Relevant bibliographies by topics / Filmmakers

Academic literature on the topic 'Filmmakers'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2024

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Journal articles on the topic "Filmmakers"

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Canet, Fernando. "Filmmaker‐subject relationship in documentary filmmaking." Catalan Journal of Communication & Cultural Studies 14, no. 1 (April 1, 2022): 23–40. http://dx.doi.org/10.1386/cjcs_00058_1.

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This article aims to provide a contextual overview of the filmmaker‐subject relationship in documentary filmmaking. This topic is addressed in those documentary films that require the involvement of the filmmaker in the participants’ everyday lives over a prolonged period, thereby turning their relationship into a central feature of the documentary filmmaking. I argue that the filmmaker‐subject relationship involves a personal engagement that problematizes their professional responsibility as expressed mainly in their commitment to the film project and that it is mainly the personal dimension that informs the ethical decisions made by filmmakers. I begin by considering how long-term relationships allow filmmakers to better understand the reality of participants by earning their trust. I then explore the importance in documentary filmmaking of the calculation of costs and benefits in relation to the film and its participants. Finally, I examine how a filmmaker’s sympathetic and antipathetic attitudes towards a participant determine the nature of their relationship.
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White, Patricia. "Introduction: Late Hammer." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (December 1, 2021): 84–87. http://dx.doi.org/10.1215/02705346-9349371.

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Abstract This introduction to a dossier of short pieces on Barbara Hammer locates the work of the late filmmaker in the context of feminist film culture and the journal Camera Obscura. It briefly reviews several phases of the artist's career before focusing on the output of the last decade of the filmmaker's life. Diagnosed with terminal cancer, Hammer made work dealing with her body; gave footage she shot over the years to several filmmakers to finish as they wished; set up a grant for lesbian experimental filmmakers; and collaborated with curators, archivists, and her partner, Florrie Burke, to shape her own legacy. Pieces by the collaborators who contributed to this dossier are introduced.
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Balčus, Zane. "FILMMAKERS AS ONSCREEN CHARACTERS IN RECENT LATVIAN DOCUMENTARY CINEMA." Culture Crossroads 18 (October 31, 2022): 55–65. http://dx.doi.org/10.55877/cc.vol18.85.

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Since the beginning of the 21st century an increase of films with filmmakers present onscreen can be observed in Latvian documentary cinema. Their stories open up personal issues and family histories, their presence diversifies stylistic approaches to documentary apart from most often used observational form. Issues of formal elements of narrating a story, representation of filmmaker’s self within the film’s narrative, power relations between the filmmaker and the character are at the core of study in documentary film theory, where participatory and performative modes (Bill Nichols), analysis of performative nature of documentary (Stella Bruzzi), and character representation (Carl Plantinga, Thomas Waugh) are explored. The three recent Latvian documentaries discussed in this article present variations of interaction of filmmaker and character/-s in telling the story of the director’s father in “My Father the Banker” (Mans tēvs baņķieris, Ieva Ozoliņa, 2015), disclosing the personality of a friend and an artist in “Forging Condors” (Kondoru kalve, Mārtiņš Grauds, 2018), or questioning the ethical implications of a documentary filmmaker in “Documentarian” (Dokumentālists, Ivars Zviedris, Inese Kļava, 2012). They present various approaches to the issues of representation, choice of formal elements, and interaction between the filmmakers and the films’ characters.
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Green, Cheryl. "Saying “Thank You” for Quality Closed Captions: A Promising Shift in Inviting Access." Canadian Journal of Disability Studies 10, no. 2 (October 8, 2021): 255–68. http://dx.doi.org/10.15353/cjds.v10i2.801.

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Even as deaf and hard of hearing filmmakers and activists repeatedly call for quality captions on all video content, many non-deaf filmmakers have managed to remain unaware of the need for and purpose of captions. Implicit biases drive many filmmakers to exclude access from their budgets and their films. These biases include a notion that caption users are not a viable audience, concerns that captions will threaten the beauty of video images by covering part of the screen, and an audist attitude that any level and quality of transcription of spoken dialogue must be adequate. The author is a hearing captioner and filmmaker. In this essay, she reflects on how she advocates for film accessibility through captions. She describes her strategy, how she frames “onscreen real estate,” and responses from filmmakers for captions, including the hopeful way that some say thank you. Quality captions are contrasted against woefully inadequate captions—or “craptions”—provided automatically by YouTube and by companies with cut-rate services. The author considers a focus on inviting access rather than waiting for a compliance-based method of only captioning a film when the filmmaker learns it is required.
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Loh, Yoke Ling, and Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (March 31, 2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.

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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.
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Charriau, Véronique. "Stratégies populaires et savantes dans le cinéma écossais des années 80 et 90." Recherches anglaises et nord-américaines 40, no. 1 (2007): 163–75. http://dx.doi.org/10.3406/ranam.2007.1344.

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The priority for Scottish filmmakers in the eighties consists mainly in exposing past stereotypes of Scotland on screen. Consequently, Scottish directors in the nineties are more committed to redefining Scottish identity through providing alternative images. Analysing Scottish cinema in sociological terms allows us to understand the role of high and low culture in redefining Scottish identity in films. For instance, a filmmaker’s definition of the Popular varies according to which pole of the field he/she belongs to. At one end of the field, independent filmmakers use a more intellectual discourse to provide a high culture vision of the Scottish working class, while at the other end, mainstream filmmakers use the argument of entertainment and popular culture to justify the conservatism of representations inherited from literature. However, the films of Danny Boyle prove that new cultural representations can emerge from a more mainstream cinema.
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Önen, Ufuk. "The Voice as a Narrative Element in Documentary Films." Resonance 2, no. 1 (2021): 6–18. http://dx.doi.org/10.1525/res.2021.2.1.6.

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Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries.
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Frølunde, Lisbeth, Øystein Gilje, Fredrik Lindstrand, and Lisa Öhman-Gullberg. "Methodologies for tracking learning paths: designing the online research study Making a Filmmaker." MedieKultur: Journal of media and communication research 25, no. 46 (June 19, 2009): 13. http://dx.doi.org/10.7146/mediekultur.v25i46.1349.

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The article concerns the design of a collaborative research project (2008-09) entitled Making a Filmmaker, which examines how young Scandinavian filmmakers create their own learning paths in formal and/or informal contexts. Our interest is in how learning experiences and contexts motivate the young filmmakers: what furthers their interest and/or hinders it, and what learning patterns emerge. The aim of this article is to present and discuss issues regarding the methodology and methods of the study, such as developing a relationship with interviewees when conducting interviews online (using MSN). We suggest two considerations about using online interviews: how the interviewees value the given subject of conversation and their familiarity with being online. The benefit of getting online communication with the young filmmakers is the ease it offers, because it is both practical and appropriates a meeting platform that is familiar to our participants.
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Ademiju-Bepo, Adediran Kayode, and Solomon Idyo. "Nollywood and the challenge of digital archiving and preservation in the digital era." Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, no. 2 (March 7, 2024): 176–86. http://dx.doi.org/10.4314/ntj.v23i2.6.

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This paper discusses digital archiving and preservation as a challenge that Nollywood must grapple with in the digital era. The paper argues that, in other climes, filmmakers have since understood archiving and preservation as the last steps in the life of a movie; unlike in Nigeria, where many a filmmaker have no plan beyond marketing and distribution. The methodology adopted for the research is the qualitative method, with use of documents and visual media research instrument utilized. This study is anchored on the theory of functionalism to establish the paper’s strong position that, in this era of transition to digital filmmaking, it has become rather pertinent for Nigerian filmmakers to factor in the archiving and preservation of their films as the final phase of the production process, in view of the all-important role it plays in the life of their works. Findings reveal that once the current film is distributed, filmmakers tend to move on with planning for the next big project. Thus, they fail to spend quality time to grapple with the reality of where the product of their hard work will end up in the future. This study concludes that filmmakers should be sensitized to appreciate the gains of the future life of their films that archiving and preservation offer. The National Film, Video and Sound Archive (NFVSA) in Jos should be strengthened and well-positioned to harvest the offerings of Nigerian filmmakers for posterity through digital archiving and preservation is our recommendation.
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Townsend, Dana, and Kuldeep Niraula. "Documentary Filmmakers." International Journal of Conflict Engagement and Resolution 4, no. 1 (May 2016): 28–40. http://dx.doi.org/10.5553/ijcer/221199652016004001003.

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Dissertations / Theses on the topic "Filmmakers"

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Prime, Rebecca Lynn. "Intimate strangers blacklisted filmmakers in postwar Europe /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1779835961&sid=4&Fmt=2&clientId=48051&RQT=309&VName=PQD.

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Shu, Chang. "On the Edge of the Margins: Female Independent Documentary Filmmakers in Contemporary Mainland China." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365795.

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The independent documentary film industry in contemporary mainland China has experienced dramatic changes over the past two decades, reflecting the rapid economic development and social transformations taking place in the People’s Republic. Established filmmakers, mainly male, trying to activate the local film market, and building reputations internationally, have been the main focus of studies relating to Chinese independent documentary cinema. Women filmmakers – who bring new dimensions to both film production and aesthetics – have been little studied in comparison to their male counterparts. These women must make concessions to the double pressures of mainstream ideology and a hidden culture of male chauvinism. This has seldom been discussed or even mentioned by researchers. This research explores the experiences and strategies of woman independent documentary filmmakers, including their response to having their work viewed through the prism of gender, in an industry that is dramatically changing, though still subject to social, political and economic constraints. This research comprises archival video-documentation and a written dissertation. The former consists of a series of six interviews with female independent documentary filmmakers that is presented on DVD; the latter provides a broader historical context and explores detailed case studies based on the transcribed interviews.
Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Millar, Michelle. "Alice Guy Blache and the development of early cinema." Thesis, University of London, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343731.

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Gupta, Dipti. "Confronting the challenge of distribution : women documentary filmmakers in India." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39431.pdf.

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Reynolds, Lucy. "British avant-garde women filmmakers and expanded cinema of the 1970s." Thesis, University of East London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.536627.

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My thesis examines the expanded cinema of Gill Eatherley, Annabel Nicolson and Lis Rhodes. My intent has been to locate them within their historical context, addressing in particular their relationship to the cohesive, 'Structural' film culture then emerging from the London Filmmakers' Co-operative, and the distinct expanded film form with which it was associated in the early part of the 1970s. The main focus of my methodology, however, is interpretative rather than empirical. Through close textural readings of key works I have attempted to open up fresh critical frameworks for understanding their work, referring to discourses of phenomenology and the haptic, for example, as a means of exploring their subjective and embodied relationship to the materials and apparatus of film. My thesis proposes a multi-interpretative analysis of Eatherley, Nicolson and Rhodes' rich and complex film works. The aim of my research is to create a dialogue of ongoing questions between the different theoretical, political and subjective positions their films engender, from which, it is hoped, productive juxtapositions and convergences can emerge.
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Agina, Anulika. "Nigerian filmmakers and their construction of a political past (1967-1998)." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/96x0z/nigerian-filmmakers-and-their-construction-of-a-political-past-1967-1998.

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Once criticised as ‘seemingly’ oblivious of the political and historical concerns of the state (Osofisan, 2007; Adesokan, 2009b; Alamu, 2010; Okome, 2010; Mistry & Ellapen, 2013), some southern Nigerian filmmakers have begun reversing such critical narratives through negotiated images of the country’s political history. In spite of that, academic attention to such videos remains on the margins of textual or isolated audience analyses. This research questions the motivations, narrative techniques, underlying ideologies and reception of video films that construct Nigeria’s political past between 1967 and 1998, two significant moments in the country’s postcolonial history. This is achieved through contextual and post-structuralist readings of the films as popular art as well as semi-structured interviews of filmmakers and film journalists. The study found that historicizing an ethnically-diverse postcolonial state such as Nigeria through the agency of film is fraught with potential dangers, most of which cannot be mitigated by the filmmakers. Each stage of the production/consumption process is compounded by societal factors including filmmaker’s background, finance, audience and censorship. Also evident from the findings is that popular Nigerian videos sustain and subvert the dominant narratives on popular arts to gain economic advantage. Whereas some filmmakers endorse politicians’ practices, others subvert authoritarian regimes through metaphoric filmic codes (negotiated images) intelligible to audiences and deployed by the producers in order to circumvent censorship. Interrogating film journalists in addition to filmmakers served as an antidote to film producers’ self-reporting. By examining the reception of films through the lens of journalists, this study makes no generalisable claims on audiences, but delivers an original methodological approach to understanding films made in the past, about the past. Thus, the study proposes opening up the methodological approaches to Nollywood to accommodate film texts, producers and audiences rather than lone textual analyses that silence creators and consumers.
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Mak, Monica. "Digital cinematic technology and the democratization of independent cinema." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103271.

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This thesis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition.
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Marquez, Zaida. "Articulating a diasporic identity: The case of Latin American filmmakers in Quebec." Thesis, University of Ottawa (Canada), 2009. http://hdl.handle.net/10393/28420.

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The flow of immigrants to Canada continues to increase steadily. Questions regarding identity are thus unavoidable in order to understand how diasporic identities are constructed within a multicultural Canada. An important contribution to this debate is embedded in the cinematographic expressions that immigrants produce. Such cultural products serve not only as mean to represent themselves, but also to negotiate their positions in regards to Canadian society, as well as their countries of origin. The Latin American community is an interesting example, as multiple cultures, nations, histories, and identities are included within it. This study critically analyzes how identity is represented in the films produced by Latin Americans in Quebec. The analysis takes into account the films, the filmmaker's perspective and the conditions these documentaries were produced in. Given these elements, this research looks at how a Latin American identity is constructed from the diaspora, and what kind of cinematographic strategies the filmmakers use to articulate such an identity.
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McCarty, Andrea Nina. "Toying with obsolescence : Pixelvision filmmakers and the Fisher Price PXL 2000 camera." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/39180.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2005.
Includes bibliographical references (p. 155-165).
This thesis is a study of the Fisher Price PXL 2000 camera and the artists and amateurs who make films and videos with this technology. The Pixelvision camera records video onto an audiocassette; its image is low-resolution, black and white. Fisher Price marketed the PXL 2000 to children in 1987, but withdrew the camera after one year. Despite its lack of commercial success, the camera became popular with avant-garde artists, amateur film- and videomakers and collectors, sparking a renewed interest in the obsolete camera. An online community has built up around the format, providing its members with information on how to modify the camera to make it compatible with contemporary digital equipment. Although Pixelvision garners little recognition from mainstream culture, the camera's hipster cachet and perceived rarity has driven up prices in the community and in auctions. This thesis examines the position of the PXL 2000 camera within the history of moving image technology, and in the context of today's digital video equipment. How has this obsolete video camera made the transition from analog to digital? The thesis also explores Pixelvision's position in the cultural hierarchy of media, as well as the motivations of artists and users who are creating with the camera today, as it moves further and further into its obsolescence.
by Andrea Nina McCarty.
S.M.
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Daniels, Tracy K. (Tracy Kim). "Hybrid cinematics : rethinking the role of filmmakers of color in American cinema." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/42422.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008.
Includes bibliographical references (leaves 69-71).
This thesis explores the practices of filmmakers of color in the United States who employ strategies to circumvent industrial, financial and cultural barriers to production and distribution. To overcome these barriers, many filmmakers of color in the United States operate as independents, which can allow them to route around Hollywood or forge a new space within. For most contemporary independent minority filmmakers, such as those from Latin, Asian, Pacific, Native and African American communities, an amalgam of political, industrial, economic and technological shifts have both facilitated and hindered access to crucial funding and distribution opportunities, which in turn impacts their ability to control and shape their imagery and identity. The result of these impediments inspires a mix of endeavors by those who seek mainstream access and success, those who seek independent status, and the hybrid practices of those who increasingly negotiate between the two. Hybrid Cinematics describes practices of those who negotiate such strategies to not only overcome persistent barriers, but also to strengthen their presence and authority within the American motion picture industry.
by Tracy K. Daniels.
S.M.
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Books on the topic "Filmmakers"

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Koopmans, Andy. Filmmakers. San Diego, Calif: Thomson/Gale, 2004.

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To the young filmmaker: Conversations with working filmmakers. New York: Franklin Watts, 2002.

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Vallan, Giulia D'Agnolo. Filmmakers & Aldrich. Torino: Museo nazionale del cinema, Fondazione Maria Adriana Prolo, 2006.

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Lommel, Cookie. Black filmmakers. Broomall, PA: Chelsea House Publishers, 2002.

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Corrigan, Michael. The filmmakers. College Station, TX: Virtualbookworm.com Pub., 2008.

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Galenson, David W. Innovators: Filmmakers. Cambridge, MA: National Bureau of Economic Research, 2010.

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Singleton, Ralph S. Filmmakers dictionary. Beverly Hills, CA: Lone Eagle Pub Co., 1986.

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Ian, Garwood, and Thomas Deborah, eds. Filmmakers' choices. London: Wallflower Press, 2006.

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Levison, Louise. Filmmakers and Financing. Eighth edition. | New York ; London : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315670089.

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1964-, Tasker Yvonne, ed. Fifty contemporary filmmakers. London: Routledge, 2002.

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Book chapters on the topic "Filmmakers"

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Morrow, Stephen M. "Filmmakers Intermingled." In Rethinking Art Education Research through the Essay, 135–58. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-81269-0_6.

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Barr, Charles. "Hitchcock and Early Filmmakers." In A Companion to Alfred Hitchcock, 48–66. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444397321.ch3.

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Steedman, Robin. "Nairobi-based Female Filmmakers." In A Companion to African Cinema, 315–35. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781119100577.ch14.

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"Filmmakers." In Cinema and the Urban Poor in South India, 119–33. Cambridge University Press, 1993. http://dx.doi.org/10.1017/cbo9780511557972.008.

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"EIGHT. FILMMAKERS." In Film Studies, second edition, 116–28. Columbia University Press, 2020. http://dx.doi.org/10.7312/siko19592-010.

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"Muslim Filmmakers." In Encyclopedia of Computer Graphics and Games, 1223. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_300821.

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"Arab Filmmakers." In Encyclopedia of Computer Graphics and Games, 123. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-23161-2_300103.

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Hillauer, Rebecca. "Other Filmmakers." In Encyclopedia of Arab Women Filmakers, 421–48. American University in Cairo Press, 2006. http://dx.doi.org/10.5743/cairo/9789774249433.003.0011.

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Motrescu-Mayes, Annamaria, and Heather Norris Nicholson. "Teacher Filmmakers." In British Women Amateur Filmmakers, 133–62. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.003.0006.

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This chapter examines the development of amateur filmmaking interests among women teachers as independent producers working on their own and as professional women who found a niche for themselves in amateur filmmaking circles. The rise of cine interests among single teachers reflects specific social, economic and educational circumstances in Britain between the wars and discussion of how they filmed their pupils, colleagues, classroom and playground links to wider consideration of women's opportunities for paid employment, societal expectations and attitudes towards teaching as a legitimate extension of childcare. Films provide opportunities to explore historical representations of childhood and its archival significance. Teachers filmed school journeys and residential visits in and beyond Britain. Such material offers informal imagery of adolescence and adult companions in and away from classroom setting during years when Britain's educational system being redefined in response to the post-war raising of the school leaving age, intense debate on girls' education and the rise of youth culture. Teachers' films represent an under-explored wealth of personal and professional subjectivities and are reminders that while professional constraints limited individual ambitions for decades, filmmaking brought autonomy, challenge and recognition. Like their teaching, filmmaking also reflected their sense of service to others and teachers' enjoyment of what they did.
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McKemmish, Laura K., Rebecca L. Coates, Frazina S. Botelho, Alvina Kuhai, Katherine V. C. Marshall, and Laurence Z. J. Turlej. "Phys FilmMakers:." In Shaping Higher Education with Students, 294–302. UCL Press, 2018. http://dx.doi.org/10.2307/j.ctt21c4tcm.46.

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Conference papers on the topic "Filmmakers"

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Ao, Austin, and Sharon Greytak. "Resilient Creatives: Experiences of Filmmakers During Covid-19." In The Asian Conference on Media, Communication and Film 2021. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022-1.6.

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Ao, Austin, and Sharon Greytak. "Resilient Creatives: Experiences of Filmmakers During Covid-19." In – The Asian Conference on Media, Communication and Film 2021. The International Academic Forum(IAFOR), 2022. http://dx.doi.org/10.22492/issn.2186-5906.2022.6.

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Ye, Ding. "An integrated 2D and 3D pipeline for independent filmmakers." In ACM SIGGRAPH 2005 Sketches. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1187112.1187119.

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Malone, Hui-Ling. "Young Guerilla Filmmakers: Shaping Learning Through Community-Centric Practices." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1442753.

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Galyavetdinova, Marina Mukhamatyanovna. "Pedagogical technologies in the quality management system for the preparation of future filmmakers." In II International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-463236.

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Killian Lund, Virginia. ""We Drink the Water": Teen Filmmakers (Re)Producing Media and Place on the Move." In 2020 AERA Annual Meeting. Washington DC: AERA, 2020. http://dx.doi.org/10.3102/1586080.

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Dux, Stefan. "The Impact of Camera Innovations on Visual Aesthetics in Documentary Films – A Filmmakers Perspective." In The European Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-9643.2020.4.

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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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Crone, Vincent C. A., and Floris Müller. "The Polysemic Documentary: Authenticity, Artistry and Change. Documentary filmmakers and their strategic use of contradicting repertoires." In Annual International Conference on Journalism & Mass Communications. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2301-3729_jmcomm12.106.

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Xiao, Fu. "SOVIET FILM EXPERTS AND THE "SOVIET EXPERIENCE" IN THE CONSTRUCTION OF NEW CHINESE CINEMA (1949‒1959)." In Chinese Studies in the 21st Century. Buryat State University Publishing Department, 2022. http://dx.doi.org/10.18101/978-5-9793-1802-8-2022-304-316.

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In the 1950s, more than 20 Soviet film experts came to China to assist in the formulation of the "First Five-Year Plan" and the top-level design of the new Chinese film construction, assisted film studios and machinery manufacturing plants to improve their technology, assisted in the preparation of the Beijing Film Academy and participated in teaching, and laid the foundation for the initial formation of the new Chinese film system, technology and education. On this basis, the new Chinese filmmakers successfully inter-nalized the "Soviet experience", which led to a new situation in the construction of new Chinese cinema and promoted the popularization of "people's cinema".
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Reports on the topic "Filmmakers"

1

Galenson, David. Innovators: Filmmakers. Cambridge, MA: National Bureau of Economic Research, April 2010. http://dx.doi.org/10.3386/w15930.

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Bernárdez-Rodal, A., and G. Padilla-Castillo. Female filmmakers and women’s representation in Spanish commercial cinema (2001-2016). Revista Latina de Comunicación Social, July 2018. http://dx.doi.org/10.4185/rlcs-2018-1305en.

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Castedo, Leopoldo. Cultural Foundations of Latin American Integration. Inter-American Development Bank, September 1999. http://dx.doi.org/10.18235/0007936.

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Antonov, Volodymyr. Natural history BBC documentaries: history and functions. Ivan Franko National University of Lviv, February 2022. http://dx.doi.org/10.30970/vjo.2022.51.11402.

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This scientific article studies natural history documentaries produced by BBC and traces important stages of the development of the attitude towards such genre as natural history documentary. This research is about understanding why this kind of programmes is important, particularly for Ukrainians, and why we should study the genre thoroughly, including the BBC’s experience in the field. Accordingly, the main objectives of the study were: 1. To substantiate the necessity for Ukrainian scholars to study natural history documentaries and BBC’s experience in the field. 2. To trace back and describe the main stages of development in the sphere of producing natural history documentaries by British Broadcasting Corporation. 3. To analyze the obstacles which modern journalists, filmmakers are dealing with and to draw attention of Ukrainian specialists to those philosophical questions that modern era is searching for answers to. In the result of the research these main tasks which were outlined above were fulfilled. The author of this article concluded that natural history documentaries help to understand our place in the world we live in. In addition, through the shared environment we can feel unity with those who inhabit our region, country, inhabited it before, will inhabit in future. Documentaries help us understand who we are. And this function of identification is very important for contemporary Ukraine. To understand how to create proper natural history documentary it’s important to learn the global history of creating such programmes and especially that part which covers BBC’s achievements. The achievements of the corporation which gave birth to such prominent figure as David Attenborough. In addition to this, the article described some modern challenges which documentary makers face and those questions which contemporary society needs to have answered. Because you cannot create a proper natural history programme if you know past but do not know modern challenges. To sum up, the topic which is deeply connected with process of self-identification is very important and perspective for Ukrainian society which suffers hybrid war and endeavours of Russian Federation to assimilate Ukrainian people, Ukrainian culture.
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Gattenhof, Sandra, Ulvund Marit, and Cecilie Haagensen. #YoungArt and Future Skills Report. Queensland University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.244541.

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#Youngart & Future Skills research project had two main foci. One was to develop and investigate models for collaboration between the art and education sectors, and the second to inquire whether the art programs and teacher/artist collaboration promotes the future skills of Creativity, Collaboration, Critical Thinking, and Communication. Two art programs were carried out in Norwegian secondary schools in 2022 and 2023. Art program A was developed by a theater company in collaboration with a teacher and four artists in a large secondary school class with 45 students in Trondheim. Art program B was developed by a filmmaker in collaboration with a teacher in a small secondary school class with 18 students in Sunnmøre. One of the aims of #Youngart & Future Skills was to investigate how different class and school sizes functioned in different art programs. The art programs were documented through observation, interviews, questionnaires, and the students feedback on post-it notes and drawings, and the material was analysed by the research team. The research finds that of the four future skills Creativity, Collaboration, Communication, and Critical Thinking, the first three were strengthened through the art program, and Critical thinking to some extent. The collaboration between classroom teachers and teaching artist was appreciated by both parties. At the same time, there seems to be potential in a closer collaboration and a clarification of roles in relation to the implementation of the art program. It is important that both parties can use their expertise in the implementation, and that the school’s needs and the teaching artists goals and proficiency meet in a good way. There is a need for more research to explore and make choices in relation to the diversity of possibilities in scope, length, timetable, and forms of collaboration between teachers and artists.
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