Relevant bibliographies by topics / Documentary production

Academic literature on the topic 'Documentary production'

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Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Documentary production"

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Vinuela, Ana. "Television documentary production in France." Critical Studies in Television: The International Journal of Television Studies 13, no. 2 (April 26, 2018): 227–43. http://dx.doi.org/10.1177/1749602018763681.

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This article discusses the regulatory framework within which the television documentary production industry operates in France, and how public policies have created and then adapted a support system in response to the active agency of professionals. I give particular attention to the reform of the support system implemented between 2014 and 2017, which has privileged certain categories of non-fiction programmes and affected the patterns of production. I will look at the definition of quality criteria in documentary funding, focusing on the pivotal, though controversial, notion of ‘creative documentary’, and on the diverse approaches that inform French audiovisual policy. By focusing on policy interventions, the article will address the economic and political history of television documentary in France between 1986 and 2017.
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Ranangsari, Kosalalita Anggiyumna, and Qiu Fuquan. "PRODUCTION OF DOCUMENTARY FILM DRIVING AWARENESS." Capture : Jurnal Seni Media Rekam 11, no. 2 (July 17, 2020): 83–95. http://dx.doi.org/10.33153/capture.v11i2.3166.

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The film "Driving Awareness" tells about the importance of driving according to the rules for mutual safety. This film uses a linear storyline and character flashback plot. The purpose of this paper is to describe the concept and visualization of the documentary film "Driving Awareness". The stages in designing the creation of the documentary film "Driving Awareness" start from the idea, preproduction, production, then post-production. In the idea stage, the idea of a film story is determined together with the team and then converted into a script for the film to be made into a storyboard to illustrate every scene in the film as well as a detailed storyline. The pre-production stage determines the position of each person in filmmaking, selecting players, determining locations, and scheduling filming activities. Production activities are carried out according to a predetermined schedule by recording images of each scene. The whole shot was edited to make a whole film work and add backsound, transition effects, and coloring.
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Nushur, Rizki Dhian, and Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION." Getsempena English Education Journal 8, no. 1 (May 28, 2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.

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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.
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von Schantz, Miriam. "Documentary is as documentary does: The production of realities in The Reunion." Journal of Scandinavian Cinema 8, no. 1 (March 1, 2018): 35–44. http://dx.doi.org/10.1386/jsca.8.1.35_1.

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Kim, Sook Hyun. "Women’s Cultural Practices in Documentary Production - Focusing on Korean New Female Documentary Filmmakers." CONTENTS PLUS 20, no. 2 (February 28, 2022): 1–24. http://dx.doi.org/10.14728/kcp.2022.20.02.001.

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Laughren, Pat. "Debating Australian Documentary Production Policy: Some Practitioner Perspectives." Media International Australia 129, no. 1 (November 2008): 116–28. http://dx.doi.org/10.1177/1329878x0812900112.

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.
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Kilborn, Richard. "New contexts for documentary production in Britain." Media, Culture & Society 18, no. 1 (January 1996): 141–50. http://dx.doi.org/10.1177/016344396018001009.

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Cohen, Hart. "Database Documentary: From Authorship to Authoring in Remediated/Remixed Documentary." Culture Unbound 4, no. 2 (June 1, 2012): 327–46. http://dx.doi.org/10.3384/cu.2000.1525.124327.

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The engagement with documentary from its inception as a film form is frequently a set of references to documentary auteurs. The names of Flaherty, Grierson, Vertov and later Ivens, Leacock and Rouch are immediate signifiers of whole documentary film practices. These practices have given rise to histories and criticism that have dominated discussion of documentary and provided the foundation for more nuanced thinking about problems of the genre. One of the seminal texts in the field, Documentary by Erik Barnouw (1974) celebrates the auteur as the structuring principle for his historical review of documentary. It may be a reflection of the influence of this book, that so much of documentary criticism reflects the auteur approach as a starting point for analysis. The shift towards a new documentary format, the Database Documentary, challenges the concept of an auteur in its presentation of documentary materials. This format relies on a remediation technique that recalibrates documentary media within new distributive networks supported by the web and enhanced by converged and designed visual and sonic interfaces. The reception modalities are necessarily removed from the familiar forms of projection and presentation of documentary film and television. The research focus for this paper is how the concept of authorship (the “auteur”) is transformed by the emergence of the relatively new screen format of the database documentary. The paper reviews some of the more recent examples of Database Documentary, the contexts for their production and the literature on new conceptions of documentary knowledge that may be drawn from these examples. An analysis of the authoring program, Korsakow and the documentaries that have been made using its software will demonstrate the route documentary has travelled from authorship to authoring in contemporary media production.
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Louw, Lieza. "Documentary film politics and the politics of documentary film." Communicare: Journal for Communication Studies in Africa 40, no. 1 (October 5, 2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.

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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice forthe mine workers by offering his personal reaction to the deaths of the 34 black men by interviewsand archival material. Miners Shot Down was received well locally and internationally, but as an overt political narrativepresented in a subjective reconstruction, some of the omissions may impact on a fuller understandingof the tragic event.tion. This finding prompted recommendations for entrepreneurs, policymakersand scholarship.
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Mahasim, Siti Hazwani, and Norsiah Abdul Hamid. "DOCUMENTARY VIDEO PRODUCTION OF “AESTHETIC DRINKS OF LOCAL BRAND IN TOWN”." International Journal of Law, Government and Communication 7, no. 30 (December 31, 2022): 202–12. http://dx.doi.org/10.35631/ijlgc.730016.

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Aesthetic drinks are currently popular among people regardless of age. The extreme demand started from the viral of these trending drinks among social media communities. Due of their appealing drinks, the bubble tea, coffee, and matcha tea cafes became popular and attracted a lot of attention when they went viral on social media.Local brands do not provide a variety of branding and not enough advertisements in the social media for people to notice them and aware of their extant. Therefore, there is a need to produce a documentary video to gain people awareness on the aesthetic drink’s brands. This article highlights the production of a documentary video titled “Aesthetic Drinks of Local Brand in Town”. The objective of this documentary video is to explore and educate people about the world of small business and marketing. It gives exposures to people on how it should be done professionally and authentically. Besides telling the audience the distinct journey of each entrepreneur, the behind-the-scenes sharing also is hoped to inspire people to build up the local business. The documentary video production contains a 2-minute teaser, 1-minute behind-the-scenes footage along with a full-fledge 15-minute documentary video. The plot of this documentary explains about the meaning of aesthetic drinks. It progresses to the next plot where it explains how these aesthetic drinks become famous in the town of Tawau, Sabah. This documentary is produced with the hope to set a clearer picture to the public about the aesthetic drinks of local brands in Tawau, so that we can better support the local business, thus help them to advance and emerge. The documentary expresses the importance of media in promoting this small business to create the awareness of local people to the product.
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Dissertations / Theses on the topic "Documentary production"

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Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

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Goldson, Annie. "A claim to truth: documentary, politics, production." Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.

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The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.
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Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
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Hong, Jiachun. "DOCUMENTARY PRODUCTION AS A SITE OF STRUGGLE: STATE, CAPITAL, AND PRECARITY IN THE CONTEMPORARY CHINESE DOCUMENTARY." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1627.

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Documentary filmmakers have been considered artists, authors, or intellectuals, but rarely as labor. This study investigates how the nature of work as well as life is changing for those who work in the expanding area of TV documentary in China, in the midst of China’s shift towards a market-based economy. How do documentary makers reconcile their passion for documentary making with the increasingly precarious conditions of work? And, how do they cope with and resist the pressures of neoliberalism to survive in increasingly competitive local and global markets? Based on data gathered through the interviews with 40 practitioners from January 2014 to August 2017 and my own experience as a director and worker in the Chinese documentary for a decade, I outline the particularity and complexity of the creative work in China. My research indicates that short-time contracts, moonlighting, low payments and long working hours, freelancing, internship, and obligatory networking have become normal working conditions for cultural workers. Without copyright over their intellectual creations, cultural workers are constrained to make a living as waged labor, compelled to sell their physical and mental labor in hours or in pieces. Self-responsibility and entrepreneurism have become the symbols of the neoliberal individual. Following the career trajectories of my interviewees, I elaborate on the mechanisms by which cultural workers are selected, socialized and eliminated. When they decide to escape from the production line, they use four types of strategies: going international, surviving in the market, switching to new media career, and sticking to journalistic ideals. This dissertation also reveals that global production has intensified exploitation by increasing working hours through a 24/7 production line that works across national borders and time zones, amplifies competition by introducing global talent, and alienates local workers by imposing the so-called “universal” aesthetics of global production. The crisis of cultural work is the outcome of the incapacity of the neoliberal imagination to imagine plausible and feasible futures for sustained creative work. It is through my research into the history of documentary production in China and conversations with cultural workers that I found explanations for the increasing precarity of work and possible forms of resistance to it in post-socialist China.
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Hardie, Harold Robert (Bob). "The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1924.

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This autoethnographic study examines the influences of recent digital technology upon the practice and philosophy of documentary filmmaking. To assess the impact of new digital methodology on the film production process, The Musicians, a wholly-digital, 55-minute documentary film, was produced as an example. This music-based subject was chosen to specifically demonstrate the potential advantages of lightweight digital equipment and its extended recording capacity in orchestral documentation. The capability of non-linear digital editing to process large amounts of imagery, together with its ability to manage multiple image and audio streams concurrently, was also examined. This exegesis also reviews the impact of recently-emerged digital multimedia and multi-platform formats on perceptions of the more standard linear documentary format, all of which have been incorporated into a single documentary category by some researchers. For a traditional documentary such as The Musicians to be categorised with open-ended, multimedia constructions seems somewhat anomalous.
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Massey, Hugh Richard. "Gestalt Work For the Actor: A Documentary Video Production." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2516/.

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Gestalt Work for the Actor is a documentary about Dr. Renee Vincent's Gestalt acting exercise. Students are trained to recall powerful emotions and then employ the conjured passions into performance. This documentary examines the Gestalt acting exercise and what benefits it affords actors. The accompanying production book explains the production processes: preproduction, production, and postproduction, as well as the theoretical approaches used in the documentary.
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Scott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.

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This thesis provides an ‘insider account' of the process of making contemporary ‘observational' documentaries from within the broadcasting industry. Raploch Stories (2002) and Raploch Stories Revisited (2007) are seven television documentary programmes written, produced and directed by me for BBC Scotland. This critical appraisal examines the pathway from the formulation of the creative idea, through project research and development, filming, post-production, delivery and transmission, in order to assess and demonstrate the originality of these published works. This is supported by a reflexive commentary which examines the influence of the wider ‘community of practice' on my development as a film-maker. The study identifies ways in which these films demonstrate innovation and progress in technology and production methods, and examines the development of new hybrid forms of programming in the television documentary genre. These new developments are placed in the context of the history of the documentary film, and the on-going academic debate about the definition of the genre and the question of whether it is possible to achieve an authentic record of real life. By comparing Raploch Stories with other examples of social documentary film-making, such as Housing Problems (1935), Lilybank (1977), Wester Hailes – the Huts (1985) and The Scheme (2010), the thesis analyses how films in this sub-genre have evolved and assesses the ways in which there has been continuity in content and in the approach to filming. Finally, the thesis seeks to establish the significance of the published works and to demonstrate how these programmes contribute to the development of documentary television production in Scotland, and to the representation of Scottish working-class communities by the media. Through the reflexive examination of creativity, practice, production, textual interpretation, cultural impact, institutional history, and policy and regulation, the thesis provides a critical perspective on these overlapping areas of knowledge.
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Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.
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Nelson, Jodi. "Digital technologies, social media and emerging, alternative documentary production methodologies." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54595/.

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My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.
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Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

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Books on the topic "Documentary production"

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Searle, Kochberg, ed. Introduction to documentary production. London: Wallflower, 2002.

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Rabiger, Michael. Directing the documentary. Boston: Focal Press, 1987.

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Directing the documentary. 4th ed. Amsterdam: Focal Press, 2004.

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Directing the documentary. 3rd ed. Boston: Focal Press, 1998.

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Rabiger, Michael. Directing the documentary. 2nd ed. Boston: Focal Press, 1992.

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Rabiger, Michael. Directing the documentary. 5th ed. Burlington, MA: Focal Press, 2009.

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Documentary filmmakers handbook. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2011.

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The documentary moviemaking course: The starter guide to documentary filmmaking. London: Methuen Drama, 2010.

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Documentary for the small screen. Oxford: Focal Press, 2000.

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Tʻellebijŏn dakʻyumentʻŏri chejangnon: Television documentary production handbook. Pʻaju-si: Hanul Akʻademi, 2003.

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Book chapters on the topic "Documentary production"

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Trump, Maxine. "Production." In The Documentary Filmmaker's Roadmap, 46–54. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315114873-5.

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Trump, Maxine. "Pre-production." In The Documentary Filmmaker's Roadmap, 8–19. New York: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315114873-2.

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Sanders, Willemien, and Kate Nash. "The (Braided) Documentary Voice: Theorising the Complexities of Documentary Making." In The Palgrave Handbook of Screen Production, 231–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21744-0_18.

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Russell, Patrick, and James Piers Taylor. "Production." In Shadows of Progress: Documentary Film in Post-War Britain, 30–59. London: British Film Institute, 2010. http://dx.doi.org/10.1007/978-1-349-92441-7_4.

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Sanders, Willemien. "Production Studies and Documentary Participants: A Method." In Advancing Media Production Research, 200–216. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137541949_13.

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Vallejo, Aida. "IDFA’s Industry Model: Fostering Global Documentary Production and Distribution." In Documentary Film Festivals Vol. 2, 23–53. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_3.

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Frankham, Bettina. "Fragments, Form and Photogénie: Using Practice to Research the Intersectional Work of Poetic Documentary." In Screen Production Research, 177–94. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62837-0_11.

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Nash, Margot. "Putting Theory into Practice: Structuring the Personal Essay Documentary, The Silences." In The Palgrave Handbook of Screen Production, 145–55. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21744-0_11.

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Choi, Insook. "Interactive Documentary: A Production Model for Nonfiction Multimedia Narratives." In Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering, 44–55. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-02315-6_5.

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Vázquez-Herrero, Jorge, and Arnau Gifreu-Castells. "Interactive and Transmedia Documentary: Production, Interface, Content and Representation." In Studies in Systems, Decision and Control, 113–27. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91860-0_8.

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Conference papers on the topic "Documentary production"

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Song, Miao, Serguei A. Mokhov, Peter Grogono, and Sudhir P. Mudur. "On a non-web-based multimodal interactive documentary production." In 2014 International Conference on Virtual Systems & Multimedia (VSMM). IEEE, 2014. http://dx.doi.org/10.1109/vsmm.2014.7136675.

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Chummuangpak, Manoch. "EXPLORING REFUGEE AGENCY THROUGH DOCUMENTARY PRODUCTION OF RESETTLING KAREN IN AUSTRALIA." In World Conference on Media and Mass Communication. The International Institute of Knowledge Management (TIIKM), 2019. http://dx.doi.org/10.17501/24246778.2019.5111.

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Jang, Hae-rang, Ho-jun Son, Soon-chul Kwon, and Seung-hyun Lee. "Analysis of VR Contents Production Method in TV History Documentary - Focused on Uigwe -." In Mechanical Engineering 2016. Science & Engineering Research Support soCiety, 2016. http://dx.doi.org/10.14257/astl.2016.129.40.

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Jensen, Bob. "Processing techniques for technical video production." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/oam.1991.tha1.

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This presentation will focus on how a technical video production is assembled. Participants will discover the advantages and secrets of producing good technical videos. Various productions from the Maui Space Surveillance Site will be used to demonstrate how many separate elements are combined to achieve videos that meet complex technical objectives. Discussion of key production elements will include establishing objectives, choosing production values for a particular audience, script and storyboard writing, pre- production work, and techniques for production/post-production. Participants will learn about camera set-up, different camera shooting techniques, and the basic elements of lighting a scene. Effective use of audio will also be explored, including microphone types and applications, narration types and effects, and how to enhance productions through the use of appropriate music tracks. Basic editing will be covered, including aesthetics, transitions, movement, and shot variety. Effective presentation of data in technical productions will be demonstrated. Participants will learn how to use switcher and special effects, slow motion, still frames, and animation to provide scene emphasis and heighten viewer interest. Incorporating documentary footage and video from outside sources will be explained. Finally, effective methods of editing to upgrade and update older productions will also be presented.
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Li, Peng-Peng, and Geng Zhang. "Environmental Discourse Production and Confrontation in Environmental Documentary-Using ⟨⟨An Inconvenient Truth⟩⟩ and ⟨⟨Under the Dome⟩⟩as examples." In 2019 IEEE Eurasia Conference on IOT, Communication and Engineering (ECICE). IEEE, 2019. http://dx.doi.org/10.1109/ecice47484.2019.8942707.

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Chávez, Manuel, Israel Chávez, Eduardo Torres, Sandro Atoche, Stefano Palacios, Luis Trelles, Cristhian Aldana, Yesenia Saavedra, Gustavo Mendoza, and Nelson Chuquihuanca. "Detection of Outliers in The Peruvian Fruit Production Time Series Using Arima Models." In Intelligent Human Systems Integration (IHSI 2022) Integrating People and Intelligent Systems. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001008.

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The present applied, non-experimental, descriptive and prognostic research; was aimed at detecting outliers in the agricultural production of Mangifera indica (mango), Persea americana (avocado) and Citrus x aurantifolia (lemon) at the national level, was performed by applying an ARIMA Model. To fulfill it purposes, documentary analysis was used at the National Institute of Statistics and Informatics (In Spanish, INEI). The study sample consisted of the mango, avocado and lemon production indices 2000-2020. As a result, the models were obtained arima mango (1,0,0) (2,1,2) (AIC=5448.99, BIC=5473.35 and RMSE=19067.93), arima avocado (0,1,3) (2,1,0) (AIC=4687.05, BIC=4707.91 and RMSE=4114.35) and arima lemon (1,0,1) (0,1,1) (AIC=4484.36, BIC=4501.76 and RMSE=2551.96) with a 12 months period, the diagram of boxes and whiskers was also made with which it was identified that atypical data (Outliers) abound in the periods of greatest production.
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Arrascue Navas, Rodolfo, Galia Pacchioni, and Gregorio Sifuentes. "NEW TECHNOLOGIES IN THE DOCUMENTARY PRODUCTION AND FOR THE EDUCATION VIRTUAL REALITY AS A NEW WAY OF REPRESENTATION AND A NEW MEANS FOR A LIVE AND SENSORY EXPERIENCE." In 16th International Technology, Education and Development Conference. IATED, 2022. http://dx.doi.org/10.21125/inted.2022.2040.

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Facchi, Emanuele, Alberto Grimoldi, and Angelo Giuseppe Landi. "Vernacular architecture and written sources: the case study of the Tronto Valley." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.14321.

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Medieval archaeology has developed very effective instruments for investigating the smaller rural settlements and local production and construction techniques, on which the documentary sources are scarcely fluent. However, documents assure precise hints or general references to which archaeologists do not give up. In the same way, the most abundant, although indirect institutional sources, and the technical literature, from the Modern Age to the nineteenth century, are very useful to understand this kind of construction, with local materials and according to local models and practices – widespread in rural Europe until the early twentieth century. The historic villages of the upper Tronto Valley, near Ascoli Piceno, can offer a good example in a territory devastated by the 2016 earthquake in which material sources have been heavily depleted. The documents - although discontinuous - often explain constructive choices. The nineteenth-century literature describes the territory in a transformation phase, still based on the scarce local resources, and returns the mentality and the expectations of the contemporaries. Literature and documents contribute to consolidating the role of the built heritage as a historical source, highlighting both the cultural depth and the nature of housing resources that characterize the individual buildings and villages.
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Boone, Veronique Joanna, and Denis Derycke. "Analyse architecturale, modélisation 3D et narration filmique : un regard original sur quelques objets corbuséens." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.764.

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Abstract: To analyze Le Corbusier's work through 3D digital modeling constitutes an important issue for the dissemination of the legacy of this major architect. During an analytical process, a relevant use of contemporary graphic means associated to an understanding of the codes of architectural representation allows to reveal new issues, or new points of view. When linking the graphic production of such process to film narrative and to the codes of documentary film, one obtain singular documents: short-movies based on computer generated images that support an analytical and critical thought, but also present projects under a new visual expression; didactic and descriptive. Those documents become particularly interesting when it comes to highlighting obscure architectural heritage, or to give body to projects remained on paper. With the support of the Fondation Le Corbusier, some Master architecture students investigated Belgian projects of the work of Le Corbusier, from which only two were built and no more than one remains. Through precise methodological issues, this paper accounts for the knowledge that such productions can offer on sometimes less-known architectural objects from the Swiss master.Resumen: Analizar las obras arquitectónicas de Le Corbusier, a través la modelización 3D, constituye un desafío importante de difusión del legado de este gran arquitecto. Mediante el proceso analítico, un uso pertinente de los medios contemporáneos de representación gráfica asociados a una comprensión de los códigos de representación arquitecturales permite de establecer nuevas perspectivas y problemáticas poco tratadas. Cuando acoplamos la producción gráfica, creada por este tipo de proceso analítico, a la narración cinematográfica y a los códigos del cine documental, obtenemos documentos singulares : cortometrajes dentro de imágenes digitales que sostienen un propósito analítico y critico, pero que su vez presentan también los proyectos arquitectónicos bajo una nueva expresión visual, didáctica y descriptiva. Estos documentos pueden revelarse particularmente interesantes cuando se trata de valorizar un patrimonio arquitectural desconocido, o de ofrecer un cuerpo solido a los proyectos yacidos en hojas de papel. Con el apoyo de la Fundación Le Corbusier, los estudiantes de Master de arquitectura se interesaron a los proyectos belgas de los trabajos diseñados por Le Corbusier, de los cuales solo dos han sido construidos y solo uno permanece en pie. Mediante cuestionamientos metodológicos precisos, este articulo relata el conocimiento que este tipo de producciones pueden ofrecer sobre los objetos arquitectónicos menos conocidos del gran maestro suizo. Keywords: Le Corbusier, architectural analysis, 3D modelisation, photography, short film, Belgium.Palabras clave: Le Corbusier, análisis arquitectónico, modelización 3D, fotografía, cortometrajes, Bélgica. DOI: http://dx.doi.org/10.4995/LC2015.2015.764
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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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Reports on the topic "Documentary production"

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Stein, Ernesto, and Lilia Stubrin. Competitividad, desarrollo productivo y mejora burocrática: El caso de la Secretaría de Simplificación Productiva de Argentina. Inter-American Development Bank, March 2021. http://dx.doi.org/10.18235/0003134.

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La desburocratización y la simplificación de trámites son una materia pendiente en América Latina donde el Estado tiende a vincularse con las empresas, y los ciudadanos en general, a través de procedimientos complicados, largos y hasta muchas veces poco transparentes. En las últimas décadas, sin embargo, en asociación con el avance de la digitalización, han comenzado a realizarse esfuerzos en países de la región por lograr una simplificación de los trámites de la administración pública. Esta nota técnica documenta las prácticas y políticas de desburocratización y simplificación llevadas a cabo desde el Estado Nacional en Argentina en el periodo 2018-2019. La nota se basa en la experiencia de la Secretaría de Simplificación Productiva (SSP) del Ministerio de Producción, la cual lideró un proceso de simplificación con el objetivo primario de mejorar la competitividad y la integración de emprendedores y empresas al entramado productivo. Este caso permite aportar nueva evidencia sobre el accionar de este tipo de procesos en la región y extraer lecciones aprendidas que puedan ser de utilidad tanto para Argentina como para otros países.
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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.
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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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Pérez Muñoz, Colombia. Así se vive la economía social y solidaria en la Universidad Cooperativa de Colombia: informe 2017-2019. Ediciones Universidad Cooperativa de Colombia, December 2021. http://dx.doi.org/10.16925/wpgp.06.

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La Universidad Cooperativa de Colombia ha sido una Institución Auxiliar del Cooperativismo y de la Economía Solidaria desde su fundación. A lo largo de los años, desde el Instituto de Economía Social y Cooperativismo (Indesco), que es su célula madre, se ha mantenido el compro-miso con el desarrollo y fortalecimiento de la economía solidaria como realidad, teoría y proyecto, y ello ha constituido un atributo que le da identidad institucional a la universidad. Lo anterior ha implicado definir acciones desde las funciones misionales y de apoyo para hacer de este objeto de estudio también una vivencia institucional. De tal manera, a lo largo de los años se pueden establecer hitos que dan cuenta del impacto, el efecto y los productos que genera la economía solidaria en la universidad, en las regiones donde se tiene radio de acción y en el mundo a través de las redes académicas y gremiales en las cuales participa. En la ruta se evidencian diferentes ritmos y liderazgos; y resulta clave evidenciar que a partir del primer plan estratégico del siglo XXI, el tema se ha mantenido como un proceso de activación permanente del ADN cooperativo y solidario para la comunidad universitaria. En los últimos años, se aprecia una comunidad académica interdisciplinaria creciente, todos los campus dan cuenta de actividades y proyectos de investigación, docencia y/o proyección social que dejan huella en los territorios, y se han documentado prácticas de docentes, estudiantes y administrativos que viven la economía solidaria y se conectan con pares en el mundo desde sus diferentes expresiones como una alternativa para el desarrollo sostenible. Este documento de trabajo se presenta como una línea base generada entre los años 2017 y 2019 para seguir construyendo juntos, desde la comunidad universitaria, un proceso que aporte a la construcción del futuro que queremos a partir del trabajo, la cooperación, la ayuda mutua, la autogestión y la democracia en escenarios orientados al buen vivir en armonía con el planeta.
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