Academic literature on the topic 'Documentary Producer'
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Journal articles on the topic "Documentary Producer"
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Gaetano, Arianne. "Migration and Modernization in China." Transfers 4, no. 3 (December 1, 2014): 126–30. http://dx.doi.org/10.3167/trans.2014.040312.
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Last Train Home (guitu lieche 归途列车) 2009. Produced by Mila Aung-Th win and Daniel Cross (executive producers) with Bob Moore (co-producer) and Zhao Qi (executive producer). Directed by Lixin Fan. Documentary. Cast: Changhua Zhan, Suqin Chen, Qin Zhang, Yang Zhang, Tingsui Tang (as themselves).
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Alink-Brunsdon, Sheila. "A Documentary Producer: Day in the life of…" Biochemist 33, no. 2 (April 1, 2011): 63. http://dx.doi.org/10.1042/bio03302063.
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Williams, Rua M. "Review of David James Savarese (Producer) & Robert Rooy (Director, Producer), Deej (2017)." Canadian Journal of Disability Studies 8, no. 3 (May 24, 2019): 165–68. http://dx.doi.org/10.15353/cjds.v8i3.513.
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‘Deej’ is a documentary film which throws popular assumptions about non-speaking autistics’ capacities into sharp relief-- exposing viewers to their biases and preconceptions-- challenging audiences to reframe what they think they know about people which society has labeled 'unincludeable'.
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Jackson, Anna, G. "Launching Loading Docs: A reflection on the first year of a documentary innovation experiment from a producer/researcher perspective." Pacific Journalism Review 21, no. 2 (October 31, 2015): 99. http://dx.doi.org/10.24135/pjr.v21i2.121.
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Loading Docs is a New Zealand documentary initiative that supports the development, production and distribution of three-minute documentary films. Loading Docs is also a development and innovation initiative, building the capabilities of local filmmakers to fund, promote and distribute their work and increase their presence online. More broadly, Loading Docs aims to create a supportive community of filmmakers, increase opportunities for feature documentary development, and cultivate audience awareness of and appetite for New Zealand documentaries. This paper presents an account of the development of Loading Docs from the author’s perspective as co-founder, co-executive producer and practice-led researcher. Reflecting on the experience of acting as both researcher and producer in the capacity of an experimental initiative, this article argues that research/practice partnerships create beneficial opportunities for knowledge-transfer and innovation.
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Story, Brett, Michelle Brown, and Eamonn Carrabine. "The Prison in Twelve Landscapes: An interview with film producer and director Brett Story." Crime, Media, Culture: An International Journal 13, no. 1 (September 26, 2016): 107–13. http://dx.doi.org/10.1177/1741659016669192.
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Bernstein, R. B. "The scientist-statesman Benjamin Franklin Ken Burns, executive producer Florentine Films, 2022. 240 minutes." Science 376, no. 6588 (April 2022): 40. http://dx.doi.org/10.1126/science.abo2776.
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Nault, Curran. "Documenting the Dead." TSQ: Transgender Studies Quarterly 8, no. 1 (February 1, 2021): 24–57. http://dx.doi.org/10.1215/23289252-8749568.
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AbstractCall Her Ganda (dir. PJ Raval, 2018) chronicles the murder of transpinay Jennifer Laude by a US marine, and the subsequent court case. This essay draws from theories of necropolitics and hauntology, as well as the author's experience as a documentary producer of Call Her Ganda to raise critical questions about the representation of trans death, and to reflect on the possibilities and limitations of documentary as a trans activist tool. In doing so, the author lays out a looping logic as a parallel proposition to the vortical violences of colonization and transmisogny. This loop begins with the film's apparitional aesthetics, which rouse contemplation of the trans activisms that survive in the wake of trans death, and it continues with the film's activating address and impact campaign. I posit that such efforts can feed back into the communities from which a documentary has been extricated, working through/against the othering and exploitation endemic to documentary practice.
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Hidayat, Nisa Imawati. "MALE GENDER ROLE MESSAGES PADA TOKOH “HERO” DALAM EPISODE “CAHAYA HATI” DI PROGRAM “ZERO TO HERO” METRO TV." INFORMASI 45, no. 1 (June 1, 2015): 33. http://dx.doi.org/10.21831/informasi.v45i1.7768.
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AbstractThe research purpose is to determine how the television documentary producer “Zero to Hero” program on Metro TV classify male gender role messages in the cast of “hero” in that program. Researcher used social semiotics method Theo van Leeuwen with multimodal analysis procedure and 24 of male gender role theories from Ian M. Harris, that have been categorized into 5 classification: standard bearers, lovers, workers, bosses and rugged individuals. The result of this study revealed that the television documentary producer “Zero to Hero” program, construct the male gender role messages in the cast of “hero” to the category of male gender role messages consist with standard bearers, lovers, bosses and workers, who shows a positive image and dominant as a man who lived in patriarchal culture in Indonesia.AbstrakTujuanpenelitianiniuntukmengetahui bagaimana produsen program dokumenter televisi “Zero to Hero” di Metro TV mengklasifikasikan male gender role messages pada tokoh “hero” di dalam program tersebut. Peneliti menggunakan metode semiotika sosial Theo van Leeuwen dengan prosedur analisis multimodality dan teori 24 male gender role messages Ian M. Harris yang dikategorikan dalam 5 klasifikasi yaitu standar bearers, lovers, workers, bossesdan rugged individuals. Hasil penelitian ini mengungkapkan bahwa produsen program menampilkan tokoh “hero” dengan kategori male gender rolemessages berupastandar bearers, lovers, bosses dan workers yang menunjukkan citra positif dan dominan sebagaimana layaknya pria berperilaku dalam budaya patriaki di Indonesia.Keywords: Male Gender Role Messages, Hero, Documentary
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Gott, Michael. "“Everything Happens Fast”." Transfers 5, no. 1 (March 1, 2015): 131–34. http://dx.doi.org/10.3167/trans.2015.050113.
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Il sorpasso, Italy, 1962; Mario Cecchi Gori (producer); Dino Risi (director), Dino Risi, Ettore Scola, and Ruggero Maccari (screenplay); starring Vittorio Gassman and Jean-Louis Trintignant. 2014 DVD release by the Criterion Collection includes new English subtitle translation, interviews, essays, excerpts of a documentary, and an introduction by filmmaker Alexander Payne.
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Downing, Taylor. "A Personal View." Journal of British Cinema and Television 10, no. 1 (January 2013): 93–105. http://dx.doi.org/10.3366/jbctv.2013.0123.
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The following article is a personal reminiscence of the planning and making of the 24-part television documentary series Cold War (CNN, 1998–9). It reveals the vision of TV mogul Ted Turner in getting a series made on what many felt to be an unpopular subject, the influence of the award-winning British television documentary series The World at War (1973–4), and the contribution of the producer Jeremy Issacs, who was behind both series. Cold War was able to take advantage of recent access to former Eastern bloc archives and drew on the expertise and authority of young Cold War historians. The article considers the initial broadcasting of the series and its impact.
Dissertations / Theses on the topic "Documentary Producer"
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Nye, Bobbi Jean. "What procedures must an independent producer complete when producing a pilot to market a video documentary?" Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1997. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S.)--Kutztown University of Pennsylvania, 1997.Source: Masters Abstracts International, Volume: 45-06, page: 2717. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 76-80).
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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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Roos, Cecilia. "Producing Transmedia Stories - A Study of Producers, Interactivity and Prosumption." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22949.
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This master thesis aims to identify the production processes within the contemporary creative industries, and in particular one field of culture and media production called transmedia. This thesis focuses on one particular aspect of transmedia – interactivity and participation. The questions that are investigated are: How does transmedia producers use interactivity? Does transmedia and interactivity change the production conditions for producers, and if so, how and why? The aim of this thesis is to get an understanding of the working conditions within the context of transmedia for producers and in extension for the consumers. Through this, the intention is also to create a better understanding of the role of transmedia within the contemporary creative industries.The methods used to examine this are based on qualitative research interviews with six transmedia producers and participatory observations of the documentary film project Ghost Rockets. By using a theoretical framework based on interactivity, participation, Marxist theories and Critical Theory this thesis comes to the conclusion that transmedia producers strive for interactivity but that full interactivity rarely is achieved. The use ofinteractivity and transmedia also leads to changing working conditions for both producers and consumers. These changes include a blurring of the roles of producers and consumers and that both producers and consumers are working for free.
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Guazzetti, Fabio. "Produrre il reale - analisi della produzione e distribuzione del cinema documentario italiano contemporaneo (2000 - 2019)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022. http://amslaurea.unibo.it/25139/.
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Nell’ultimo ventennio, il genere documentaristico ha conosciuto una rinnovata popolarità in Italia, con un considerevole aumento dei volumi produttivi e numerosi autori in grado di ottenere importanti riconoscimenti a livello tanto nazionale quanto internazionale; nonostante ciò, sono tutt’ora ben pochi gli studi dedicati agli aspetti più economici ed industriali alla base di tale “rinascita del documentario”. Scopo di questa tesi è dunque quello di analizzare la contemporanea produzione e distribuzione di documentari in Italia, al fine di individuarne le caratteristiche fondamentali e delinearne le principali dinamiche evolutive. Un’analisi che non può prescindere dal prendere in considerazione il più ampio contesto audiovisivo in cui opera la cinematografia italiana: proprio per questo nel primo capitolo è proposta un’analisi del contemporaneo mercato audiovisivo europeo (con particolare riguardo alle misure di sostegno economico sovranazionali previste dalle principali istituzioni europee), per poi procedere nel secondo capitolo ad analizzare il più delimitato contesto italiano in una prospettiva storico-economica, al fine di individuare appunto le caratteristiche della contemporanea produzione documentaristica italiana; il terzo e ultimo capitolo è invece dedicato all’analisi della produzione e distribuzione di tre documentari del regista Gianfranco Rosi, che appaiono esemplificativi dello stato di salute del documentario italiano contemporaneo e permettono di verificare in maniera operativa quanto analizzato nelle due sezioni precedenti della tesi.
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Davies, Llewellyn Willis. "‘LOOK’ AND LOOK BACK: Using an auto/biographical lens to study the Australian documentary film industry, 1970 - 2010." Phd thesis, Canberra, ACT : The Australian National University, 2018. http://hdl.handle.net/1885/154339.
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While much has been written on the Australian film and television
industry, little has been presented by actual producers,
filmmakers and technicians of their time and experiences within
that same industry. Similarly, with historical documentaries, it
has been academics rather than filmmakers who have led the
debate. This thesis addresses this shortcoming and bridges the
gap between practitioner experience and intellectual discussion,
synthesising the debate and providing an important contribution
from a filmmaker-academic, in its own way unique and insightful.
The thesis is presented in two voices. First, my voice, the
voice of memoir and recollected experience of my screen
adventures over 38 years within the Australian industry, mainly
producing historical documentaries for the ABC and the SBS. This
is represented in italics. The second half and the alternate
chapters provide the industry framework in which I worked with
particular emphasis on documentaries and how this evolved and
developed over a 40-year period, from 1970 to 2010.
Within these two voices are three layers against which this
history is reviewed and presented. Forming the base of the
pyramid is the broad Australian film industry made up of feature
films, documentary, television drama, animation and other types
and styles of production. Above this is the genre documentary
within this broad industry, and making up the small top tip of
the pyramid, the sub-genre of historical documentary. These form
the vertical structure within which industry issues are
discussed. Threading through it are the duel determinants of
production: ‘the market’ and ‘funding’.
Underpinning the industry is the involvement of government, both
state and federal, forming the three dimensional matrix for the
thesis. For over 100 years the Australian film industry has
depended on government support through subsidy, funding
mechanisms, development assistance, broadcast policy and
legislative provisions.
This thesis aims to weave together these industry layers, binding
them with the determinants of the market and funding, and
immersing them beneath layers of government legislation and
policy to present a new view of the Australian film industry.
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López, Carreño Rosana. "Análisis de los portales periodísticos españoles. Taxonomía de sus elementos componentes." Doctoral thesis, Universidad de Murcia, 2003. http://hdl.handle.net/10803/10905.
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El impacto de Internet y la tecnología que la desarrolla está siendo un elemento de cambio en los procesos tradicionales en los que se desenvuelven los Medios de Comunicación Social, generando nuevos modelos comunicativos entre los que destacan los portales periodísticos como figuras emergentes. La situación actual es fruto de un proceso evolutivo desarrollado a lo largo de los últimos años, aunque la popularidad que posee la red Internet en la Sociedad de la Información ha propiciado una verdadera explosión en este ámbito. Resulta conveniente, no obstante, realizar una revisión exhaustiva de la evolución histórica del periodismo electrónico hasta llegar a los actuales niveles, donde los portales periodísticos se están consolidando como nuevos medios de comunicación social. Una percepción adecuada del estado de la cuestión, precisa de un análisis taxonómico de los componentes de estos portales: productos informativos, productos documentales y servicios de valor añadido. Esta observación permitirá definir el grado de desarrollo en el que se encuentran los portales periodísticos, señalando tanto los aspectos más positivos alcanzados como la serie de carencias identificadas, junto a las posibles tendencias de evolución que giran alrededor de la calidad del contenido. Fruto de la revisión se propone un modelo de referencia para el diseño de los portales periodísticos, con base en una serie de niveles de desarrollo que permitirán el establecimiento de un principio metodológico para futuros proyectos sobre esta cuestión, abordados tanto desde una perspectiva periodística como documental.The impact of the Internet in the communicational dimension has made the structures of the traditional mass media to stagger, having generated new communicative models among which the journalistic portals outstand as the most relevant examples. The present situation is the result of an evolutionary process spanning throughout the last decade, although the growing popularity of the Internet in the Information Society has recently caused a true outbreak. It is advisable, however, to carry out an exhaustive revision of the whole evolution of Digital Journalism up to today's standards, with the journalistic portals turning into the new and independent mass media. A sensible perception of the this fact calls for a taxonomic analysis of the components of the portals: informative products, documentary products and added value services. This analysis will enable us to define the degree of development of the Journalistic Portals, bringing up both the most positive aspects as well as all the detected deficiencies, along with the most likely tendencies of evolution involving the quality of their contents. The final result of this revision should provide a model of reference for the designing and developing of Journalistic Portals, based upon a series of development levels that will grant a methodology background for future projects in this field, with both a journalistic focus and a documentary one.
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RAVAGLIA, PIETER. "Valorizzare le caratteristiche di sostenibilità dei prodotti agroalimentari italiani attraverso un approccio multidisciplinare che integra l'analisi Life Cycle Assessment con ulterriori informazioni che documentano gli impatti sociali, culturali ed economici delle attività produttive sul paesaggio e sulle comunità locali." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/53794.
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La normativa comunitaria ha favorito lo sviluppo di sistemi di qualità certificati. Oggi la CE sta guidando il sistema qualità verso un nuovo orizzonte: la valutazione delle prestazioni di sostenibilità di prodotti e organizzazioni, e lo sta facendo attraverso la metodologia dell'Impronta Ambientale (EF).
A livello nazionale dal 2009 il Ministero dell'Ambiente sta promuovendo un intenso programma di valutazione delle prestazioni ambientali dei prodotti e di riduzione delle emissioni di gas serra delle imprese italiane. Una delle iniziative di maggior successo è il progetto VIVA "La Sostenibilità della vitivinicoltura in Italia".
Con la pubblicazione del decreto Ministeriale n. 56 del marzo 2018 che approva lo schema volontario Made Green in Italy per l'applicazione della metodologia PEF in Italia, e con la pubblicazione del PEFCR per “Still and sparkling wine”. È chiaro che sia a livello nazionale che europeo la direzione intrapresa va verso la metodologia EF dalla Commissione Europea.
Supponendo che il protocollo VIVA possa essere influenzato anche dall'evoluzione del metodo EF; sono state valutate le possibili implicazioni legate ad una futura transizione da VIVA alla PEF, effettuando anche uno studio PEF su 27 prodotti certificati VIVA con un confronto di prestazioni tra i prodotti VIVA e i benchmark europei.EU regulations have favoured the development of certified quality schemes. Today the EC is driving the quality sector towards a new horizon; the evaluation of sustainability performance of product and organizations, and is doing it through the Environmental Footprint Methodology. At national level since 2009 the Italian Ministry for the Environment Land and Sea is promoting an intense programme for the evaluation of products’ environmental performances and for the reduction of Italian companies’ greenhouse gas emissions. One of the most successful initiative is the VIVA “Sustainability and Culture” project addressed to the wine sector. With the release of the IMELS decree n. 56 of march 2018 approving the Made Green in Italy Voluntary Scheme for PEF methodology application in Italy, and with the publication of the PEFCR for still and sparkling wine. Is clear that the direction taken at national and European level goes toward the EF methodology developed by the European Commission Assuming that the VIVA protocol may also be affected by EF evolution; possible implications linked to a future transition from VIVA to PEF were evaluated, also carrying out a PEF assessment of 27 VIVA certified products with a performance confrontation between the VIVA products and the European benchmarks.
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Ruisánchez, Acebal Virginia. "Alfonso Acebal Monfort: una historia desconocida en el cine español (1944-1957)." Doctoral thesis, Universitat de Barcelona, 2014. http://hdl.handle.net/10803/133518.
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Estudio historiográfico de Alfonso Acebal, un profesional desconocido en la Historia del Cine Español. La tesis comienza con el proceso formativo de Acebal en los Estudios Cinematográficos Ballesteros (1944, Madrid), continúa con su paso a la dirección de cortometrajes documentales y dirección adjunta en largometrajes de ficción en los años 40, y por la producción y dirección adjunta de largometrajes de ficción extranjeros en los años 50. El estudio también desarrolla un apartado sobre la producción crítica de Acebal y otro sobre sus proyectos frustrados.Historiographic study of Alfonso Acebal, a professional unknown in the History of the Spanish Cinema. The thesis starts with the formative process of Ballesteros Film Studios (1944, Madrid), continues with his career to the direction of documentary shorts and assistat direction in fiction films in the forties, and for the production and assistat direction of foreign fiction films in the fifties. The study also develops a section about the writings of Acebal and another about his frustrated projects.
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Chen, Tse-lin, and 陳則霖. "The report of a documentary program production-with the case of Sanli Television produced "All Taiwan Record"." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/96722181004425958299.
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碩士世新大學
廣播電視電影學研究所(含碩專班)
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My enthusiasm for nature explore since I was young makes me feel truly honored to have the opportunity involved in the making of “All Taiwan Record”. Indeed, I feel so great to combine the interest and work; even it was really a hard process during the program making. When the seniors look to the high mountain towering to the sky at the TV, now I have to take over the planning job with my first aspiration, trying to put all my effort and I perhaps can continue the great traditions. Upon my graduation, through this thesis, the results of my report will show the introspection from the making of program and the learning of two years study. I was able to join the designing and planning process of “All Taiwan Record” during my work. To me, to achieve the following success for this program and to add on the market operation systems should be consider from the origin thinking. Audience appeals to the original touching and the news broadcasting material which is fit to the season, and with the sense of reality, record the true ecology and packing our product with post production, finally become a program accepted by the public. For the purpose to provide further research references, I’ve included the discussion of team management, time management and financial constrain etc. To make the audience undergo our experiences, management become an important knowledge, all the material was coordinate and re-arrange in the film library to make sure the re-use of resources. Furthermore, “All Taiwan Record” is under the profit consideration. To a commercial TV station, the return of investment and product marketing are big issues. In fact, audience accepts a sincere concept, in the broadcasting process, touch their heart; the media have to be easy access, and the methods of marketing are the critical factor to influence the program quality. My observation via making “All Taiwan Record” are simplify the manpower to control the quality and process (producer could be the director, VJ, script writer and editor); gather the information, pick the topics and work out a proposal are able to control the making details in the pre-production stage. After location search, prepare the checking list to manage the working environment, decide the shooting timetable and task process, and keep the flexibility to avoid any accidents. Nevertheless, draft the production budget, arrange the sponsorship and broadcast channel, select the script writer to write the program outline and storyboard, organize the main manpower such as director, photographer, cameraman, actors, VJ etc. Besides, insurance for the above manpower is a need as a protection for any accident cause by external factors. This report noted the characteristic of “All Taiwan Record”, covered four facets: innovation, production, management and marketing, which included the concept stage, pre-production stage, shooting stage, post-production stage and marketing stage, in the end presented the integration of the production management, related information and the process.
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Cloutier-Proulx, Marjolaine. "Prioriser l’apprentissage dans la gestion des établissements scolaires : une étude documentaire descriptive des dimensions du leadership centré sur l’apprentissage dans le fonctionnement et les activités d’écoles québécoises de milieux défavorisés." Thèse, 2019. http://hdl.handle.net/1866/22836.
Full textBooks on the topic "Documentary Producer"
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Stubbs, Liz. Documentary filmmakers speak. New York, N.Y: Allworth Press, 2002.
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Documentary filmmakers speak. New York: Allworth Press, 2002.
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John Grierson: Trailblazer of documentary films. Montréal: XYZ Pub., 2005.
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El-Telmissany, Abdel Kader. Egyptian documentary films in 75 years. [Cairo]: Ministry of Culture, Egypt, Foreign Cultural Relations, 2000.
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Documentary in the digital age. Oxford: Focal Press, 2006.
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Baker, Maxine. Documentary in the Digital Age. San Diego: Elsevier Science & Technology, 2010.
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1974-, Xiao Yaozhong, ed. Yi ge ren de dian shi shi: TV producer's growth--the story of Chen Hong. Beijing Shi: Zhongguo fa zhan chu ban she, 2012.
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Maya Angelou: Author and documentary filmmaker. Chicago, Ill: Ferguson Pub., 2000.
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The documentary film makers handbook. New York, NY: Continuum International Publishing Group Inc., 2007.
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Cunningham, Megan. The art of the documentary: Ten conversations with leading directors, cinematographers, editors, and producers. Berkeley, CA: New Riders, 2005.
Find full textBook chapters on the topic "Documentary Producer"
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Boulton, Mike, Hong Chai Wong, Peter Clark, and John Marshall. "A Mitogenic Factor or Factors Produced by Cultured Human Retinal Pigment Epithelial Cells." In Documenta Ophthalmologica Proceedings Series, 529–34. Dordrecht: Springer Netherlands, 1987. http://dx.doi.org/10.1007/978-94-009-3337-8_79.
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Trencsényi, Klára, and Vlad Naumescu. "Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking." In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.
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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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Pilný, Ondřej. "The Brothers Čapek at the Gate: R.U.R. and The Insect Play." In Cultural Convergence, 141–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-57562-5_6.
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Abstract The chapter examines two important but hitherto largely neglected productions of famous European dramas at Dublin’s Gate Theatre, R.U.R. (1929, revived 1931) and The Insect Play (1943) by the brothers Čapek, which it attempts to reconstruct insofar as the available documentary evidence allows. In the process, it discusses the complicated textual history of the English versions produced by the Gate and compares their staging by Hilton Edwards and Micheál mac Liammóir with the celebrated original productions in Czechoslovakia. Finally, the reception of the respective productions is juxtaposed, with points of convergence being teased out and the differences brought about by the respective theatrical and political contexts being elucidated.
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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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Kohle, Friedrich H. "The Social Media “Information Explosion” Spectacle." In Digital Multimedia, 307–21. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-3822-6.ch015.
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The semantic web, social media and the amount of user-generated content continues to grow at a staggering rate. Social Media significantly contributed to the information flow during the Arab Spring, the Occupy and Wall Street movement continue to maintain a global online presence using social media technology. But is the social media information explosion really a unique event in media history? How did story telling evolve into social media? In order to place social media in its historical context and anticipate digital native expectations, we explore the origins of narrative and storytelling from the perspective of a documentary producer. How did past media technologies prepare the way for social media? How do digital natives perceive the world via social media and what do they expect from today's documentary producer? What are the viewing habits of digital natives? What do previous ‘information explosions' have in common with social and digital media? These are essential questions for media and documentary producers navigating their way through the vast maze of social media technology and the semantic web, in addition to traditional media.
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Kohle, Friedrich H. "The Social Media “Information Explosion” Spectacle." In Social Media and the Transformation of Interaction in Society, 173–87. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8556-7.ch009.
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The semantic web, social media and the amount of user-generated content continues to grow at a staggering rate. Social Media significantly contributed to the information flow during the Arab Spring, the Occupy and Wall Street movement continue to maintain a global online presence using social media technology. But is the social media information explosion really a unique event in media history? How did story telling evolve into social media? In order to place social media in its historical context and anticipate digital native expectations, we explore the origins of narrative and storytelling from the perspective of a documentary producer. How did past media technologies prepare the way for social media? How do digital natives perceive the world via social media and what do they expect from today's documentary producer? What are the viewing habits of digital natives? What do previous ‘information explosions' have in common with social and digital media? These are essential questions for media and documentary producers navigating their way through the vast maze of social media technology and the semantic web, in addition to traditional media.
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Hori, Hikari. "The Politics of Japanese Documentary Film." In Promiscuous Media. Cornell University Press, 2018. http://dx.doi.org/10.7591/cornell/9781501714542.003.0004.
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Chapter Three shows how documentary film was a rich and chaotic site for nationalist, imperialist, and anti-imperialist experimentation. Introducing the female documentarian Atsugi Taka (1907-98) as a guide, the chapter demonstrates the development of the genre and show how practitioners worked within and around official ideologies and the restrictive media-scape. Atsugi is well-known for her translation of the theoretical treatise Documentary Film (1935) by British producer and theorist Paul Rotha. The book attracted an unexpectedly wide audience in Japan during WWII when documentary as genre flourished. Atsugi’s own films also present a tangled, complicated site of production where she navigated the gender politics of filmmaking and everyday life, state suppression of socialist and proletarian movements, and the problems of adapting socialist British theory to actual filmmaking in totalitarian Japan. (129 words)
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Kishore, Shweta. "Circulation and Exhibition." In Indian Documentary Film and Filmmakers, 105–32. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433068.003.0005.
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Taking into account the tactical and innovative ways in which filmmakers resist assigned peripheral modes and spaces of cultural circulation, I demonstrate the operation of an idea critical to independence, that of resistance to the commercially reified roles of consumer–producer assigned to the artist–audience relationship. Circulation I contend, is re-framed as a forum for dialogue that creates “involved” publics rather than limited to frameworks of cultural dissemination marked by logics of quantity, profit and markets. I argue that the construction of participant-publics and the re-evaluation of cultural ownership or ‘copyright’, repurpose both technological and historical norms, giving shape to Geert Lovink’s (1997) proposition of tactical media through which filmmakers create alternative systems of exhibition containing the vital potential to disrupt a highly regulated public domain.
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Borum Chattoo, Caty. "Revealing New Reality." In Story Movements, 1–25. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190943417.003.0001.
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The introduction chapter presents the lens of the book, providing the author’s unique vantage point as documentary producer, strategist, and scholar. It opens with a first-person narrative reflection from 2005, launching the book from her experience co-producing the advocacy documentary film, Wal-Mart: The High Cost of Low Price, with Brave New Films, which premiered alongside a national grassroots mobilization campaign. This chapter provides foundational definitions of documentary and an original articulation of shared characteristics of social-issue documentary storytelling in the networked era: editorial independence, commitment to truth, civic motivation, and entertainment value. This introductory chapter locates documentary within the contemporary networked media era, the backdrop of community-based activism and public engagement that happens in concert with many nonfiction stories. It culminates with a roadmap overview of the book, chapter by chapter.
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McLane, Betsy A. "Barbara Kopple: Acolyte to Leading Light." In ReFocus: The Films of Barbara Kopple, 207–24. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439947.003.0013.
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Barbara Kopple survived and thrived for five decades as a producer and director in the ever-insecure world of documentary filmmaking. This chapter explores how the arc of her career fits into a greater history of documentary production, and how her business and promotional methods became and continue to function as role models. The chapter considers Kopple’s career in relation to other female documentarians (e.g. Frances Flaherty, Esther Shub, Helen Van Dongen, and others), as well as considers the ‘family feeling’ organizational model used by Kopple and other American documentary filmmakers, particularly those based in New York. The chapter also examines Kopple’s legacy in terms of the many filmmakers who she has mentored, collaborated with, and inspired in their own documentary practices.
Conference papers on the topic "Documentary Producer"
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Coney, Shun, and Yasunobu Ito. "The production process of films from a relational perspective: A case study of independent films about Parkinson's disease in Japan." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002555.
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The purpose of this paper is to clarify how creativity is produced in filmmaking from a relational perspective. Creativity here refers to the fact that films that contain original ideas and evoke sympathy in the audience are not produced solely through the internal mechanisms of individuals, but rather as a result of the collective actions and activities of various people.In recent years, movies have moved beyond the confines of theaters, and infrastructures such as Amazon Prime and Netflix are rapidly expanding. Against this backdrop, independent Japanese films have been receiving high acclaim overseas. The so-called independent films are not films that come out with huge budgets and a fixed release destination like the major film systems, but films that are planned and produced by the filmmakers themselves without any financial resources. Independent films can have an impact on people despite the risk of completion and release, but their reputation is focused on the director and producer. For this reason, the relationship between actors other than the director and producer in filmmaking is not fully clarified.Filmmaking is a multi-layered and contingent creativity that is created through the long-term interaction of not only the director, producer, and cast, but also various other actors such as equipment, script, and location. While independent films allow for a greater degree of freedom in planning, they are also subject to complexities and volatility, such as difficulties in obtaining financing and differences in the image of the film among the staff, which can prevent the project from proceeding as planned at the outset.The subject of the study is Parkinson's disease (PD) patients and movies about it. PD is an intractable disease for which there is currently no curative treatment, and which causes progressive symptoms such as tremors in the limbs and stiffness in the muscles that interfere with daily life. In order to control the progression of the disease, it is said that regular exercise therapy and rehabilitation are essential, along with daily medication. The film will be produced with the cooperation of the PD Patients Association, which has 8,000 members, and will consist of two parts: a drama about the life of the main character who was diagnosed with PD in his 40s, and a documentary about several PD patients in their 30s to 60s. The research was conducted by one of the authors (a filmmaker) using ethnography: from December 2020 to November 2021, he conducted participant observation of the relationships between the actors involved in the project and the living conditions of the PD parties, and interviewed them. Based on these observations, we conducted a series of interviews. The PD parties who would become the informants and the filmmakers had numerous dialogues. As a result, their social and living environments were unraveled.
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Qi, Zhang, and Ang Lay Hoon. "Subtitle Translation Strategies of Dish Name in the Chinese Documentary-A Bite of China 1." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.16-2.
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With the implementation of “go globally” strategy of Chinese culture, a large number of Chinese films and TV programs have been produced to go abroad. As a medium and carrier of cultural communication, the quality of documentary subtitle translation determines whether Chinese culture can be appropriately disseminated or not. This paper aims to investigate the translation strategies of culture-specific items with special focus on name of dishes. The object of study in this paper is A Bite of China 1 produced by CCTV in 2012, which is not only about Chinese foods but also geography, local customs and dietary habit. Firstly, by using comparative approach, the linguistic characteristics are discussed to identify the similarities and differences between source and translated dish names. Then the translation strategies for dish name are examined. Next, such factors affecting translation strategies as cultural ideology is analyzed. The objective of this paper is to study what translation strategies are possibly adopted when translating Chinese dish name into English in the documentary. The findings show that in the process of dish name translation of Chinese documentaries, domestication and foreignization are two frequently used strategies which is complementary to each other.
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Conway, A. P., M. D. Giess, A. Lynn, L. Ding, Y. M. Goh, C. A. McMahon, and W. J. Ion. "Holistic Engineering Design: A Combined Synchronous and Asynchronous Approach." In ASME 2008 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/detc2008-49340.
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To aid the creation and through-life support of large, complex engineering products, organizations are placing a greater emphasis on constructing complete and accurate records of design activities. Current documentary approaches are not sufficient to capture activities and decisions in their entirety and can lead to organizations revisiting and in some cases reworking design decisions in order to understand previous design episodes. Design activities are undertaken in a variety of modes; many of which are dichotomous, and thus each require separate documentary mechanisms to capture information in an efficient manner. It is possible to identify the modes of learning and transaction to describe whether an activity is aimed at increasing a level of understanding or whether it involves manipulating information to achieve a tangible task. The dichotomy of interest in this paper is that of synchronous and asynchronous working, where engineers may work alternately as part of a group or as individuals and where different forms of record are necessary to adequately capture the processes and rationale employed in each mode. This paper introduces complimentary approaches to achieving richer representations of design activities performed synchronously and asynchronously, and through the undertaking of a design based case study, highlights the benefit of each approach. The resulting records serve to provide a more complete depiction of activities undertaken, and provide positive direction for future co-development of the approaches.
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Amirjani, Rahmatollah. "Labour Housing and the Normalisation of Modernity in 1970s Iran." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4020p1tmw.
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In the 1970s, rapid modernisation fuelled population displacement and increased the number of workers in the large cities of Iran, in particular Tehran. In response, the Imperial Government initiated several housing programs focusing on the provision of megastructures on a large scale. Consequently, a new opposition formed among some sectors of society, regarding the dissemination of gigantic buildings in the International or Brutalist styles. Critics and clerics argued that the radical government interventions not only polarised the image of Islamic identity in cities, but also affected the behaviour of people towards, and their opinions concerning, the Islamic lifestyle. Additionally, some claimed the state aimed to normalise its project of modernity and rapid westernisation for the mid- and lower classes using housing. In this regard, this article investigates the 1970s imperial government social housing programs to verify these claims. Using an extensive literature review, documentary research, observation, and descriptive data analysis, this article argues that, despite the government politics and modernisation tendencies in the 1970s, consumerism, political competition, the state of Cold War, and the emergence of new construction techniques, all resulted in the emergence of mass-produced megastructures offering a new luxurious lifestyle to residents. While the life and hygiene of the different classes were improved, these instant products inevitably facilitated the normalisation of Western lifestyle among the mid- and low-income groups of the society. Eventually, this visible social transition was utilised by opposition leaders as another excuse to topple the Pahlavi regime under the 1979 Islamic Revolution.
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MARTINEZ GARCIA, MIGUEL ANGEL. "Una cuestión de amor. Bios, biopolítica, bioseguridad." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10261.
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A partir de una experiencia personal (la muerte de un ser querido relacionada con el sida) y de un corpus de producciones artísticas que abordan la experiencia de vivir con VIH (de "vivir con virus", como marca un texto de Marta Dillon), en mi exposición plantearé una pregunta básica: ¿cómo pensamos hoy la vida? ¿Cuál es nuestra relación con lo vivo, con la bios? Esta exposición tendrá la forma de una galería de imágenes, una especie de álbum familiar extendido. El comentario de dichas imágenes (que incluyen los fotogramas de un documental, el registro de distintas piezas artísiticas, algunas fotografías de mi propio álbum familiar o los retratos de Michel Foucault, Luc Montagnier o Donna Haraway) articula y produce el discurso con el que me aproximaré a las respuestas que puede suscitar la pregunta de inicio: ¿cómo entendemos la vida hoy? ¿Qué efectos producen nuestras concepciones de lo vivo? ¿Qué formas de vida resultan o se ajustan a ellas? Más allá de la inercia que nos lleva a considerar al otro como a un extraño, un peligro, un objeto de consumo o un competidor, en mi presentación apuesto por nuestra capacidad para elegir una relación de riesgo, de confianza y de amor hacia las otras. Para ello, en cualquier caso, tendremos que pensar en los dispositivos (biopolíticos, biomédicos, securitarios) que dificultan o inhiben esta elección.
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COSTA, PEDRO RENAN LOPES, GEOVANNA KAREN PIRES DANTAS DE ARAÚJO MACEDO, KARLA SUSANNA CORREIA CAVALCANTI DE ALBUQUERQUE, and DIANA CARLA SECUNDO DA LUZ. "Viabilidade do uso da fibra de coco como insumo em materiais de construção - Uma pesquisa documental." In I Brazilian Congress of Engineering. brazco, 2021. http://dx.doi.org/10.51162/brc.eng2021-0018.
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O Brasil é o quinto maior produtor de coco (coccus nucifera L.) do mundo atualmente. Considerando que não existe uma destinação adequada para as sobras do fruto, o consumo do coco gera um volume considerável de resíduos, especialmente em áreas litorâneas. Dessa forma, esta revisão explora a relação entre os descartes do setor agroindustrial e a necessidade de tornar o setor da construção civil mais ecologicamente sustentável. O objetivo desse estudo é verificar a viabilidade do uso da fibra de coco em elementos da construção civil, avaliando estudos já existentes que testam a utilização dessa fibra como insumo na produção de elementos construtivos. Inicialmente, foi feita uma filtragem dos estudos relevantes para a pesquisa, e em seguida foi estudado o desempenho desses elementos após a aplicação da fibra. Como resultado, a literatura apresenta uma variada gama de aplicações da fibra de coco na engenharia, e esse reforço tende a aprimorar principalmente características como resistência à tração, ductibilidade e conforto térmico. Conclui-se, portanto, que a utilização dessa fibra natural surge como uma opção segura e sustentável para a produção de materiais construtivos, bem como uma maneira de reaproveitar os resíduos agroindustriais. ,
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Fernández, Sandra Patricia, and Djasmine Deluca Alfano. "Herramientas virtuales de comunicación como experiencia innovativa de aprendizaje en la Tecnicatura en Turismo Rural de la FAUBA." In IN-RED 2019: V Congreso de Innovación Educativa y Docencia en Red. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inred2019.2019.10277.
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Este trabajo se propone documentar la experiencia de innovación tecnológica implementada en la Tecnicatura de Turismo Rural en la Facultad de Agronomía de la UBA. El espacio suministrado como propuesta formativa, a través de incentivar las producciones propias en redes sociales, fomenta la práctica inmersiva en la que los estudiantes proponen un producto y lo lanzan al mundo virtual sin intermediaciones. Esta práctica se ha perfeccionado a través de los años y los resultados son muy alentadores. Presentamos aquí DOS de los trabajos presentados durante el año 2018 a modo de casos representativos del curso dictado en la asignatura Taller 1. Además del entrenamiento básico, desarrollado con acompañamiento del docente, los estudiantes aprenden a manejar herramientas de mayor sofisticación y complejidad que son valoradas como capacidades importantes para su desarrollo profesional.
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Legaz, Alfonso. "Wunderblock. De la representación sin poder: una cinematografía del documento dislocado." In IV Congreso Internacional Estética y Política: Poéticas del desacuerdo para una democracia plural. València: Editorial Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/cep4.2019.10489.
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Wunderblock es una cinematografía videográfica documental creada por Alfonso Legaz, memoria y parte del trabajo en-común que realizan los artistas Andrea Garay y Alfonso Legaz desde 2015 en 20 espejos suceden, proyecto de arte de mecánica procesual-multidisciplinar instalado en el campo de la desocultación, que investiga en torno al acto de comunicación, la experiencia de comunidad y la exposición del individuo ante los otros. Produce y desarrolla de manera performativa sus objetos e instancias a partir del concepto de “exposición” (del individuo ante los otros), desarrollado por Jean-Luc Nancy en La comunidad desobrada (1986), concepto imprescindible para vincular lo particular con la ontología del ser-con, modo propio de ser de la existencia en la estética de Nancy. La actividad multidisciplinar que opera con fotografía, pintura, videografía no-ficción o testimonio oral, adopta esta “exposición” (de representación imposible) como sentido de la fuerza motriz y no como matriz de trabajo; implementa elementos tradicionales del pensamiento occidental —cuerpo, representación o mímesis— que, deconstruidos por Nancy en sus “figuras de lo común”, sirven a la hipótesis central del proyecto: el poder sancionador de técnicas documentales hoy —visuales, orales y escriturales— pretende aportar la “exposición” como documentación de una singularidad corporal “expuesta”, ocultando el ser y la verdad (Aletheia) e inhibiendo la experiencia de comunidad. Este texto colocará el foco en una forma representacional de la tradición cinematográfica documental, singularizada y problematizada en Wunderblock desde la “exposición”: la presentación documental del artista trabajando su obra en su espacio de trabajo. El caso real, una artista, una mujer que realiza un largo proceso pictórico. El objeto de crítica —fraude documental en la presentación visual del artista produciendo la obra— es consumido socialmente sin oposición. Explotada industrial e institucionalmente esta técnica de vaciado, naturalezas fílmica o digital y régimen escópico son afectados por un “régimen de creencia”, “una fe inexplicada”, señala Derrida, que co-participa de la ocultación del ser, omitiendo vida psíquica, silenciando la profunda oscuridad que acompaña nuestro cuerpo y existencia en forma de reducción behaviorista, afectando todos los campos de conocimiento y la posición política. Wunderblock construye dislocando (Rancière) la construcción del poder; piensa la necesidad de transformación del sentido político del cuerpo y del en-común hacia nuevas posiciones que posibiliten pensamiento crítico y acción social. Se describirá el dispositivo cinematográfico, contexto político-conceptual, tradición cinematográfica y el pensamiento puesto en valor.
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Shakarji, Craig M., Vijay Srinivasan, Vincent D. Lee, Meghan Shilling, and Bala Muralikrishnan. "Standards for Evaluating the Influence of Materials on the Performance of X-Ray Computed Tomography in Measuring Geometric Variability." In ASME 2020 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/imece2020-24651.
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Abstract The industrial use of X-ray Computed Tomography (known briefly as XCT, or sometimes simply as CT) is on the rise because a single XCT scan can measure an arbitrary number of features, and XCT instruments can measure features inaccessible to contact or optical instruments — even features that are completely encased in material. This makes XCT a natural metrological companion to additive manufacturing where internal features (e.g., lattice structures) can be produced. But this advantage of being able to measure through material is somewhat mitigated by the fact that the obstructing material has a strong influence on the geometric measurement and is a dominant source of error. This problem is addressed by two emerging documentary standards in ASME and ISO (International Organization for Standardization). These documents define standardized tests for metrological accuracies of an XCT system, where accuracies — now unambiguously defined — can be expressed as Maximum Permissible Errors (MPEs). These tests rely on calibrated artifacts that are designed to reveal various XCT error sources when the system measures these artifacts in prescribed manners. This paper gives the general philosophy behind Coordinate Measuring System standards and then applies them to XCT systems in particular. Rationale is given for the artifact choices contained within these standards, with particular emphasis on material effects, and clarifies the metrological coverage of these standards.
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Seiça, Mariana, Pedro Martins, Licínio Roque, and F. Amílcar Cardoso. "A Sonification Experience to Portray the Sounds of Portuguese Consumption Habits." In ICAD 2019: The 25th International Conference on Auditory Display. Newcastle upon Tyne, United Kingdom: Department of Computer and Information Sciences, Northumbria University, 2019. http://dx.doi.org/10.21785/icad2019.050.
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The stimuli for consumption is present in everyday life, where major retail companies play a role in providing a large range of products every single day. Using sonification techniques, we present a listening experiment of Portuguese consumption habits in the course of ten days, gathered from a Portuguese retail company. We focused on how to represent this time-series data as a musical piece that would engage the listener’s attention and promote an active listening attitude, exploring the influence of aesthetics in the perception of auditory displays. Through a phenomenological approach, ten participants were interviewed to gather perceptions evoked by the piece, and how the consumption variations were un-derstood. The tested composition revealed relevant associations about the data, with the consumption context indirectly present throughout the emerging themes: from the idea of everyday life, routine and consumption peaks to aesthetic aspects as the passage of time, frenzy and consumerism. Documentary, movie imagery and soundtrack were also perceived. Several musical aspects were also mentioned, as the constant, steady rhythm and the repetitive nature of the composition, and sensations such as pleasantness, sat-isfaction, annoyance, boredom and anxiety. These collected topics convey the incessant feeling and consumption needs which portray our present society, offering new paths for comprehending musical sound perception and consequent exploration.
Reports on the topic "Documentary Producer"
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Antonov, Volodymyr. Natural history BBC documentaries: history and functions. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11402.
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This scientific article studies natural history documentaries produced by BBC and traces important stages of the development of the attitude towards such genre as natural history documentary. This research is about understanding why this kind of programmes is important, particularly for Ukrainians, and why we should study the genre thoroughly, including the BBC’s experience in the field. Accordingly, the main objectives of the study were: 1. To substantiate the necessity for Ukrainian scholars to study natural history documentaries and BBC’s experience in the field. 2. To trace back and describe the main stages of development in the sphere of producing natural history documentaries by British Broadcasting Corporation. 3. To analyze the obstacles which modern journalists, filmmakers are dealing with and to draw attention of Ukrainian specialists to those philosophical questions that modern era is searching for answers to. In the result of the research these main tasks which were outlined above were fulfilled. The author of this article concluded that natural history documentaries help to understand our place in the world we live in. In addition, through the shared environment we can feel unity with those who inhabit our region, country, inhabited it before, will inhabit in future. Documentaries help us understand who we are. And this function of identification is very important for contemporary Ukraine. To understand how to create proper natural history documentary it’s important to learn the global history of creating such programmes and especially that part which covers BBC’s achievements. The achievements of the corporation which gave birth to such prominent figure as David Attenborough. In addition to this, the article described some modern challenges which documentary makers face and those questions which contemporary society needs to have answered. Because you cannot create a proper natural history programme if you know past but do not know modern challenges. To sum up, the topic which is deeply connected with process of self-identification is very important and perspective for Ukrainian society which suffers hybrid war and endeavours of Russian Federation to assimilate Ukrainian people, Ukrainian culture.
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Hidalgo Campero, Jorge Antonio. Caso de éxito: Corporación Agroindustrial Amazonas Castaña-Brazilnuts-Nuez Amazónica. Inter-American Development Bank, September 2021. http://dx.doi.org/10.18235/0003679.
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Bolivia tiene una distribución geográfica amplia con una gran variedad de ecosistemas que le permiten el desarrollo de diferentes cadenas agroalimentarias, algunas de ellas, por sus sobresalientes cualidades nutricionales pueden ser consideradas superalimentos. El presente estudio documenta el casos de éxito de uno de los superalimentos bolivianos: Nuez Amazónica. Se relata contextualizando la historia del sector en el país y desarrollando la trayectoria e hitos de empresas que han sido promotores de estos desarrollos y/o han conseguido admirables logros en sus respectivas áreas. El 82% de la producción mundial de Nuez Amazónica está originada en Bolivia, siendo el primer exportador global actualmente, superando inclusive a Brasil, quien tiene un área de extracción potencial mayor. Este producto silvestre ha generado el polo de desarrollo más importante de la región amazónica boliviana, donde cuenta con una historia extensa y un papel socioeconómico y ecológico vital. Es decisiva para su suceso una articulación sectorial temprana que prevaleció ante la desconfianza del trabajo colaborativo, que, junto con un estricto control de calidad sectorial privado, permitió el acceso al exigente mercado europeo. Uno de los impulsores de este salto de calidad es la empresa Corporación Agroindustrial Amazonas (CAA), quien fue artífice de varios desarrollos de competitividad adaptativa únicos, que han beneficiado a todo el sector en su conjunto.
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Zeballos, Eduardo. Caso de éxito: Agrinuts Maní. Inter-American Development Bank, November 2021. http://dx.doi.org/10.18235/0003873.
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Bolivia tiene una distribución geográfica amplia con una gran variedad de ecosistemas que le permiten el desarrollo de diferentes cadenas agroalimentarias, algunas de ellas, por sus sobresalientes cualidades nutricionales pueden ser consideradas superalimentos. El presente estudio documenta el caso de éxito del superalimento boliviano Maní. Se relata contextualizado la historia del sector en el país y desarrollando la trayectoria e hitos de empresas que han sido promotores de estos desarrollos y/o han conseguido admirables logros en sus respectivas áreas. En especial, este estudio de caso del Maní analiza a la empresa Agrintus S.A. de cómo ha logrado ser la principal empresa exportadora de maní en Bolivia. A partir de la importancia del producto, como una alternativa de alimento altamente beneficioso para la salud humana, se analiza el contexto del mercado internacional, su importancia productiva a nivel nacional, sobre todo en la región del Chaco, donde se identifica como origen de variedades nativas. A partir de este contexto, se aborda la experiencia de la empresa de más de una década que han permitido cimentar las bases para su consolidación empresarial presente. Actualmente la empresa exporta más del 90% del maní boliviano, mostrando las potencialidades y éxito en posicionar el maní boliviano en mercados altamente competitivos en Europa y Asia.