políticas e atualizar as esperanças para construção de um futuro democrático entra em confronto com as produções contemporâneas do gênero. Nestas, ficam explícitos o abandono dos horizontes de empenho em construir utopias e a rejeição da preocupação com a esfera pública de participação política. Para compreender este processo, este trabalho apresenta uma breve descrição biográfica, análise de alguns de seus filmes, suas políticas de representação histórica e os movimentos trilhados pelo autor. O trabalho coloca sua obra em diálogo com as características encontradas nas narrativas documentais recentes e com o conjunto de diretrizes teóricas do gênero. Assim, tenta entender de que modo o rompimento com os pilares do pensamento que guiou a modernidade ocidental, que impulsionou os relatos de emancipação, termina por envolver de desconfiança a identidade coletiva que perpassa a produção de Tendler.
The work History and Utopia: the Documentary of Silvio Tendler investigates the pact with the construction of political memory assumed by the Brazilian director, as well as discusses some of the mechanisms responsible for the resulting sense of displacement of his narrative construction in the contemporary scene. Tendler authored more than thirty documentary films about public personalities and national historical processes, both indentified by the desire to rework the political memory and raise consciousness the authoritarian past of the State. But his urgency to narrate dreams of liberation, to follow political ruptures, and to carry out the new hopes for the construction of a democratic future enters into conflict with the contemporary productions in the genre. In these productions the abandonment of the horizons of dedication to build utopias becomes explicit, as does the rejection of attention to the public sphere of political participation. To understand this process, we write a brief biographical description, select a few of his films, observe his politics of historical representation and the movements chronicled by the author. We place his work in dialogue with the main characteristics encountered in recent narrative documentary and with the theoretical tendencies of the genre. Doing so, we try and understand by what mode of rupture with the pillars of thought that have guided occidental modernism, that created accounts of emancipation, ends up creating suspicion of the collective identity reclaimed in Tendlers work.
Sills-Jones, Dafydd. "History documentary on UK terrestrial television, 1982-2002." Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/ce5f1edf-1dba-4b89-b0c3-7f70cbcc00c8.
Full textCorns, Donna. "Dina's story : a visual intervention in fathoming history." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20717.
Full textBoyd, 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 textJones, Leonie E. "`The Greatness and the Smallness of their Story': Developing an Oral History Interactive Documentary Creative Practice telling the Battle of Coral Balmoral, Vietnam 1968." Thesis, Griffith University, 2020. http://hdl.handle.net/10072/399976.
Full textThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.
Full textZafar, Muhammad Hasan. "Pakistani documentary : representation of national history and identity (1976-2016)." Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8386/.
Full textBoyle, Nicola. "The documentary history and repertory of the Lady Elizabeth's Men." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/16344.
Full textDa, Canha Taryn. "Redefining the griot : a history of South African documentary film." Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/17956.
Full textThe South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.
Fossen, Pamela, and n/a. "Errol Morris and the art of history." University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.
Full textMcCarty, Kieran. "Selections from A Frontier Documentary: Mexican Tucson, 1821-1856." University of Arizona, Mexican American Studies and Research Center, 1994. http://hdl.handle.net/10150/219036.
Full textRoebuck, Daire Elizabeth. "MARGARET JARMAN HAGOOD?S MOTHERS OF THE SOUTH AS SOCIOLOGICAL DOCUMENTARY." NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-05172004-170009/.
Full textQian, Ying. "Visionary Realities: Documentary Cinema in Socialist China." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
Full textEast Asian Languages and Civilizations
Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
Full textBeattie, Debra. "The wrong crowd : an online documentary and analytical contextualisation." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15874/1/Debra_Beattie_Thesis.pdf.
Full textBeattie, Debra. "THE WRONG CROWD : An online documentary and Analytical contextualisation." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15874/.
Full textRogers, Shannon. "Ken Burns' Baseball: Argument in documentary." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1759.
Full textFriel, Ian. "The documentary evidence for maritime technology in later medieval England and Wales." Thesis, Keele University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302743.
Full textAl-Sagri, S. H. "Britain and the Arab Emirates 1820-1956 : A documentary study." Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383913.
Full textLaughren, Pat. "Picturing Politics: Some Issues in the Documentary Representation of Australian Political and Social History." Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366409.
Full textThesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Griffith Film School
Arts, Education and Law
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Opal, Jack A. "Documentary Photography and the Edge of the Sword." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.
Full textVitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
Full textWeisz, Talia M. "Voices from Israel/Palestine: A Documentary Video Exhibition." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274903253.
Full textScott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.
Full textBanker, Catherine Mary Courser. "A structural history of the Old Stone Hotel in Daggett utilizing archaeological and documentary evidence." CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/856.
Full textSolbrig, 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 textXu, Apple Yaping. "The oral testimony and the embodied witness: orality, intersubjectivity, and Chinese oral history documentary film." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/24.
Full textLondon, Joseph. "The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2130.
Full textGisler, Carolyn M. "Revisioning the documentary tradition from within : Patricia Gruben's Leylines (1993)." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26689.
Full textShier, 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 textGharabaghi, Hadi Parandeh. ""American Mice Grow Big!"| The Syracuse Audiovisual Mission in Iran and the Rise of Documentary Diplomacy." Thesis, New York University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10682611.
Full textThis dissertation investigates the coterminous emergence of imperial documentary operations and modernization programs in the United States during the 1940s and 1950s. It argues that the period saw a governing investment in documentary format and documentary "value," and that this was a response to the containment strategy of cultural diplomacy at the onset of the Cold War. It's focus is a mixed group of governmental and non-governmental entities. The project makes evident how a group of events and practices involved in foreign diplomacy campaigns of knowledge/intelligence and large scale overseas modernization programs give rise to a discourse of documentary diplomacy. The output of these projects was varied: locally-made rural training films; newsmagazine newsreel; travelogues, and the exported nontheatrical American documentaries. As the dissertation demonstrates, they were influenced by a weaponized ethnographic documentary experience, first formulated in Asia by Margaret Mead and Gregory Bateson in the late 1930s. The subsequent rise of governing investment in culture for imperial planning during the 1940s, large scale government experiment with training films during World War II, and governing investment in grassroots audiovisual movement of educational film in the United States all bear the marks of these knowledge/intelligence campaigns. The path to freedom, accordingly, became a bifurcating atomized process that ultimately reconceptualized geopolitically sensitive nation-states as people, as audiences, and eventually as individuals available to be freed from their own "hostile" and "uncooperative" governments on their way toward building bottom-up democratic movements.
Containment campaigns of defending American capitalism against Soviet communism in postcolonial nation-states led to a proliferation of instructional films throughout the world. These missions invested in local filmmaking and established pockets of documentary infrastructure that inevitably played some roles in the making and transformation of national cinemas. As a case study of the emerging discourse of documentary diplomacy, this dissertation also investigates American documentary operations in Iran during the 1940s and 1950s and demonstrates how US-Iranian media projects institutionalized documentary, audiovisual modernization, and media governance in Iran. The Syracuse documentary mission to Iran emerged as among the most important sites of such campaigns. For instance, the first generation of localizing newsmagazine series were made in Iran for Iranians by Iranian crew, using American planning, infrastructure and capital. With this convenient "usage," however, also came subscribing to an ideological package. Media producers and advisors from thirty-five American universities, under Syracuse University's binational contract with American and Iranian governments, participated in this work by 1959.
As this research project demonstrates, documentary diplomacy in this era brings into contact and coherence film and legal discourse, diplomatic policymaking, film practice, and applied social scientific research and intelligence production. In this respect, documentary diplomacy encompasses a set of events that include making documentary, mobile screening, expert viewing, national character research, applied anthropology intelligence work, survey trips, public opinion projects, courses of audiovisual and documentary training, and nation-building projects of central documentary infrastructure and media governance.
This dissertation argues that localized missions of overseas audiovisual training and documentary filmmaking and infrastructure during the 1950s operate through a propaganda facade of apolitical modernization by building on the governing strategy of welfare imperialism via invitation. In some cases, this went to extent of sponsoring anti-leftist localized newsreel campaigns of crushing local journalism and a wide range of objectifying practices. The village how-to films enforced a rapid modernization campaign while audiovisual training facilitated central education and governing. The dissertation also argues that the apolitical facade of the imperial documentary campaign in Iran is an expression of claiming fakery and manipulation in the name of the real.
The project draws from a wealth of declassified archival sources in the United States National Archives at College Park, the Library of Congress, the Archives of Rockefeller and Ford Foundations and other sources including individual memoirs and interviews. The archival sources include memoranda of film scripts, film receipts, correspondence, embassy notes, university and government contract, cultural manuals, immigrant interviews and a documentary bible of administrative film theory and production.
Following the case study of Iran, the dissertation extrapolates that researching the genealogical course of postwar imperial campaigns of documentary diplomacy in the Middle East and Asia can contribute to understanding of the transformation of modernization programs of central education, media cultures and media governance.
Cieplak, Piotr Artur. "The Rwandan genocide and its aftermath in photography and documentary film." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609170.
Full textVan, Vuuren Lauren. "The Great Dance : myth, history and identity in documentary film representation of the Bushmen, 1925-2000." Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/22171.
Full textPryke, Sebastian. "The eighteenth century furniture trade in Edinburgh : a study based on documentary sources." Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/11339.
Full textStumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.
Full textDu, Toit Jaqueline Susann. "The organization and use of documentary deposits in the near east from ancient to medieval times : libraries, archives, book collections and genizas." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38480.
Full textLambert, James K. "REEL NAZIS a propaganda history." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4954/.
Full textChildress, Doris (Doris Elaine). "Bus Ride to Liberation: a Historical Video Documentary of the Acres Homes Transit Company in Houston, Texas." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279071/.
Full textHerdman, Catherine N. "Appalshop Genesis: Appalachians Speaking for Themselves in the 1970s and 80s." UKnowledge, 2014. http://uknowledge.uky.edu/history_etds/19.
Full textJooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
Full textENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
Hammerton, Rachel Joan. "English impressions of Venice up to the early seventeenth century : a documentary study." Thesis, University of St Andrews, 1987. http://hdl.handle.net/10023/2792.
Full textPhelan, Joseph Patrick. "The limitations of original history : the use of documentary evidence in the work of Clough, Arnold and Browning." Thesis, King's College London (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342968.
Full textHildebrandt, Melinda 1976. "Strands of realism : the instructional, the narrative and the poetic in British cinema, 1929-2003." Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7598.
Full textStacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.
Full textAsadipour, Saeedeh. "5 Broken Cameras: Landscape, Trauma, and Witnessing." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439752.
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