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.Whole document restricted, but available by request, use the feedback form to request access.
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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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Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
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A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.
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Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.
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Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
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Stewart, Jay. "Trans on telly : popular documentary and the production of transgender knowledge." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/11257/.
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This thesis considers TV documentaries that feature transgender subjects and which have been broadcast in the UK between 1979 and 2010. Despite the growing popularity of such documentaries, very little critical attention has been given to them. This thesis offers an original investigation of these mainstream cultural items within the multi- and inter-disciplinarity of Transgender Studies. The thesis also contributes to other disciplines, particularly Popular Culture, Visual Culture and TV Studies. My thesis investigates specifically how the visual narratives and the knowledge produced by them contribute to the ways in which trans subjects form themselves between knowledge products. Such TV documentaries form a notably ‘popular’ route to obtaining trans knowledge – what it means to be trans or what trans is. I also consider how they utilise the visual as part of their performance as well as foreground the productivity or achievement of such knowledge and make explicit its ‘uses’. In this thesis I ask: What happens when we see trans? What trans do we see? And what does seeing trans do? I consider the relationship between ‘serious’, scientific documentary making and notions of respectability, legitimacy and normativity. I show how such a relationship has been compromised through the emergence of the infotainment documentary. I frame my thinking autoethnographically in order to gauge the receivership of trans knowledge by trans viewers. I offer my own textual and historical analysis of the knowledge products and have also carried out TV screenings of the documentaries, in order to draw on recorded discussions with small groups of trans viewers for my research. I consider how popular documentaries that feature trans subjects play their part in producing a trans public that circulates discourse, forms sociability and effects change and pursues productive exchanges out of, from and through trans knowledge.
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Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.
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No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to share with the reader the various intricacies of documentary filmmaking. The thesis also explores theoretical issues concerning collective memory, coping behavior, and the ethics of historical documentary filmmaking.
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Forveille, Luc. "Montage et production de sens dans le documentaire contemporain." Thesis, Aix-Marseille, 2020. http://www.theses.fr/2020AIXM0038.
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L’idée générale de ce travail de recherche est de comprendre et d’analyser les enjeux théoriques qui se posent au moment du montage d’un film documentaire. Il se situe à l'intersection de deux visées : celle du praticien qui entend donner une perspective plus large et plus abstraite à ses « manières de faire », celle du théoricien qui cherche une application plus pragmatique à ses « formes de pensée »The general idea of this research is to understand and analyze the theoretical issues that arise when editing a documentary film. It is at the intersection of two aims: that of the practitioner who intends to give a broader and more abstract perspective to his 'ways of doing', that of the theorist who seeks a more pragmatic application to his 'forms of thought.'
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Dover, Caroline Jane. "British documentary television production : tradition, change and 'crisis' within a practitioner community." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395608.
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This thesis will examine the professional identity, beliefs and practices of documentary programme-makers working in British television in the late 1990s. The principal purpose of this enquiry is to understand the ways in which traditions of genre and profession are influential within current documentary programme-making and how these traditions interact with structural and ideological changes within the British broadcasting industry. Original research findings presented here describe and analyse: changes in the types of documentary programmes broadcast during the 1990s; transformations in the production process; public debates about documentary television that took place in 1998/1 999; practitioners' production experiences and their perceptions of profession and genre. It is argued that documentary directors/producers comprise a symbolic community that is conceptually constructed through common practices, shared guidelines and traditions. Although documentarists' claims for documentary-making are sometimes contradicted by the practical realities of their work, the community and its associated traditions are particularly important to practitioners when industry change prompts fears of a "crisis" in their profession. The general theoretical aim is to describe and analyse relational and discursive aspects of both professional identity and cultural production within the context of a changing industry. Contained within the thesis is an exploration of the academic fields within which this study is sited, a discussion of the theoretical and methodological approach adopted and presentation of the findings arising from the programme survey (including a comparative study of documentary television in the United States) and the ethnographic-type research conducted with documentary television practitioners.
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Har-Gil, Amir. "'Good Morning Israel 1985-1995' : analyzing the production of a documentary film." Thesis, Northumbria University, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367409.
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Carter, Patrice. "Navigating development: the case of the non-profit documentary production company STEPS." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/23759.
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Non-governmental organizations (NGOs) in the Global South that work in development are said to operate autonomously from their governments yet their very existence depends largely on dominant bureaucratic bodies - mostly Northern influencers. Indeed, many Southern NGOs are dissatisfied with the sector due to these structural and institutional forces that can be exclusionary, dominating and restricting to their autonomy, affecting the organization's sustainability as leaders within their civil societies. I have ventured to explore how one Southern NGO contends with such an environment. Through conducting an ethnography on Social Transformation and Empowerment Projects (STEPS), a nonprofit documentary production company based in Cape Town, South Africa, I have explored how they navigate within these confines. I have investigated what tacit rules they adhere to in order to remain operational in the sector while also exploring what other rules they attempt to subvert in order to emancipate themselves from these structural forces. This dissertation investigates power struggles in line with Foucault's (1980) theoretical framing on how power exists everywhere and in everything. This study also employs Bourdieu's (1977) concept of habitus and Vigh's (2009) utilization of the concept of navigation as ways to gain a deeper introspection into how these particular practitioners negotiate their positionality within development. Overall, I argue that central to how STEPS navigate the terrain of a contentious development field rest primarily in key decision-makers within the organization. The nature of these practitioners as informed by their life histories has created dispositions that not only inform their agency as individuals but also transfer to their organization (culture, structure, vision, ideologies, ambition). Despite external structures that can also act as roadblocks or allies in actions, choices and agency, the habitus of these prominent figures within the organization are key to actions of the collective when presented with negative or positive structural forces.
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Lange, Shara K. "Documentary Production as a Way to Talk about and Engage with Community." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3657.
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Stratton, Sabra. "Get Out of My Hair." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/978.
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The documentary, "Get Out of My Hair, " engages in the dialogue of hair removal and its relationship to femininity, specifically looking at how the media has taught young women to fear the affects of puberty. The piece features ten women between the ages of eleven and twenty-two with ranging demographics who are all brought together by their experiences with their body hair. Applying media effects theory and psychoanalytic theory, this project examines how advertising portrayals of female body depilation contribute to the increase in hair removal and further align the concept of femininity with hairlessness.
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Chiu, Wen-Chi. "Mr. Hassell: The TV Engineer." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935652/.
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This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.
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Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.
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Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.
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Fleming, Simon David Iain. "A century of music production in Durham City 1711-1811 : a documentary study." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/40/.
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In the eighteenth century, Durham City was an important centre of political power, the nucleus of which was the cathedral whose own wealth and power was immense. The Bishop, as the King’s representative, governed County Durham, and Durham City, as the capital of the palatinate, was a vibrant socio-economic centre. Those with means spent much of their free time patronising the large number of concerts, balls, assemblies, or theatrical productions that were frequently held in the city. For a musician, these public events provided ample opportunities to make a living. There were also opportunities to teach the children of wealthy patrons and to publish compositions. In consequence a large number of musicians came to the city, either to live or to visit, with race and assize weeks (the busiest time of the year) as a major focus of their employment. The centre of musical life in Durham was the cathedral which dominated the production of both sacred and secular music. In order to attract good quality singers to the north, the cathedral’s Chapter offered unusually high salaries to its lay-clerks. The clerks, as able singers, forged a high reputation as a musical force in the region at a time when the quality of sacred music and cathedral choirs was in serious decline. Some of the lay-clerks, most notably Edward Meredith and William Evance, would travel large distances to perform. Until 1763 the cathedral organist was James Hesletine who was succeeded by Thomas Ebdon. Both men were also involved in the local concert scene, although, under Hesletine, a significant dispute with the Newcastle musician Charles Avison took place which ultimately led to the establishment of a rival subscription series by Avison in partnership with John Garth. Music permeated all levels of society at Durham. In addition to what was produced for concerts and at the cathedral, music was prevalent in many other arenas. Music formed part of worship in all of the city’s churches, although it was only at St. Mary le Bow that it reached an appreciable standard. As part of the broader matrix of performances of secular music, Durham possessed its own musical society, and, as part of its wider public role, music performed a key role in civic and other ceremonial occasions as well as for local freemasonry, an organisation to which many of Durham’s musicians belonged. Other forms of music-making took place in the domestic environment, but it was also possible to find music performed in the city’s taverns. Furthermore, the performance of folk music and the presence of the town waits and military bands meant that music was commonly heard on the city’s streets. This thesis is based on a detailed study of several primary sources. The most important of these is the local newspapers, but ecclesiastical records, diaries, personal letters, published books on music and local history, and the music itself (both printed and in manuscript), have also been closely examined. By means of this archival work it has been possible to examine the whole spectrum of musical life across the city, a study which amply demonstrates that Durham was one of the most important provincial musical centres outside London. In fact, notwithstanding its provincial location, Durham was by no means insular in its outlook, nor was it entirely backward-looking, as can be seen in the distinctly innovative and inventive work of Garth.
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Collins, Grant Vincent. "Entering the era of post production the role visual effects will play in documentary." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/31892/1/Grant_Collins_Thesis.pdf.
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Creating an acceptance of Visual Effects (VFX) as an effective non-fiction communication tool has the potential to significantly boost return on investment for filmmakers producing documentary. Obtaining this acceptance does not necessarily mean rethinking the way documentary is defined, however, the need to address negative perceptions presently dominant within the production industry does exist; specifically, the misguided judgement that use of sequences which include visual effects discredits a filmmaker's attempt to represent reality. After completing a documentary utilising a traditional model of production for methodology, the question of how to increase this film's marketability is then examined by testing the specific assertion that Visual Effects is capable of increasing the level of appeal inherent within the documentary genre. Whilst this area of research is speculative, qualifying Visual Effects as an acceptable communication tool in non-fiction narratives will allow the documentary sector to benefit from increased production capabilities.
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Ferris, Mika. "Mama D's 2 Blocks: A Documentary Film." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3674/.
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Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.
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Xu, Jiacheng 4159187. "Yi, Observational Documentary Aesthetics, and the Identity Politics of Transcultural Migrancy." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4816.
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There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes in Yang’s film illustrate the spirit of the questions that guide the aesthetic approach I have taken in my own documentary project. My thesis is composed of two parts: a video project and a research paper, the former of which is a documentary entitled Yi. Named after its primary subject, the film explores the intersections of transnational migrancy and cultural identity through a series of interviews that are intercut with scenes of everyday life that are shot in an observational style. The research paper that follows will situate the project within a specific historical, conceptual, and aesthetic context, before delineating how the cinematic composition of my documentary engages with this framework.
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Li, Tingting. "An Analysis of the 4:2:1 Documentary." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.
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As a Chinese filmmaker, I feel obligated to reveal a true story about Chinese international students. Through my subjects and my stories, I am planning to express the messages that both adapting to a new culture and paying the financial cost of a foreign education have never been simple, but we will never give up our dreams.
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Bussart, Anna Lynn. "The Making of the Documentary Women at Work." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9791/.
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Women have fought for their rights to equal opportunity employment for more than a millennium. Even now, in the 21st century the fight continues. Women at Work explores the experiences of three women who work in male-dominated blue-collar jobs and discuses their struggles and successes within their employment. Their career choices have required each to address their individual views on feminism and femininity, as well as views on education and family.
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Floyd, David C. Mr. "Making "The Gray Area": Transitioning from Print Journalism to Documentary Filmmaking." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/390.
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In my senior year at ETSU I produced a documentary about opioid abuse in East Tennessee. In 2016, two local health care providers and a university collaborated on a project that would bring an opioid treatment center to Gray, Tennessee. The center includes a methadone clinic, an addition that piqued the concern of many citizens living in Gray. The film evaluates the concerns citizens had about the clinic and explores the issue of opioid abuse in East Tennessee.
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Horst, Jennifer Lynne. "The making of the documentary film Women in Red." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.
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Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.
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MacLean, Diane. "Position, commission and production : a self-reflexive investigation into the generation of ethnographic knowledge through documentary production for BBC Alba." Thesis, Edinburgh Napier University, 2014. http://researchrepository.napier.ac.uk/Output/8850.
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This thesis takes as its object of study issues emerging from the synthesis of documentary practice and theoretical discourse. Its context is formed by the production of four published works commissioned and broadcast by the BBC in 2011/2012. These comprise: a drama-documentary, an observational documentary and two radio programmes. The programmes gathered archival and recorded memories and oral histories from Scarp, a small, now abandoned, island off the coast of Harris in the Outer Hebrides whose oral history and memories are in danger of being lost forever. The thesis argues for the acknowledgement of the 'situatedness' of the producer by exploring background, cultulral positioning and professional training, specifically within the context of Gaelic culture and broadcasting. The thesis makes the specific claim that the published works and the research appendices, in combination with the critical essay, make an important contribution not only to our understanding and ethnographic knowledge of island cultures on the west coast of Scotland, but also to our understanding of the processes of media production and respresentation as critically reflected upon by an academic practitioner. Through a cross-disciplinary engagement with debates within documentary, ethnography and oral history, this thesis will also demonstrate that narrative, subjectivity, generic delivery, commissioning constraints and intervention need not exclude television programmes, and the research produced to create them, from containing valuable ethnographic information that (under academic analysis) makes a contribution to our understanding of culture. A self-reflexive methodology reveals the extent to which the producer intervenes in, changes, and brings their own subjective perspective to, any work of ethnographic data gathering or oral history collection, and how this research is constrained by the commissioner.
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Gibson, Sarah Edith. "Behind the Scenes of The Steve Taylor Story: A Documentary." Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10992/.
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Behind the Scenes of The Steve Taylor Story: A Documentary is the written companion to a 39-minute documentary film entitled, The Steve Taylor Story. The film explores the controversial career of Christian musician Steve Taylor. It also chronicles the ideology of the Christian subculture in America through the hegemony of the dominant Christian culture and Steve's actions in opposition to it.
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Chou, Wei-Tung. "The Soul of it: A Video Documentary on Texas Sculptor John Thomas Campbell." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935815/.
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This thesis includes a video and a production report . The video documents a Denton artist, John Thomas Campbell who was working on a project for the Texas State Fair during the filming period. This documentary follows Campbell through his production on sculptures, using a biographical style to explore his life and his art work. The accompanying paper reports on the production background, pre-production process, and includes discussion of the problems encountered from production through post production stages.
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Aron, Danielle Belinda. "Production and reception in British television documentary : a genre-based analysis of mass-mediated communication." Thesis, London School of Economics and Political Science (University of London), 1999. http://etheses.lse.ac.uk/2866/.
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This thesis explores the nature of communication in television documentary, based on an investigation of production, reception and their interrelationship. It assumes that social context is fundamental to an understanding of mass communication. Doise's (1986) levels of analysis (intrapersonal; interpersonal/situational; positional; cultural/ideological) provide the framework for conceptualizing social context. Audience reception research, which appreciates viewers' active role in reception and influence on production, inspires the qualitative approach. Whilst these premises challenge a traditional transmission approach to mass communication, the thesis argues against simultaneously rejecting the concept of information transmission. The thesis is located within a ritual approach to communication (Carey, 1989), exploring the potential for information transmission by extending this approach to situational and positional levels. As a distinctive information genre, the television documentary is perfect for investigating transmission. In this endeavour, the thesis explores the assumptions of both broadcasters and audiences concerning the function, structure and content of documentary communication. The methodological structure comprises three qualitative studies - production context, reception context and a case study. The production study involves twenty one interviews with television documentary broadcasters and establishes two intersecting dimensions embracing their perspectives. The reception study includes eight focus group discussions, and finds documentary expectations differing by socio-economic status and gender. These studies provide the context for analysing the nature of communication in one documentary programme, "Parental Choice", comparing a producer interview with four audience focus group discussions. The results highlight a lack of awareness amongst broadcasters of the varying genre-specific criteria used by documentary audiences in programme interpretation. Information transmission is possible if viewers accept a documentary's credibility. However, perceptions of credibility vary at the situational and positional levels, thus transmission is limited and ritually-based. The emerging nature of documentary communication contributes to academic debate on mass communication, audience research and the television documentary genre.
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Messer, Jonathan W. A. "Female to male gender transition in Perth and WA: an exploration through documentary film production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2230.
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Using practice-led research methodologies, ten transgender men, who were at various stages of transition from female to male, were included in this study. The central research output is a feature-length documentary film called It's Not Just Me.
The film project seeks to share the extraordinary and the mundane with specific focus on four individuals who were undertaking testosterone treatment. The aim of this research was to contribute to a wider understanding of the intricacies of gender transition for the individual, and their relationship to their surroundings and to document their agency in a space of perpetual transition.
This research project was prompted by my interest in the way in which transgender men are shaped by, through and disrupt their psychological and physiological being within their established environments. Relationships between self and identity formation framed my primary research and it focuses on the notion of change as it relates to the transgender man’s experience of undergoing gender transition. Issues of individual self-identification/perception and social hetero-normativity as a performative statement were explored.
There were four groups of participants. Ten transgender men were interviewed in the overall study and four of these featured in the documentary film. There were 24 supplementary participants, for example family and friends, who also appeared in the documentary film. In addition, one psychiatrist was interviewed. Thirteen filmmaking technical collaborators also assisted in the making of the documentary artefact.
Methods of enquiry into and through (Frayling, 1993, p. 2) the art practice explored gender and identity formation. The research reviews the practice of filmmaking including investigating various techniques of documentary filmmaking from directing, writing, image capture and post-production. Main filmmaking theorists include Nichols and Aufderheide.
The two main findings of my research are that: first, masculinity is a multi-layered and transitional pursuit and is not a fixed concept for all men, but specifically transgender men, and secondly, film can serve as a vessel in which to understand trans-masculinity from a space of agency and ethical engagement.
This project adds to the extensive body of scholarship locating identity with emphasis to understanding masculinity and gender. It argues that human shifts are a constant process, with specific regard to understanding the transgender male’s transition experience in Perth, Western Australia where all transgender participants reside. The significance of the film and its meanings to the transgender community was profound. This in terms of visibility and the ability to share their personal journeys with an audience was an act of agency in action.
This film as an outcome potentially changes the face and visibility of the transgender man and brings their humanness and experiences to the fore in a positive and collective way. The indirect impact of this work is where its power lies. The film provides a voice to marginalised communities and is fundamentally activist cinema.
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Abernathey, Samantha. "A New Battleground." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/603.
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"A New Battleground" looks into the variety of on-campus opinions regarding the Israeli-Palestinian conflict. This film is short documentary style, with filmed interviews of students and teachers, imparting an educational message meant to inform others of the complexity of this highly topical issue.
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Read-Fisher, Kathryn. "Billy the Elephant: Life In Captivity Is No Life At All." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/905.
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Animal rights activists and animal welfare advocates are the two most vocal groups dedicated towards improving the lives of animals, however they often end up fighting with each other instead of working with together. They get caught up in the small details and forget that they are both working towards the same bigger picture: living in a world where animals and humans can cohabitate happily and healthily. Both groups use the media as a tool to grab headlines and generate controversy, which sheds light on animal rights issues. While its commendable that both groups are willing to go to many extremes to get their message to the public, they do so at the expense of properly educating the public. Animals rights issues become more about the spectacle than the animals, which ultimately ends up helping no one. I want to first analyse the arguments about captivity from both parties, and then delve into the tactics that they use to get their ideologies across. My goal was to create a short documentary that explores the depth of these issues, critique the role that the media plays through the lens of a specific animal: Billy the Elephant.
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Mutibwa, Daniel Henry. "Changing imperatives in third sector media and cultural production : a study of news production, documentary film-making and arts and cultural programming." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3407/.
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Research on third sector media and cultural organisations has tended to focus on socio-political imperatives in organisational and production processes. However, my research shows that as socio-political circumstances have gradually changed, other imperatives especially of a professional, artistic and commercial nature now play an equally important role in these processes in the third sector. The interplay between the different imperatives can be conflicting, pulling producers in different directions. Moreover, producers can be subjected to systemic pressures such as demands from subsidy, other funders, broadcasters and politics, all of which impact third sector media and cultural work. Producers respond in ways that have not been sufficiently studied. This thesis aims to address this gap. Drawing on relevant theoretical perspectives and qualitative research methods, I address three key issues in this thesis. First, I examine the ways in which producers in the third sector respond to professional, artistic and commercial imperatives alongside socio-political ones in the organisation and production of news, documentary film and arts and cultural programmes. Where the interplay between these imperatives is conflicting, I analyse how producers negotiate between them. Second, I analyse the response of producers to systemic pressures. Third, I evaluate how producers perceive their work following competing imperatives and systemic pressures. I argue that the evolving environment in which third sector media and cultural organisations operate in some cases compels producers to prioritise commercial and professional imperatives over socio-political and artistic ones and to give in to systemic pressures. Based on British and German case study companies, my thesis provides crucial insights into the interplay between such pressures and competing imperatives in contemporary third sector media and cultural organisation and production.
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Daggett, Liz. "Theoretical and Practical Record of the Making of the Documentary Film, A Native American Dream." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9110/.
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This textual record of the making of the social issue documentary film A Native American Dream examines theoretical and practical considerations of the filmmaker during the pre-production, production, and post-production stages. It also examines the disciplines of anthropology and ethnography in terms of modern documentary filmmaking and evaluates the film within these contexts.
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Yang, Hongyi. "Herb and Life: A Chinese Medical Family." Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3296/.
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This written thesis examines the process of producing Herb and Life: a Chinese Medical Family, a thirty-minute documentary video that explores the producer's family members' relationship with Traditional Chinese Medicine. This documentary uses interviews, narration, music, and observational sequences to display documentary subjects' career choices and their experiences with Traditional Chinese Medicine. This written thesis reveals the development of this documentary, from the pre-production to production and post-production stages. It also incorporates theoretical analysis and self-evaluation of this documentary video.
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Weiss, Maria. "American Mom." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/935.
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Holman, Milan. "40 Meters Down: A Diver's Journey." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/honors_theses/130.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Thornburg, Barry B. ""FLAT!"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157565/.
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FLAT! immerses us into the life and mindset of a Flat-earther who eagerly evangelizes the discoveries he and other Flat-earthers claim to have made. With his car clad in flat-earth messages, he travels around the country provoking discussions with curious bystanders and debating scientists. While he thrives in this pursuit, it is not without its costs.
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Schoenbaechler, Jessica. "Beach Drive: Public Rights and Private Property: A Documentary Film." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5345/.
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The Texas Open Beaches Act states that the public beach extends from the water up to the line of vegetation. Once a privately-owned property is submerged, it transfers into state ownership. Because of severe erosion and the shifting nature of vegetation, the Village of Surfside has lost several rows of houses and streets and, currently, over thirty houses are located on the public beach obstructing public access in violation of the Texas Open Beaches Act. The extreme erosion in this small village on the Texas Gulf Coast puts homeowners, property owners, legislators, and beachgoers in difficult positions and many are at odds with one another. The documentary film is structured around rental property owner Russell Clinton, environmentalists Ellis Pickett and Jeff Hooton, and former State Senator A.R. "Babe" Schwartz.
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Gilliam, Eva. "The docu-comedy : towards a new genre in the expression of social commentary through comic performance, using documentary film techniques and reality television discourse." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/13980.
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Includes bibliographical references (leaves 43-44).A 26-minute docu-comedy product of my studies in film and television production, The Traveling Jewish, captures improvised moments of social interaction through documentary filming style. Through filming, editing, animation and music, it becomes an entertaining half-hour of television and social commentary. It is with each cut, layer, added graphics, omitted sound or musical accompaniment, that the viewer is guided into the cultural understanding and comedic inclination of the creator of such a piece. In doing so, I believe we are opening up a new genre of Television, the Docu-Comedy, which aims to explore comedy in site-specific landscapes, through primarily improvised scenes, using the discretion of the director to do otherwise when narrative comprehension is at risk. In this way humor exists in a way not often exploited on television. As humor serves as a forum to bring to the attention of society activities, beliefs, morals, etc., at the same time challenging their validity or even ethical realities, its mere existence is often seen as a sign of the health of a society. This paper looks at all the technical and theoretical elements of such a proposal.
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Martin, Deborah. "Gender, politics & aesthetics in Colombian women's cultural production 1940-2005 : Débora Arango, Laura Restrepo & women's documentary." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612030.
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Naoi, Riyo. "Documentary Film Production on the Dynamics of Relationship regarding HIV in Northern Thailand: A Filmmaker's Perspective in Representing Reality." 京都大学 (Kyoto University), 2015. http://hdl.handle.net/2433/199426.
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