Relevant bibliographies by topics / 'documentary impulse'

Academic literature on the topic ''documentary impulse''

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "'documentary impulse'"

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Shell, Hanna Rose, and Gregg Mitman. "The Documentary Impulse." Technology and Culture 58, no. 3 (2017): 846–55. http://dx.doi.org/10.1353/tech.2017.0084.

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Bucci, Gianpaolo. "Immediations – the humanitarian impulse in documentary." Visual Studies 34, no. 2 (April 3, 2019): 206–7. http://dx.doi.org/10.1080/1472586x.2019.1653629.

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Peraica, Ana. "Immediations: The Humanitarian Impulse in Documentary." Leonardo 52, no. 2 (April 2019): 198–99. http://dx.doi.org/10.1162/leon_r_01726.

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Lerner, Sarah. "Immediations: the humanitarian impulse in documentary." Feminist Media Studies 18, no. 4 (June 5, 2018): 786–87. http://dx.doi.org/10.1080/14680777.2018.1478695.

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Zeitlyn, David. "The Documentary Impulse: Archives in the Bush." History in Africa 32 (2005): 415–34. http://dx.doi.org/10.1353/hia.2005.0026.

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A wide variety of documents exist in Cameroonian rural villages, few of which are likely to be preserved since many are not perceived as being worthy of long-term conservation as well as being vulnerable to damp, termites, and to recycling in the form of cigarette or wrapping paper. In this paper I consider the information contained in the different types of written record and how they interrelate. In a companion piece (Zeitlyn mss) I continue to discuss a diary written at my instigation over an eighteen-month period.Anthropologists and historians alike are prone to a writing disease: “If in doubt write it down.” We record things often for the sake of recording (sometimes without having a specific end in mind for any particular record). Valuable serendipity often results, and our colleagues and successors, as well as the descendants of those we have worked with are sometimes the beneficiaries. Academics, and anthropologists among them, often seek out like-minded people to spend time with. This in itself raises some questions about the generalizability of information so received. But leaving that aside, the accounts of anthropologists and their key informants (for example Muchona [Turner 1967], Ogotommêli [Griaule 1965]) are striking, as much for the resemblances between academic and informant as for their putative differences.
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Fibla-Gutiérrez, Enrique. "Cinema of Crisis and the Documentary Impulse: The UPF Masters in Creative Documentary." Hispanic Research Journal 20, no. 1 (January 2, 2019): 26–41. http://dx.doi.org/10.1080/14682737.2019.1584466.

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Watson, Ryan. "Immediations: The Humanitarian Impulse in Documentary by Pooja Rangan." Cinema Journal 57, no. 4 (2018): 170–74. http://dx.doi.org/10.1353/cj.2018.0066.

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Rankin, Tom. "Looking and Telling, Again and Again: The Documentary Impulse." Southern Cultures 22, no. 1 (2016): 3–9. http://dx.doi.org/10.1353/scu.2016.0011.

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López, Almudena Escobar. "Immediations: The Humanitarian Impulse in Documentary by Pooja Rangan." Film Quarterly 71, no. 3 (2018): 107–9. http://dx.doi.org/10.1525/fq.2018.71.3.107.

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Srinivasan, Ragini Tharoor. "Good Intentions." Cambridge Journal of Postcolonial Literary Inquiry 7, no. 2 (April 2020): 203–9. http://dx.doi.org/10.1017/pli.2019.37.

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Dissertations / Theses on the topic "'documentary impulse'"

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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying  a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Baumbach, Nicholas. "Impure Cinema: Political Pedagogies in Film and Theory." Diss., 2009. http://hdl.handle.net/10161/1621.

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Impure Cinema: Political Pedagogies in Film and Theory asks what are the ways that the politics of film theory have been conceptualized since the era now known as "70s film theory." In particular, it analyzes the writings on cinema, politics and art by contemporary French philosophers Alain Badiou and Jacques Rancière in relation to the influential approaches of Louis Althusser and Gilles Deleuze and to theories of documentary cinema. I argue that unlike the political modernism of 70s film theory and the post-theory turn of 90s film studies, Badiou and Rancière offer an approach to film theory that neither assumes that all films are political, nor that politics underdetermine theory, but rather suggests that we analyze both theories and films in terms of how they construct connections between cinema and politics. Following Deleuze, I call these connections "pedagogical" not because they transmit knowledge but because they always involve a new kind of connection or relation that seeks to transform habitual ways of seeing, saying or doing. For Badiou and Rancière this is based on a conception of cinema as "impure." Cinema, they argue, is never free of elements from other arts or daily life, but it is this impurity that is the grounds for linking its artistic and political possibilities. I look at various film forms that highlight cinema's impurity, in particular the "actuality" and how it has been reappropriated in various forms of documentary and essayistic practices as a way of giving cinematic form to questions of political equality.


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Books on the topic "'documentary impulse'"

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Chao, Shi-Yan. Queer Representations in Chinese-language Film and the Cultural Landscape. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033.

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Queer Representations in Chinese-language Film and the Cultural Landscape provides a cultural history of queer representations in Chinese-language film and media, negotiated by locally produced knowledge, local cultural agency, and lived histories. Incorporating a wide range of materials in both English and Chinese, this interdisciplinary project investigates the processes through which Chinese tongzhi/queer imaginaries are articulated, focusing on four main themes: the Chinese familial system, Chinese opera, camp aesthetic, and documentary impulse. Chao’s discursive analysis is rooted in and advances genealogical inquiries: a non-essentialist intervention into the "Chinese" idea of filial piety, a transcultural perspective on the contested genre of film melodrama, a historical investigation of the local articulations of mass camp and gay camp, and a transnational inquiry into the different formats of documentary. This book is a must for anyone exploring the cultural history of Chinese tongzhi/queer through the lens of transcultural media.
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The Documentary Impulse. Phaidon Press, 2016.

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Immediations: The Humanitarian Impulse in Documentary. Duke University Press, 2017.

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The documentary impulse in French literature. Amsterdam: Rodopi, 2001.

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Rangan, Pooja. Immediations: The Humanitarian Impulse in Documentary. Duke University Press, 2017.

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Rangan, Pooja. Immediations: The Humanitarian Impulse in Documentary. Duke University Press, 2017.

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The Documentary Impulse In French Literature. (French Literature). Editions Rodopi B.V., 2001.

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Aguayo, Angela J. Documentary Resistance. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.001.0001.

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The potential of documentary moving images to foster democratic exchange has been percolating within media production culture for the last century, and now, with mobile cameras at our fingertips and broadcasts circulating through unpredictable social networks, the documentary impulse is coming into its own as a political force of social change. The exploding reach and power of audio and video are multiplying documentary modes of communication. Once considered an outsider media practice, documentary is finding mass appeal in the allure of moving images, collecting participatory audiences that create meaningful challenges to the social order. Documentary is adept at collecting frames of human experience, challenging those insights, and turning these stories into public knowledge that is palpable for audiences. Generating pathways of exchange between unlikely interlocutors, collective identification forged with documentary discourse constitutes a mode of political agency that is directing energy toward acting in the world. Reflecting experiences of life unfolding before the camera, documentary representations help order social relationships that deepen our public connections and generate collective roots. As digital culture creates new pathways through which information can flow, the connections generated from social change documentary constitute an emerging public commons. Considering the deep ideological divisions that are fracturing U.S. democracy, it is of critical significance to understand how communities negotiate power and difference by way of an expanding documentary commons. Investment in the force of documentary resistance helps cultivate an understanding of political life from the margins, where documentary production practices are a form of survival.
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James, Alison. The Documentary Imagination in Twentieth-Century French Literature. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859680.001.0001.

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This book studies the documentary impulse that plays a central role in twentieth-century French literature. Focusing on nonfiction narratives, it analyzes the use of documents—pieces of textual or visual evidence incorporated into the literary work to relay and interrogate reality. It traces the emergence of an enduring concern with factual reference in texts that engage with current events or the historical archive. Writers idealize the document as a fragment of raw reality, but also reveal its constructed and mediated nature and integrate it as a voice within a larger composition. This ambivalent documentary imagination, present in works by Gide, Breton, Aragon, Yourcenar, Duras, and Modiano (among others), shapes the relationship of literature to visual media, testimonial discourses, and self-representation. Far from turning away from realism in the twentieth century, French literature often turns to the document as a site of both modernist experiment and engagement with the world.
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Borum Chattoo, Caty. Story Movements. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190943417.001.0001.

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Social-issue documentaries are art for civic imagination and social critique. Today, audiences experience documentaries that interrogate topics like sexual assault in the military (The Invisible War), the opioid crisis (Heroin(e)), racial injustice (13th), government surveillance (Citizenfour), animal captivity (Blackfish), and more. Along a continuum of social change, these intimate nonfiction films have changed national conversations, set media agendas, mobilized communities and policymakers, and provided new portals into social problems and lived experiences—accessed by expanding audiences in a transforming dual marketplace that includes mainstream entertainment outlets and grassroots venues. Against the activism backdrop of the participatory networked culture, the contemporary function of social-issue documentaries in civic practice is embodied also in parallel community engagement—the active role of civil society, communities, and individuals—that has dynamically evolved over recent decades. Story Movements: How Documentaries Empower People and Inspire Social Change explores the functions and public influence of social-issue documentary storytelling in the networked era. At the book’s core is an argument about documentary’s vital role in storytelling culture and civic practice with an impulse toward justice and equity. Intimate documentaries illuminate complex realities and stories that disrupt dominant cultural narratives and contribute new ways for publics to contemplate and engage with social challenges. Written by a documentary producer, scholar, and director of the Center for Media & Social Impact, the book features original interviews with award-winning filmmakers and field leaders to reveal the motivations and influence of some of most lauded, eye-opening stories of the evolving documentary age.
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Book chapters on the topic "'documentary impulse'"

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Picart, Caroline Joan S. "The Documentary Impulse and Reel/Real Horror." In A Companion to the Horror Film, 536–53. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch30.

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Forné, Anna, and Patricia López-Gay. "Autofiction and Film: Archival Practices in Post-millennial Documentary Cinema in Argentina and Spain." In Palgrave Studies in Life Writing, 227–46. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-78440-9_12.

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AbstractThis chapter examines three recent autofictional documentaries produced in Argentina and Spain—Albertina Carri’s Cuatreros (Rustlers), Mercedes Álvarez’s Mercado de futuros (Futures Market), and Víctor Erice’s Vidros partidos (Broken Windows)—which share a distinctive “archival impulse.” These films propose a meaning in a specific political sense which we read in relation to the contexts of the Iberian financial crisis and the memories of political violence during the last dictatorship in Argentina. We address the autofictional strategies through which the filmmakers “re-stage” the archive by adopting an aesthetics of ambiguity that unsettles the modern paradigm of the archive as static evidence of a given reality, revolving instead around a conception of the archive as a self-reflective process that becomes the subject matter in its own right.
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Ehrlich, Linda C. "Earth/The Documentary Impulse: Mō hitotsu no kyōiku—Ina shōgakkō harugumi no kiroku/ Lessons from a Calf—Record of the Spring Class at Ina Elementary School, 1991." In The Films of Kore-eda Hirokazu, 19–27. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33051-4_2.

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Mellor, Leo. "The Documentary Impulse." In A History of 1930s British Literature, 257–70. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781108565592.018.

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Aguayo, Angela J. "Conclusion." In Documentary Resistance, 227–40. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0007.

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This chapter centers on the idea of the documentary commons as a framework for understanding documentary’s engagement with social change. In the developing public commons, the documentary impulse is a way of life and articulation of political information that produces a kind of democratic exchange with new patterns of public communication. With the pervasive use of cameras and live broadcasts, the documentary impulse is realizing its potential to create participatory media cultures. Among the topics in this chapter are the possibilities for future research and contributions to theories of social change, participatory media cultures, collective identification, and agency. This chapter also addresses the political economy of social change documentary, the ideological glass ceiling of mass media, and the role of professional opportunity and education in shaping social change expectations.
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Geiger, Jeffrey. "Novelties, Spectacles and the Documentary Impulse." In American Documentary Film, 17–39. Edinburgh University Press, 2011. http://dx.doi.org/10.3366/edinburgh/9780748621477.003.0002.

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"1 Novelties, Spectacles and the Documentary Impulse." In American Documentary Film, 17–39. Edinburgh University Press, 2011. http://dx.doi.org/10.1515/9780748629466-005.

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"CHAPTER 8. Comedy and the Documentary Impulse." In Laughing Out Loud, 95–100. University of California Press, 2000. http://dx.doi.org/10.1525/9780520923546-010.

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Aguayo, Angela J. "A Critical History of Documentary and Participatory Media Cultures." In Documentary Resistance, 27–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0002.

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Despite the increasing tendency for documentary to function as political discourse, there is little historical work addressing the rhetorical and material influence of documentary in public life. These stories of documentary impulse and political struggle have been only erratically recorded. Documentary scholarship frequently addresses the issues that surround the process of social change, focusing on the screen as the central location for communicative exchange, but there are many other sites of struggle for those working on the ground with documentary and the political process. This chapter will cover the broader questions of documentary and social change, how it functions in relation to generating participatory media cultures. The chapter will specifically address the shifts in the documentary commons and how opportunities for social change emerged as it moved through the introduction of portable analog video recording equipment in the late 1960s and on into a digital culture of new media. This chapter will contribute to articulating the ways in which documentary is a distinct form of discourse that engages the political in patterned ways, creating a mediated commons for the engagement of political struggle.
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Aguayo, Angela J. "Laboring under Documentary." In Documentary Resistance, 103–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190676216.003.0004.

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The impulse to record and document labor struggle is almost as old as the concept of documentary itself. From the Worker’s Film and Photo League to the activist programming of Labor Beat, documentary has had an intimate relationship with the labor struggle. This chapter addresses the history of labor documentary production in the United States as an expression of radical ideology. Challenging the aesthetic form and content of the mainstream media, the labor movement is a loosely connected network of activists and artists across the country, engaged in efforts to produce media outside mainstream institutions. Specifically, this chapter focuses on elements of labor history that made significant contributions but are now largely ignored and undocumented: the efforts of radical women, rank-and-file amateur videographers, and undocumented workers. Existing on the fringes of the mainstream and counterculture, the work of women in alternative media in the early 1970s reflected a direct relationship between their lived experience, the camera, and political engagement, embodying a liberated agency that is magnified by the documentary camera. The chapter creates a portrait of the documentary commons as it expands and works for citizens in their daily lives. They represent a whole population of radical activists carving out a space for themselves to engage labor and social change with their cameras.
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Conference papers on the topic "'documentary impulse'"

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Gómez García, Jorska Pamela. "EL PAPEL DE LA UNIVERSIDAD PÚBLICA EN EL IMPULSO DE LA CIENCIA Y LA TECNOLOGÍA: EL CASO DEL SICES." In VII CONGRESO INVESTIGACIÓN, DESARROLLO E INNOVACIÓN DE LA UNIVERSIDAD INTERNACIONAL DE CIENCIA Y TECNOLOGÍA. Universidad Internacional de Ciencia y Tecnología, 2022. http://dx.doi.org/10.47300/actasidi-unicyt-2022-08.

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La presente investigación documental utiliza la teoría clásica del Estado para indagar sobre la labor desarrollada por la Universidad Nacional Autónoma de Honduras (UNAH), como universidad pública, rectora de la educación superior del país, en el logro del bien común en temas de ciencia y tecnología, a través del impulso del Sistema de Investigación Científica y Tecnológica de la Educación Superior (SICES), el que, como resultado de la naturaleza estatal de la UNAH, logró hacer converger a las universidades del país en una iniciativa común cuyos beneficios están al alcance de todas, proveyendo de recursos económicos, capacitaciones en temas sobre innovación, análisis de datos, propiedad intelectual, entre otros; estímulos bajo la forma premios y difusión a través de la publicación de una revista propia, los cuales fortalecen las capacidades de docentes, estudiantes y gestores académicos para la contribución con el desarrollo de la ciencia sin ninguna distinción, más allá de intereses individuales y con una visión de largo plazo.
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Estrada, Alfredo. "Tecnología como impulsora del desarrollo sostenible: una mirada desde la investigación." In Congreso Internacional de Ingeniería de Sistemas. Universidad de Lima, 2021. http://dx.doi.org/10.26439/ciis2020.5512.

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Tomando como punto de partida el contexto actual y reflexionando sobre la mane ra en que se debe construir la nueva normalidad de la que se hace mención actualmente, el presente artículo pone a consideración los principales hitos en los que debe basarse esta cons trucción, que debe ser de carácter transformador. En ese sentido, se identifica a la tecnología como una de las contribuciones más importantes para el impulso hacia el desarrollo soste nible, se establece preliminarmente la relación “desarrollo tecnológico-desarrollo sostenible”; esto último es producto de una revisión documentaria basada en la agenda 2030, en estudios académicos y científicos sobre tecnología, inteligencia artificial y su relación con los objetivos de desarrollo sostenible. Como resultado, se resalta el rol de la academia como motor de los avances científicos para el desarrollo tecnológico y la sostenibilidad. Finalmente, se presentan insumos potenciales de investigación en campos como tecnologías responsables, desarrollo sostenible basado en la tecnología, entre otros. Lo que se pone en evidencia es la necesidad de investigar la sostenibilidad como un sistema compuesto de tres dimensiones interdependien tes: una dimensión natural, una dimensión humana y una dimensión tecnológica.
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"EN LAS TRINCHERAS. A PROPÓSITO DE UN CASO." In 23° Congreso de la Sociedad Española de Patología Dual (SEPD) 2021. SEPD, 2021. http://dx.doi.org/10.17579/sepd2021p033v.

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1.Descripción de los objetivos Presentación de un caso clínico de un paciente diagnosticado de Trastorno por abuso de sustancias y Trastorno por ideas delirantes persistentes. 2.Material y métodos Revisión bibliográfica del abordaje de la dependencia de sustancias y trastorno delirante comórbidos, mediante la búsqueda de artículos en Pubmed y en UpToDate. 3.Resultados y conclusiones Presentamos el caso de un varón de 44 años, divorciado y actualmente indomiciliado, con historia de abuso de múltiples tóxicos desde la adolescencia. Tras dos años de abstinencia, y a raíz de acontecimientos vitales adversos (suicidio paterno), recae en el consumo de heroína y cocaína. El paciente ha mantenido seguimiento errático en consultas de Patología Dual. Verbaliza ideas delirantes cronificadas de suplantación de identidad, ya que tiene la sensación de que él es Hitler desde cierta ocasión años atrás en la que vio un documental sobre su persona. Refiere tener “recuerdos de los bunkers y trincheras de la guerra” y manifiesta que esta convicción le provoca en ocasiones el deseo de agredir a otras personas a las que identifica como enemigos o inferiores. Asimismo, asegura que el consumo de sustancias le ayuda a frenar dichos impulsos. Existen escasos estudios con un buen tamaño muestral sobre trastorno delirante, por lo que desconocemos la prevalencia real de abuso o dependencia de sustancias en los pacientes que lo presentan, aunque se estima que es baja (en torno al 4’7%). Los últimos estudios sobre trastorno delirante encuentran afectación en varias dimensiones de la PANSS, entre ellas la dimensión cognitiva, que estaba asociada con el abuso de sustancias premórbido. A la luz de este caso, concluimos que es necesaria más investigación que aumente el conocimiento y la evidencia disponible sobre la comorbilidad de dependencia de sustancias con trastorno delirante para un mejor abordaje terapéutico.
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Dahl Termens, Silvia. "Un Laboratorio de expertos en fotografía naval del Museu Marítim de Barcelona." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6743.

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Colecciones fotográficas sobre el mar El Museu Marítim de Barcelona custodia más de 270.000 fotografías[i] especializadas en el mar. La rica variedad temática implica cierta complejidad en el momento de la documentación. El conocimiento del artefacto fotográfico (técnica, procesos), y también la especialización en la temática son imprescindibles para documentar las colecciones. La necesidad de aprender Los trabajos de documentación en la fotografía naval son apasionantes. Requieren unos conocimientos adquiridos con los años, fruto de la observación de miles de fotografías, leyendo de fuentes escritas y orales, y contrastando opiniones con los expertos. Este último aspecto ha sido el que, a inicios del nuevo siglo XXI, provocara la necesidad de invitar a la participación externa, apostando por una manera de trabajar transversal, que contaba con los propios recursos del museo, pero también con la generosa participación de un grupo de colaboradores integrado por especialistas de referencia en el país, y amantes de la fotografía marítima. La lagunas documentales en las propias colecciones fotográficas del museo y al mismo tiempo, el hecho de ofrecer un espacio de conocimiento a un colectivo muy especializado y comprometido, fueron los ingredientes básicos para formar el Laboratorio de expertos en fotografía naval. Un Laboratorio de expertos en fotografía naval Semanalmente el Laboratorio de expertos se reúne en el Museo para documentar, investigar y debatir sobre los temas de estudio. Por otro lado, se programan 4 sesiones anuales (abiertas al público en general) que recogen una selección de imágenes con cierta o mucha complejidad o que dan pie a contrastar información por la singularidad de los sujetos/objetos retratados. Las semanas previas a estas sesiones, se publica la selección de fotos con las preguntas en las redes sociales. El uso de las redes sociales nos permite “ampliar” nuestra aula (web corporativa, Newsletter, blog del archivo fotográfico, diferentes grupos de Facebook) invitando a un público muy interesado en el tema. Todas las anotaciones y referencias bibliográficas/documentales aprobadas por el Laboratorio se anotan en la ficha básica de catalogación del archivo fotográfico, que actualiza y mejora la eficacia. Sin duda, esta actividad ha adquirido tal impulso que está permitiendo que, no sólo se documenten fotografías del museo sino también, se van incorporando imágenes que provienen de colecciones particulares, enriqueciendo sin duda estos espacios de aprendizaje y conocimiento, al tiempo que los investigadores encuentran un lugar de debate y de respuesta a las dudas. El Laboratorio se ha convertido en un eficiente equipo de trabajo. Así pues, viendo el gran potencial del proyecto y las ganas de compartir y aprender, en estos momentos, estamos invitando a participar, por videoconferencia, a expertos/amantes de la foto naval de otras entidades y museos especializados, a fin de que se beneficien y enriquezcan estos espacios de conocimiento. Una aula sobre la fotografía de mar que sigue creciendo La variedad temática de esta fotografía tan especializada es muy amplia. Estamos trabajando temas sobre la fotografía de la marina militar, marina mercante, que es casi infinito (tipologías de barcos, navieras del país, etc), pero quedan temas tan importantes como la marina de vela, la pesca, los puertos, deportes náuticos, los trabajos en el mar, por citar algunos. Por ello, e igualmente importante, siendo conscientes de la necesidad de relevo generacional de los expertos, a corto/medio plazo, el Laboratorio invita a expertos y aficionados a la fotografía a colaborar y formarse en estas aulas de conocimiento[ii]. Confiamos que este Laboratorio sea útil por mucho más tiempo para los colectivos del sector marítimo y, en definitiva para la sociedad, pues en definitiva, aunque es una plataforma de intercambio de conocimiento sobre una fotografía muy especializada, está al servicio de toda la comunidad. [i] Dahl Termens, Silvia. Històries de mar. Les col·leccions fotogràfiques del Museu Marítim de Barcelona. Barcelona : Museu Marítim de Barcelona, 2012 [ii] Contactar con la coordinadora del proyecto: Silvia Dahl (dahlts@mmb.cat)
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