Relevant bibliographies by topics / Music documentaries

Academic literature on the topic 'Music documentaries'

Author: Grafiati
Published: 6 October 2023

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Journal articles on the topic "Music documentaries"

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Poulakis, Nick, and Christina Stamatatou. "Music, Documentaries and Globalization." Popular Music Research Today: Revista Online de Divulgación Musicológica 4, no. 2 (February 7, 2023): 7–21. http://dx.doi.org/10.14201/pmrt.30166.

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This paper deals with the relationship between sound and image as expressed in the cinematic genre of music documentary. In particular, it tries to explore the way in which musical cultures are audiovisually expressed through filmic representation of music performances and artists/groups portraits. By applying a critical and comparative approach, the films Buena Vista Social Club (1999) and Café de los Maestros (2008) become vehicles to investigate images and sounds of music in everyday life, with an emphasis on the impact of globalization and commercialization during their creation and interpretation procedures. The focus is on the commercial exploitation of these films in the context of world capitalism and the way in which it influences the construction of visual representations of non-European musical cultures and identities, as cultural industry shares today a comparable postmodern situation through the concepts of “world music” and “world cinema”. In this light, the paper discusses Latin American (Cuban and Argentine) identities and local music cultures which spread internationally via films and gain a place in the global music scene. Consequently, it points towards issues of authenticity, nostalgia, exoticism, hybridity, folklorization, and the Western domination upon musics as well as films.
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Pascual, Cristian. "Programming Brazilian music for a global film audience." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 139–45. http://dx.doi.org/10.33178/alpha.19.11.

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Music is one of the most cherished topics in Brazilian documentary filmmaking. Vinicius (Miguel Faria Jr., 2005), Raul: O início, o fim e o meio (Raul: The Beginning, the End and the Middle, Walter Carvalho, 2012) and Chico: Artista brasileiro (Chico: Brazilian Artist, Miguel Faria Jr., 2015) feature among the most successful Brazilian documentaries from the last twenty years, which makes clear their appeal to national audiences. However, to better articulate their significance it is also crucial to understand them from an international context. The In-Edit – International Music Documentary Film Festival, an event solely devoted to the screening and discussion of music documentaries, allows us to do so. First organised in Barcelona in 2003 and swiftly exported and adapted in multiple countries, the current In-Edit occurs annually in Chile, Brazil, Greece and the Netherlands. Throughout the years, it has also been celebrated in Argentina, Mexico, Germany, Colombia and Peru. In-Edit Brasil was first organised in São Paulo in 2009 and showcases a wide variety of music documentaries both from Brazil and abroad. At the same time, some Brazilian music documentaries are screened in other In-Edits, such as Chile and Spain. In effect, In-Edit organisers hold a privileged perspective on the role that Brazilian music and Brazilian music documentaries play within the international scene. Cristian Pascual (Barcelona, 1980) was the director of In-Edit Barcelona from 2007 to 2019, and he is still part of the organising committee. We met him in São Paulo in 2017, and he provided us with a programmer’s view of music documentaries from all over the world. Despite how political events have altered the country’s international influence in global politics (most notably Jair Bolsonaro taking over as president at the beginning of 2019), we believe that Pascual’s views present a rich reflection on Brazilian specificities regarding the production and reception of music documentaries today.
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O'Grady, Pat. "Making mirrors, making albums and making documentaries: the music of Gotye and negotiating Bourdieu's field of cultural production." Popular Music 39, no. 3-4 (December 2020): 669–84. http://dx.doi.org/10.1017/s026114302000046x.

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AbstractRecent popular music and film studies have revealed the political functions of documentaries about musicians. These studies suggest that such documentaries make powerful interventions into the field of music production as they construct the value of their subjects and their work. Owing to the expense and complexity of broadcast equipment, production companies have tended to favour documentaries about artists and work considered to be popular and historically significant. Over the past 15 years, however, new technologies have allowed musicians to make documentaries themselves, which they can release at the same time as their song or album. Using the example of Gotye and his album Making Mirrors, this article argues that these developments have led to powerful and distinct interventions into debates and themes within home music production for independent musicians. It also argues that the use of this technology on social media platforms challenges the relationships between text and process.
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Gregory, D. G., and L. F. Gooding. "Music Therapy Online Documentaries: A Descriptive Analysis." Music Therapy Perspectives 30, no. 2 (January 1, 2012): 183–87. http://dx.doi.org/10.1093/mtp/30.2.183.

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Nairn, Angelique. "The me you see: The creative identity as constructed in music documentaries." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 9–26. http://dx.doi.org/10.1386/ajpc_00048_1.

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Stereotypically, creative people are considered intelligent, immature, demanding, aware, receptive, autonomous, flexible, introverted, self-confident, unconventional and asocial. They are driven by a desire to create, peer acceptance and, to an extent, commercial gain. They negotiate their creative persona by seeking validation from others. Accordingly, creative people are active agents in the negotiation of their identities, and they can communicate their attitudes and feelings towards their work through the stories depicted in documentaries. Netflix has released several documentaries capturing the creative process and projects of musicians and singers, which offer a ‘behind the scenes’ account of what it is like working in the music industry. These same documentaries offer insights into what it means to be a creative navigating the trappings of project-based work, questions of authenticity, audience and management demands, and the pressures of making successful music. The purpose of this research is to use thematic analysis to explore the documentaries of Shawn Mendes, Taylor Swift, Beyoncé, Ariana Grande and Queen + Adam Lambert for how they conceptualize the creative identity and whether they maintain or challenge the stereotypes that continue to be perpetuated in the media.
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MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening." Music, Sound, and the Moving Image 15, no. 1 (July 1, 2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.
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Huber, Alison. "Remembering Popular Music, Documentary Style." Television & New Media 12, no. 6 (March 10, 2011): 513–30. http://dx.doi.org/10.1177/1527476411400838.

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Over the past forty years, a growing number of television documentaries have attempted to produce a history of Anglo-American popular music for a wide audience. This article represents an attempt to come to terms with the particularity of the popular music documentary form and the different ways in which these documentaries present themselves as authoritative public texts that circulate understandings about popular music’s past. The argument is inspired by the landmark mid-1970s installment in this tradition: Tony Palmer’s epic seventeen-part narrative, All You Need Is Love. While this series makes strong historical claims—in Palmer’s words, it sets out to tell “nothing less than the entire history and development of popular music”—the author argues that the series is, in fact, based on the tropes and discourses of memory. Through an analysis of some of the particular formal and aesthetic characteristics of the series, this article reveals the ways in which talking and thinking about the past of popular music and its culture necessarily call on an experience of the senses that is simultaneously replayed and refracted as memory.
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Tatit, Luiz. "Transforming Brazilian speech into popular song." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 132–38. http://dx.doi.org/10.33178/alpha.19.10.

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In this interview, Luiz Tatit explores some specificities of Brazilian popular song which may explain the considerable success of music documentaries in the country. Such specificities include the connection between popular song and daily speech, its ties with Brazilian national identity and its complex relationship with foreign music styles.
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Stutterheim, Kerstin. "Music as an Element of Narration in Poetic Documentaries." New Soundtrack 8, no. 2 (September 2018): 103–17. http://dx.doi.org/10.3366/sound.2018.0124.

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Jaki, Sylvia. "This is simplified to the point of banality." Journal für Medienlinguistik 4, no. 1 (November 18, 2021): 54–87. http://dx.doi.org/10.21248/jfml.2021.36.

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This study offers a contribution to the reception analysis of TV doc­umentaries by focusing on viewer opinions expressed on social me­dia. It analyses German and English comments from YouTube and Facebook in order to find out what aspects of documentaries the audience comments on. More specifically, it describes how the viewers evaluate strategies that the producers use for simplifying complex content while still creating an appealing and entertaining media product. The results imply that most viewers appreciate informative shows that are entertaining at the same time. They also show that viewers tend to focus on the music and image, rather than on the spoken text, and that documentaries where nature plays an important role are judged more positively than science and history documentaries.
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Dissertations / Theses on the topic "Music documentaries"

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Coley, Samuel John. "Freelance radio practices : producing music documentaries for commercial radio." Thesis, Birmingham City University, 2018. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.758576.

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This study considers the practice of freelance radio producers creating music documentaries for commercial radio audiences. Commercial radio is an underexplored field of study, while investigations into music documentary content for commercial broadcasters are even more uncommon. Previous inquiries into radio documentary production have focused on public service models of broadcasting. These studies often view the subject from a journalistic agenda, overlooking technical approaches and ignoring the commercial imperatives that inform freelance practices. I explore how advances in digital production tools and online technologies shape the work of radio producers. I address wider issues of debate surrounding freelance activities and question whether autonomous producers are capable of creating music documentary content of a calibre consistent with traditional team approaches to documentary production. As an experienced practitioner in the field of commercial radio, I use a practice-based approach to reveal the practices a freelance radio producer adopts to make music documentaries for commercial radio. I argue that this method is essential in order to capture an accurate, first-hand perspective of contemporary industry practice. It draws on a combination of data collection methods including iterative production research, industry interviews, and auto-ethnographic observations as a freelance radio producer across a five-year period of production. This data is interrogated using a theoretical framework that incorporates ideas of political economy, commercial broadcasting and documentary production. I find that the advances in digital production tools and online technologies have streamlined workflow processes and enabled the merging of a various duties into a single production role. I argue that political, economic and commercial considerations impact on the work of radio freelancers in the field by shaping their production output. I acknowledge this is a highly specialised field, as music documentaries are not commonly heard on commercial radio. Yet I assert the industry is favourable towards this form of programming, and recognises its ability to attract new audiences, strengthen listener loyalty and reinforce a station’s brand.
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Bonnot, Charles. "Le discours des documentaires musicaux : de Robert Johnson à LCD Soudsystem." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC316.

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Cette thèse est une étude linguistique et discursive d'un corpus constitué de longs métrages documentaires consacrés à la musique populaire anglophone au 20ème siècle : rock, folk, blues punk, électro. Nous proposons en premier lieu une description des films du corpus tenant compte de critères formels, discursifs et narratifs. Nous voyons notamment de quelle façon le montage permet une articulation entre micro et macro-discours, ainsi que la création de pseudo-dialogues et d'une chaîne anaphorique plurisémiotique. Nous observons également un certain nombre de traits narratifs récurrents au sein des micro-récits comme des macro-récits et postulons qu'ils participent à l'expression de normes propres à la culture rock. La deuxième partie de cette étude est fondée sur la recherche de traces linguistiques de l'insoumission généralement prêtée au rock. Nous constatons grâce à une analyse textométrique une certaine plasticité du tabou langagier qui s'explique par les environnements dans lesquels apparaissent les mots grossiers. D'autre part, le corpus contient un grand nombre de transgressions interactionnelles révélatrices de la manière dont cette rébellion supposée innée est construite et gérée au sein du discours médiatique. Enfin la troisième partie de cette étude est consacrée aux contre-discours produits dans et par les documentaires musicaux, lesquels ont notamment pour but de corriger un discours doxique jugé fautif, de souligner de façon réflexive les limites du langage ou du discours artistique médiatique ou encore de valoriser l'indicible et des moyens d'expression alternatifs, ce que nous nommons la logophobie
This thesis is a linguistic and discursive study of documentaries on 20th century popular music in English-speaking countries: rock music, folk, blues, punk and electro. We first suggest a description of the corpus based on formal, discursive and narrative criteria. We see how editing allows an articulation of micro and macro-discourses as well as the creation of pseudo-dialogues and of a plurisemiotic anaphoric chain. We also notice certain patterns among micro-stories and macro-stories, which we believe are the expression of specific cultural norms. The second part of this study in based on the research of linguistic expressions of rock's supposedly innate rebellion. Corpus analysis shows the plasticity of linguistic taboo and of the use of swearwords, depending on the environment in which they appear. Besides, the corpus contains an important number of interactional transgressions that show how rock's rebellion is actually built and dealt with in media discourse. The third part of this study deals with the counter-discourses that are produced within and by music documentaries. These discourses aim at correcting a faulty doxa, they reflectively question the limits of speech and discourse, whether in songs or in the media, and tend to valu the unsa yable as well as alternative means of expression what we refer to as logophobia
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Cappellano, Ana Paula. "Processo de criação da música pop e expansão dos registros de processo: o caso Let it Be - The Beatles." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/5319.

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Made available in DSpace on 2016-04-26T18:18:45Z (GMT). No. of bitstreams: 1 Ana Paula Cappellano.pdf: 909570 bytes, checksum: 9bc8bc07daf5a8f573369495814e08b6 (MD5) Previous issue date: 2010-05-31
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The following dissertation intends to investigate the creative process of pop music from the study of the audiovisual format as a musical creative process register, the documentary film and the making of in particular. Relations and interactions between the music created in the music industry dynamics and the culture of the image, as well as with the expansion of the registers and documents of process of music, from the eletronic record to the video, are established. Pop music refers to that of the Culture Industry, of media insertion, especially mass media, such as the radio, the cinema and the television, and their production is seen as a wide creative network. The documentary Let it Be, by the British group The Beatles, filmed in 1969 and released in 1970, was chosen as case study and, from the processes critique approach and based on the theories of the work of art creative networks, by Cecília Almeida Salles, it is understood as register and index of the collective process of creation of the band. The movie is considered, from this perspective, a precursor of the audiovisual format known today as the making of and, based on their critical analysis, different moments and points of tension are recognised during the creation and recording of an album, nods of the pop music network. We seek to understand how the interactions among their members, the creative subjects, as well as with external factors to that specific process, characterized the collective process of creation of the group at that stage of their career
A seguinte dissertação pretende investigar o processo de criação da música pop a partir do estudo do formato audiovisual como registro de processo de criação musical, em particular, o gênero cinematográfico documentário e o formato audiovisual making of. São estabelecidas relações e interações entre a música criada na dinâmica da indústria fonográfica e a cultura da imagem, bem como com a expansão dos registros e documentos de processo da música desde a gravação eletrônica até o vídeo. Denomina-se música pop aquela da Indústria Cultural, de inserção nas mídias, especialmente as de massa, como o rádio, o cinema e a televisão e sua produção é vista como uma grande rede criativa. O documentário Let it Be, do grupo britânico The Beatles, filmado em 1969 e lançado em 1970, foi escolhido como estudo de caso e, a partir da abordagem da crítica de processos e da teoria das redes de criação da obra de arte, de Cecília Almeida Salles, é entendido como registro e índice do processo de criação coletivo da banda. O filme é considerado, nesta perspectiva, um precursor do formato audiovisual hoje denominado making of e, a partir da sua análise crítica, são reconhecidos diferentes momentos e pontos de tensão durante a criação e gravação de um álbum, nós das redes de criação da música pop. Procura-se entender como as interações entre seus integrantes, os sujeitos criativos, bem como com fatores externos àquele processo específico, caracterizavam o processo de criação coletivo da banda naquele ponto da carreira
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Araújo, de Siqueira Matheus. "Listening to Vincent Moon: musical encounters and the cinematic diagram." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/665066.

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This thesis confronts how, in Vincent Moon’s films, experience takes the spotlight in detriment of signification. I formulate that the director, rather than worrying about imbuing his films with an inherited sense, is instead searching that his work may express something unique each time it is encountered. To achieve this, his artistic practice is submitted through a set of procedures that are more in line with the field of sound than that of cinema. By transposing values that are deeply rooted into sound philosophy to film (particularly Listening by Jean-Luc Nancy), Moon’s work criticizes the predominant ocular-centric perspective where meaning and understanding is the ultimate goal. Questioning the implications of such a practice, I relate emerging studies related to sound with Deleuze’s Actual/Virtual circuit and Walter Benjamin’s auratic experience. I conclude by proposing that in Vincent Moon a new form of image surfaces, one that even though in its early stages, should be comprehended through its explosive capacity to deliver an experience and in its intrinsic transient and ephemeral nature—the encounter-image.
Esta tesis se enfrenta a cómo la experiencia es el centro de la atención en detrimento de la significación en las películas de Vincent Moon. Formulo que el director está buscando que su trabajo exprese algo único cada vez que se lo encuentre en vez de preocuparse por imbuir sus películas con un sentido. Para lograr esto, su práctica artística se somete a un conjunto de procedimientos que están más en línea con el campo del sonido que el del cine. Al transponer valores profundamente arraigados en la filosofía del sonido al cine (particularmente A la escucha de Jean-Luc Nancy), el trabajo de Moon critica la perspectiva ocular predominante donde el significado y la comprensión es el objetivo final. Al cuestionar las implicaciones de tal práctica, dialogo con estudios emergentes relacionados con el sonido con lo Actual y lo Virtual de Deleuze, además de la experiencia aurática de Walter Benjamin. Concluyo proponiendo que Vincent Moon propone una nueva forma de imagen, una que debe ser comprendida a través de su capacidad explosiva de ofrecer una experiencia de naturaleza intrínsecamente transitoria y efímera: la imagen-encuentro.
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Benedito, Samuel Amaro Guerreiro. "Profissão acordeonista : documentário cinematográfico." Master's thesis, 2021. http://hdl.handle.net/10437/12284.

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Orientação: Manuel José Carvalho Almeida Damásio ; co-orientação: Jorge Paixão da Costa
Este relatório técnico explora a existência de músicos que tocam acordeão e que fazem desse modo de vida a sua profissão. Foi criada uma pergunta de partida, onde se questiona a existência do músico que toca acordeão de forma profissional. Posteriormente adotou-se o método de análise qualitativo, com o recurso a entrevistas que seriam filmadas para a produção de um documentário cinematográfico. Ao longo do documentário, ficamos a saber a ligação que cada personagem do documentário desenvolveu com o acordeão, desde a aprendizagem, passando pelos primeiros concertos até à data atual, onde tocar acordeão é a sua profissão. Em alguns casos, o músico não tem qualquer outra profissão, noutros casos a profissão de acordeonista é completada com outra atividade profissional. Neste relatório temos a exposição da metodologia, a análise dos resultados e a conclusão como a resposta à problemática inicial. No documentário cinematográfico vemos as nossas personagens em ação no mundo real, conseguimos registar imagens muito orgânicas, onde os equipamentos de registo de som e imagem foram complemente esquecidos.
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Books on the topic "Music documentaries"

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Sandahl, Linda J. Encyclopedia of rock music on film: A viewer's guide to three decades of musicals, concerts, documentaries and soundtracks 1955-1986. Poole: Blandford Press, 1987.

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Erich, Auerbach. Images of music =: Bilder der Musik = Images de musique. Köln [Germany]: Könemann, 1996.

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C, Stoltzfus John, ed. Radio music live: 1920-1950, a pictorial gamut. Highland City, FL: Rainbow Books, 1999.

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Marjorie, Ryerson, ed. Water music: Sixty-six renowned musicians from around the world celebrate water in words and music. Ann Arbor: University of Michigan Press, 2003.

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Hand, Edie. A country music Christmas: Christmas songs, memories, family photographs and recipes from America's favorite country and gospel stars. New York: Broadway Books, 2006.

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Hand, Edie. A country music Christmas: Christmas songs, memories, family photographs and recipes from America's favorite country and gospel stars. New York: Broadway Books, 2006.

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Charles, Graham. The great jazz day. Emeryville, CA: Woodford Press, 2000.

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Giacomo, Baroffio, ed. Musica d'archivio: Contributi per lo studio delle fonti documentarie. Sulmona: Synapsi, 2003.

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Giacomo, Baroffio, ed. Musica d'archivio: Contributi per lo studio delle fonti documentarie. Sulmona (L'Aquila): Synapsi, 2003.

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López-Calo, José. Documentario musical de la Catedral de Segovia. Santiago de Compostela: Universidade de Santiago de Compostela, 1990.

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Book chapters on the topic "Music documentaries"

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Coley, Sam. "Music." In Music Documentaries for Radio, 29–37. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-3.

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Coley, Sam. "Historicising the music documentary." In Music Documentaries for Radio, 8–15. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-1.

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Coley, Sam. "Public service and commercial radio." In Music Documentaries for Radio, 16–28. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-2.

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Coley, Sam. "Interviewing." In Music Documentaries for Radio, 51–60. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-5.

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Coley, Sam. "Editing." In Music Documentaries for Radio, 76–90. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-7.

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Coley, Sam. "Idea generation and commissioning." In Music Documentaries for Radio, 91–103. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-8.

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Coley, Sam. "Introduction." In Music Documentaries for Radio, 1–7. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-0.

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Coley, Sam. "Production practices." In Music Documentaries for Radio, 38–50. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-4.

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Coley, Sam. "Presentation." In Music Documentaries for Radio, 61–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-6.

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Coley, Sam. "Freelance production." In Music Documentaries for Radio, 116–24. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429276095-10.

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Conference papers on the topic "Music documentaries"

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Soares, Liliana, Ermanno Aparo, and Rita Almendra. "Design and creativeness for a three-act session." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003537.

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This paper presents the bases of a documentary about the conversion of the business sector and the performing arts in the North of Portugal, during the pandemic. The documentary intends to prove that the introduction of innovative procedures can be important to all sectors involved in society. Liquid reality (Bauman, 2005) demands constant exploration; therefore, it challenges designers to create sustainable products. Knowing that spectacle is about human connection, a process disconnected from visual culture can contribute to the public ignoring the participation of design as an area of knowledge. Between 2021 and 2022 a territorial network system was developed consisting of researchers, a lighting company, a raw materials industry, a municipality, company, a theatre, entertainment companies and a school of music of the North of Portugal. It was possible to develop systemic lighting products at the prototype level, bearing new semantic paths, performance, and interaction with people. The prototypes were developed by a lighting company. In theatre, the prototypes were joined by musicians to interpret pieces by Debussy and Dvořák. This group was joined by an actor who declaimed Mallarmé and Longfellow. The result was recorded on video by technicians and disseminated on YouTube and Instagram.The study investigates the dynamics of a creative process and its impact on the different areas involved, bringing together the testimony of the various actors in the process, challenging assumptions and bringing a new view to reality events. The golden age of documentaries happened in the 80’s (Rosenthal, Corner, 2005), and today the dissemination of documentaries happens through internet. As the documentary film never had a precise definition (Nichols, 2017), this study contributes to the autonomy of this typology of artistic production. The documentary methodology combined with the use of social networks manages to achieve a broader societal impact and in an effective way. An experimental theme related to different areas of knowledge attends a design-driven innovation (Verganti, 2009) and not a market-oriented process that could compromise the experimental factor. The documentary can become an occasion to promote discussion between the notions of science and art, fiction and non-fiction, business and art, teaching, and profession. It is intended to demonstrate that the process of cooperation between different areas is a sustainable choice that respects and values the project partners, assuming a social commitment. The film interprets the current reality, dealing with what happened before, during and after filming and conveying social interest and debate about the role of creative processes in transforming reality.The research already includes a post-doctoral, the publication of a book, a video, a promotional teaser, 2 prototypes and interviews with some stakeholders, so that it can expand its potential to a larger project with the aim of generating innovation, producing mutual sustainability between the manufacturing and the culture industries of the same region. The study could be the basis for consolidating a proposal for a future project, explaining how a design process is developed in the various stages and using a visual document that can have a strong impact on today's society.
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