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Journal articles on the topic 'Music documentaries'

Author: Grafiati

Published: 6 October 2023

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1

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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2

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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4

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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5

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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7

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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9

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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10

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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11

Pokharel, Ramesh. "Music in Lichhavi and Malla Period: An Overview." SIRJANĀ – A Journal on Arts and Art Education 4, no. 1 (December 1, 2017): 134–39. http://dx.doi.org/10.3126/sirjana.v4i1.44439.

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Music is a universal language which transcends all barriers of country, race or religion. The people of Nepal are immensely music oriented. This paper attempts to discuss the music conditions during Lichchhavi and Malla periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as traditional Music today has taken the step of development in this very age. The evidence shows that specially raga based traditional Music was practiced in those periods.

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12

Williams, Peter A. "“Missing the Trane: Two John Coltrane Documentaries”." Jazz Perspectives 11, no. 1 (January 2, 2018): 103–8. http://dx.doi.org/10.1080/17494060.2018.1550240.

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13

Manitzas Hill, Heather M., Elena Svetieva, Sarah Dietrich, Emily Gallegos, Jeffery Humphries, Nicolas Mireles, Mario Salgado, Roberto Lara, and Jennifer Zwahr. "The influence of background music and narrative setting on anthropomorphic judgements of killer whale (Orcinus orca) emotional states and subsequent donation behavior." PLOS ONE 18, no. 5 (May 24, 2023): e0282075. http://dx.doi.org/10.1371/journal.pone.0282075.

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Animal documentary films such as Blackfish, considered nonfiction accounts of reality, nonetheless use rhetorical devices to engage viewers and shape their emotional experience for maximum effect. Such devices can also influence attitudes and alter behavior. In animal documentaries, anthropomorphic impressions of the animals by audiences are key. Using general population samples in the US, three online experiments assessed the influence of background music and narrative setting on how viewers emotionally appraised the emotional state of a killer whale (Orcinus orca) and subsequently donated to causes affiliated with killer whales. While happy music led to perceptions of a happy whale, sad music led to perceptions of a sad whale. mediation analyses showed that these perceptions indirectly influence donation behavior, via beliefs about the killer whale’s welfare and wellbeing. Analyses also indicated that the highest donation amounts towards killer whales were elicited from footage depicting a killer whale in the wild, with sad background music. These findings highlight the potential power that animal and nature documentaries have over viewers, which, when combined with human tendencies toward anthropomorphism, can have significant influence on conservation attitudes and behavior.

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TERRONE, ENRICO. "Documentaries, Docudramas, and Perceptual Beliefs." Journal of Aesthetics and Art Criticism 78, no. 1 (February 4, 2020): 43–56. http://dx.doi.org/10.1111/jaac.12703.

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15

Kazyuchits, Maxim F. "Counterculture and Its Impact upon American Rock Music Documentaries in 1960-1970s." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 2017): 106–18. http://dx.doi.org/10.17816/vgik94106-118.

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The author focuses on the most significant documentaries and TV-movies employing rock music of the 1960s-1970s, and highlights the aesthetic modes of their social correlation with mass culture. Special attention is drawn to the creative synthesis of the aesthetics of direct cinema, exemplified by the group R. Drew (B. Leacock, D. Pennebaker, A. Maizels, D. Maizels, etc.) as well as individual filmmakers and rock music in the intense socio-cultural context associated with it. Rock music greatly differs in its interaction of a performer and audience: there is often a systematic violation of the boundaries between audience space and scene. Direct cinema uses different strategies for presenting the character in the frame. Long-term observation, usage of atypical size and angles in the established television and cinematic tradition of documentary in many ways made the traditional essays and reports specifically spectacular. Within this strategy fans become being represented and perceived as a collective character, that is, public with all the features of its ethos becomes an integral part of the image of the artist, inseparable from it. The general decline of the artistic diversity of documentaries about rock music is largely the result of the active integration of this subgenre into the commercial sphere of TV and film industry, characteristic for the style emerged within the television. Creative pursuits of the group drew were directed not so much against the revolution in screen arts, but for modernization of the outdated artistic approaches to documentary filmmaking. Anyhow rock music as well as rock culture expressed through the means of direct cinema testify to the efficiency of the basic methodological goals.

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16

Chanan, Michael. "Television's problem with (classical) music." Popular Music 21, no. 3 (October 2002): 367–74. http://dx.doi.org/10.1017/s0261143002002246.

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The idea I have in mind is to compare the situation on television today and thirty years ago of what persists in being known as classical music. I write as an academic, but this will not be a normal academic paper. For one thing, I shall not do any special research but base myself instead on memory and autobiographical experience, because thirty years ago, before becoming an academic, I began by writing music criticism and making documentaries on music for television. My intention is to say something as a participant observer about the alteration of the cultural context in which this thing called classical music operates, and about the part that television has played in this.

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17

Buarque de Hollanda, Lula. "Capturing the soul of the suburb." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 146–53. http://dx.doi.org/10.33178/alpha.19.12.

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In his conversation with us, Lula Buarque de Hollanda analyses Conspiração’s precursor role in the recent wave of music documentaries in Brazil and reflects on the production process of O mistério do samba (The Mystery of Samba, Lula Buarque de Hollanda and Carolina Jabor, 2008).

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18

Have, Iben. "Attitudes towards documentary soundstracks - Between emotional immersion and critical reflection." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2133.

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Musical experience is often related to an emotional and imaginative engagement of the listener. Discourses of journalistic documentaries relate primarily to inferential knowledge systems in which the uses of background music as a communicative device become an object of epistemological critique. By listening to different voices – primarily from four focus group interviews – the article will discuss attitudes towards musical soundtracks in documentaries, attitudes being negotiated between emotional immersion and critical reflection, with the concept of manipulation as an underlying theme. In the end, the article will argue for the need for an acoustemological approach (Feld, 1996) to study the epistemological potential of sound in audiovisual media.

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19

Holanda, Claudia, Pedro Rebelo, and André Paz. "Soundmaps as iDocs? Modes of Interactivity for Storytelling with Sound." Leonardo Music Journal 26 (December 2016): 80–82. http://dx.doi.org/10.1162/lmj_a_00980.

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Soundmaps derive an undeniable, often originary, importance from cartographical representation. However, this article proposes to consider soundmaps through a narrative perspective, drawing on the field of interactive documentaries. Like soundmaps, interactive documentaries deal with issues of engagement, participation and interaction. In this sense, and according to Sandra Gaudenzi’s concepts, this article presents an analysis of more than 40 soundmaps focused on their modes of interaction.

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20

Choi, Jinhee. "A Reply to Gregory Currie on Documentaries." Journal of Aesthetics and Art Criticism 59, no. 3 (August 2001): 317–18. http://dx.doi.org/10.1111/1540-6245.00030.

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21

Ziółkowski, Grzegorz. "Documentary filmmakers confront trauma: An interview with Marianne Hougen-Moraga and Estephan Wagner." Journal of Scandinavian Cinema 11, no. 3 (September 1, 2021): 267–82. http://dx.doi.org/10.1386/jsca_00052_7.

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The article features an interview with Copenhagen-based filmmakers Marianne Hougen-Moraga and Estephan Wagner, directors of Songs of Repression (2020), the latest documentary film to tackle Colonia Dignidad, a sectarian German enclave founded in Chile in 1961. The dialogue revolves around the film, but it also illuminates some general problems documentarians must face when encountering trauma, among them ethical responsibilities towards protagonists and narrative strategies to employ. The interview is preceded by an introduction that sketches background information on the notorious colony, explains how the film originated, examines the role of music ‐ a central motif of the film ‐ for Colonia’s functioning and situates the work in a wider context of documentaries that confront human rights abuses. The political, religious and moral complexities of Colonia Dignidad are salient because they point to the way the inadequacy or total absence of processes of redress and reconciliation may ultimately prompt the re-emergence or re-establishment of sinister practices.

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22

Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.

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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexistent European music, stereotypical Orientalist signs, and traditional Japanese music against the exotic enemy. This essay analyzes some sophisticated examples of musical propaganda that offer new perspectives for the study of cross-cultural musical encounters. For many in the United States, Hollywood film music continues to shape their impressions of Japan and their perceptions of Japanese music.

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23

Pokharel, Ramesh. "Classical Music in the Shah and Rana Era: 1768 - 1951 A.D." SIRJANĀ – A Journal on Arts and Art Education 6, no. 1 (December 1, 2019): 62–71. http://dx.doi.org/10.3126/sirjana.v6i1.39674.

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The tradition of classical music was more justified during the Shah and Rana Dynasty’s ruling. During the time the cultural import from neighboring India and the wide appreciation of music by kings and the Royal Palace of Nepal show the influence of Classical music among the Shah and Rana families. Some Rana Prime Ministers wanted to promote classical music but in practice most music was limited to the Royal palace and Rana family. Music Education, as well as all kinds of formal education were banned for the citizens of Nepal during the Rana regime. Those who were close to the Rana family and the palace were supposed to learn classical music from the patronized Ustaad /Pundit of the Palace and private teachers as well. This paper attempts to discuss the overall developing trends of classical music during Shah and Rana periods of Nepal in relation to development, extension and its practices in Nepalese society. All evidences have been taken from several documentaries. Whatever we practice as classical music today has taken the step of development in those periods. The evidence shows that especially raga based different Music genres were practiced and flourished in those periods.

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24

Mazierska, Ewa. "Between Sweden and the world: Documentary films about ABBA’s international success." Journal of Scandinavian Cinema 11, no. 3 (September 1, 2021): 317–25. http://dx.doi.org/10.1386/jsca_00057_1.

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This article examines the phenomenon of ABBA, the most popular band ever to originate in Sweden, as accounted for in four documentaries, used to compare domestic and foreign responses to ABBA. Discussion draws on the concept of authenticity as formulated by Allan Moore, arguing that authenticity is not located in the music itself, but in the relationship between the artists and their audience. Analysis also considers the authenticity of the documentary form.

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Nosal, Andrew P., Elizabeth A. Keenan, Philip A. Hastings, and Ayelet Gneezy. "The Effect of Background Music in Shark Documentaries on Viewers' Perceptions of Sharks." PLOS ONE 11, no. 8 (August 3, 2016): e0159279. http://dx.doi.org/10.1371/journal.pone.0159279.

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Loewy, Joanne V., and Ralph Spintge. "If not now…if only for others-invisible risks?" Music and Medicine 13, no. 1 (January 23, 2021): 4–6. http://dx.doi.org/10.47513/mmd.v13i1.814.

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“If I am not for myself, who will be for me? If I am only formyself, what am I? If not now when?” How often I havereflected on this three-lined quote attributed to the great sageHillel. While it has been cited in the context of documentaries,speeches and in texts about spirituality and freedom, it is lessconsidered for its context in the framework of healthcare...

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Zheng, Aili. "The Realism of Compositional Documentary: Jia Zhangke's “I Wish I Knew”." Pacific Coast Philology 48, no. 1 (January 1, 2013): 88–108. http://dx.doi.org/10.2307/41932641.

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ABSTRACT Documentaries about urban environments involve challenging decisions regarding selection and editing. Historical contents further increases this complexity. In I Wish I Knew Jia Zhangke assembles interviews, location sequences, archival stills, intertitles, scripted passages and filmic intertexts to explore the historical palimpsests of Shanghai's culture as well as its current social ferment and commercial vigor. By analogy to music discourse, his film can be regarded as a compositional documentary that orchestrates numerous details with the theme of change and transformation as tonal center.

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DURAND, JÚLIA. "‘Romantic Piano’ and ‘Sleazy Saxophone’." Music, Sound, and the Moving Image: Volume 14, Issue 1 14, no. 1 (July 1, 2020): 23–45. http://dx.doi.org/10.3828/msmi.2020.3.

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Library music is currently used in countless audio-visual contexts, from documentaries to YouTube videos. It has become an essential resource for video editors and a relevant source of revenue for composers. Although this pre-existing music is rapidly gaining significance and more varied uses, it still has a reputation in musicological scholarship of being uninteresting and stereotyped. By organising their music in neatly labelled drawers, library music catalogues appear to present a vision of sonorities closely aligned with narratives and images. However, the very same piece may sometimes be heard in widely different contexts. Drawing from an examination of the catalogues of two European library music companies, Audio Network and Cézame, as well as from interviews with composers and music consultants, I focus on how the categories, titles, and descriptions of library music tracks play a relevant role, even a decisive element, in their composition and subsequent use. Taking as examples such categories as ‘romantic’ and ‘erotic’, it is possible to show that these texts reflect and, simultaneously, reinforce widespread narrative and musical conventions in cinema and television. Such classifications potentially contribute to negative views about library music, by making apparent its fundamental organisation around standardised categories and recurrent musical clichés.

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Cushing, Anthony. "Glenn Gould and ‘Opus 2’: An outline for a musical understanding of contrapuntal radio with respect to The Idea of North." Circuit 22, no. 2 (October 18, 2012): 21–35. http://dx.doi.org/10.7202/1012790ar.

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The Idea of North is the first of Glenn Gould’s Solitude Trilogy documentaries. Like the two works that follow it in the trilogy, North attracts a significant amount of attention for its place in a nether region between Gould as a performer and Gould the intellectual. The bulk of the literature on the work debates categorizing it as documentary, radio drama/theatre, or music. Gould’s own descriptions of it encompass all three and render the task of pigeonholing the work difficult. This article will explore what makes The Idea of North musical. I contend that, even if considered as documentary, drama, or music, the work is musically conceived and musical and, as such, is a milestone for Gould in developing his compositional voice.

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Turvey, Malcolm. "Iraqis under the Occupation: A Survey of Documentaries." October 123 (January 2008): 234–41. http://dx.doi.org/10.1162/octo.2008.123.1.234.

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31

Cosci, Marco. "Listening to Another Italy: Egisto Macchi’s New Music for Italian Documentaries of the 1960s." Journal of Film Music 8, no. 1-2 (September 27, 2018): 109–25. http://dx.doi.org/10.1558/jfm.37320.

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32

O'CONNELL, CHRISTIAN. "Time Travelling in Dixie: Race, Music, and the Weight of the Past in the British “Televisual” South." Journal of American Studies 53, no. 1 (October 9, 2017): 197–222. http://dx.doi.org/10.1017/s0021875817001335.

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This article examines a series of British travel documentaries on the American South made since 2008 which are representative of the way in which southern distinctiveness is maintained through television within a transatlantic context. The travelogues focus on historic racial struggles, southern food, and music, and frame the South as a distinctly historical space, where either historical moments obscure the contemporary South, or cultural continuity and resistance to change and modernity are celebrated. The article also discusses the similarities between the travelogues and the southern tourist industry, and how transatlantic “televisual tourism” works against the wider scholarly challenge to southern exceptionalism.

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ÖZŞAN, Tutku Melis, and Ayşegül TURAL. "Coğrafi Unsurların Belgesel Yoluyla İncelenmesi: Anısına Belgeseli Örneği." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 12, no. 2 (June 30, 2023): 1226–43. http://dx.doi.org/10.15869/itobiad.1282903.

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Geography and social studies courses are studied in relation to the interaction between people and place, and alternative techniques that employ visual, auditory elements, and technological processes are supported. In this context, documentaries are among the prominent productions studied in geography topics of social studies. The main aim of this research is to examine geographical elements through documentaries. The documentary series, “Anısına” which consists of 17 episodes and focuses on different artists in each episode, is a music-themed documentary series that stands out in the study. In each episode of the related documentary series, the life story and works of the artist featured in that episode are shared with interested viewers and researchers. A qualitative research method was used in the research process, and the study was conducted in a case study pattern. In the data collection process of the research, the documentary series was examined in detail through document analysis, and in the data analysis section, main and sub-themes related to the subject were created based on the data obtained from each episode through content analysis. According to the results of the study, 9 basic geographical elements were determined as the main theme. The most recurring theme was 'calendar chronology,' while the least recurring geographical element was the theme of 'geographical events.' Based on the study's results, it is thought that using alternative teaching tools such as documentaries (e. g. Anısına Documentary) in the teaching process of geographical elements can motivate and stimulate the students' interest in the course.

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Zychowicz, James L. "Mahler on DVD: An Overview of Art Films, Documentaries, and Concert Videos." Notes 70, no. 3 (2014): 507–21. http://dx.doi.org/10.1353/not.2014.0012.

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35

Kletschke, Irene. "Kulinarisches Hören?" Kieler Beiträge zur Filmmusikforschung 17 (September 4, 2023): 7–30. http://dx.doi.org/10.59056/kbzf.2023.17.p7-30.

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Im ersten Jahrzehnt des 21. Jahrhunderts sind vermehrt Dokumentarfilme über ökologische Themen entstanden, so dass die „environmental documentary“ bereits als Subgenre des Dokumentarfilms gehandelt wird. In der Musik setzen sich immer mehr Künstler*innen und Wissenschaftler*innen mit akustischer Ökologie (acoustic ecology/ecoacoustics), mit einer Öko-Musikwissenschaft (ecomusicology), mit ökologischer Klangkunst (eco sound art), Biomusik (biomusic) und Bioakustik (bioacoustics) auseinander. Anhand verschiedener Filme, die sich mit der Gewinnung und Erzeugung von Lebensmitteln in Zeiten der Globalisierung auseinandersetzen – z.B. Les Glaneurs et la Glaneuse (2000), Mondovino (2004), We feed the world (2005), Unser täglich Brot (2005), Food, Inc. (2008) oder Leviathan (2012) – wird anhand sehr unterschiedlichen Tonspuren untersucht, ob und wie sich die genannten Ansätze aus der Musik(-wissenschaft) für den ökologisch ausgerichteten Dokumentarfilm fruchtbar machen lassen. In the first decade of the 21st century, documentaries about ecological topics became a subgenre of the documentary film. At the same time, in the field of music, an increasing number of artists and scientists are dealing with acoustic ecology or Eco acoustics, with eco-musicology, with ecological sound art, biomusic and bioacoustics. On the basis of various films that deal with the production of food in times of globalization – e.g. Les Glaneurs et la Glaneuse (2000), Mondovino (2004), We feed the world (2005), Unser täglich Brot (2005), Food, Inc. (2008) or Leviathan (2012) – the essay examines whether and how the aforementioned approaches from music and musicology can be made productive for the ecologically oriented documentary film.

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Barber, John F. "Nothing But the Music: Documentaries from Nightclubs, Dance Halls & a Tailor’s Shop in Dakar." Leonardo 54, no. 4 (2021): 474–75. http://dx.doi.org/10.1162/leon_r_02087.

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Cohen, Thomas F. "Other than Vérité: Sound and Moving Image in the Rock Music Documentaries of Peter Whitehead." Framework: The Journal of Cinema and Media 52, no. 1 (2011): 299–312. http://dx.doi.org/10.1353/frm.2011.0007.

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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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Porta-Navarro, Amparo, and Lucía Herrera. "Music and its significance in children favourite audiovisuals." Comunicar 25, no. 52 (July 1, 2017): 83–92. http://dx.doi.org/10.3916/c52-2017-08.

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Audiovisual media are part of children´s daily life. They build and/or replace a part of the reality that is sometimes preceded. This paper is interested in one of the elements of the audiovisual binomial, the soundtrack, in order to analyse its meaning and sense from the children’s point of view. The objectives are: to determine if the audiovisual media clips to which children are exposed (sound, image and all) are perceived differently; to establish the possible differences in the assessment they make when comparing the sound and image presentation modalities. Fourteen audiovisual media (movies, series, cartoons and documentaries) were identified by 115 children (10-12 years old) as preferred. Audiovisuals were edited in three modalities (sound, image, and all) and grouped into different series of three clips, which were watched in group sessions by 547 Spanish and Argentinian children (mean age: 11 years old). An Assessment Questionnaire of audiovisual clips was designed and implemented. Results showed differences in the meaning of the soundtrack in three of the five categories of the questionnaire. The significant predominance of the sound in series, documentaries and, especially, movies is highlighted. Contextual space-time elements, affective implications, feelings, and empathy as well as assessment of the experience are all perceived by means of the sound (the music). Los audiovisuales forman parte de la vida cotidiana de la infancia, construyendo con ellos una parte de la realidad que muchas veces se anticipa y otras sustituye. Este artículo se interesa por una de las partes del binomio audiovisual, la banda sonora, con la finalidad de conocer su significado y sentido desde la propia interpretación infantil. Sus objetivos son determinar si los niños perciben de modo diferente los clips audiovisuales a los que son expuestos (sonido, imagen y todo); establecer las posibles diferencias en la valoración que realizan comparando las modalidades de presentación sonido e imagen. Se identificaron 14 audiovisuales preferidos (películas, series, dibujos animados y reportajes) por parte de 115 niños de 10 a 12 años. Fueron editados en tres modalidades (solo sonido, solo imagen y todo) y agrupados en series de tres clips, que fueron visionados en sesiones grupales por 547 niños, españoles y argentinos, con una edad media de 11 años. Se diseñó y utilizó un cuestionario de valoración de clips audiovisuales. Los resultados mostraron diferencias sobre el significado de la banda sonora en tres de las cinco categorías del cuestionario, destacando el predominio significativo del sonido en series, reportajes y, de manera destacada, en películas. Se perciben por el sonido (la música) elementos contextuales espacio-tiempo, la implicación afectiva, sentimientos y empatía así como la valoración de la experiencia.

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Mahmoud, Asmaa’ Sirry. "The Use of English Attack Strategies in EFL Class." Technium Social Sciences Journal 38 (December 9, 2022): 656–74. http://dx.doi.org/10.47577/tssj.v38i1.7720.

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English Attack is an English Language learning resource designed for today's digital generation of EFL/ESL learners. It combines exercises on short-format video clips from the latest movies hit,T>V series, documentaries, and music videos, learning games, and social networking functionalities-all within a motivational personalized coaching ecosystem. English Attack is an appropriate for all levels of English language learners, and complementing class-based and teacher-led English language instruction. English Attack aims to revolutionize English language learning by leveraging the power of online entertainment. Learning units consistvof exercises based on authentic,current short-format entertainment content.

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Serov, Iurii Eduardovich. "B. Tishchenko's Music for S. Shuster's Documentaries (on the issue of the radical renewal of Russian Symphonism in the 1960s)." PHILHARMONICA. International Music Journal, no. 2 (February 2022): 11–21. http://dx.doi.org/10.7256/2453-613x.2022.2.37784.

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The subject of the study is the symphonic work of the outstanding Russian composer of the second half of the twentieth century Boris Ivanovich Tishchenko (1939-2010). The article discusses his music for the documentary films directed by S. Shuster "Suzdal" (1964), "Palekh" (1965) and "Northern Studies" (1968). The author of the work dwells in detail on such aspects of the topic as Tishchenko's innovative role in the renewal of Russian symphonism in the second half of the last century, reformatting the very foundations of compositional thinking, enriching the sound palette with the help of modern musical avant-garde. Special attention is paid to the issue of B. Tishchenko's inheritance of the great Russian symphonic tradition. В The main conclusion of the article is the idea that B. Tishchenko's music for documentaries of the 1960s accumulated the freshest ideas of the period of renewal in Russian art. A special contribution of the author to the study of the topic is a detailed study of three little-known scores of the composer in the context of an intensive search for "new music". The novelty of the research lies in the fact that the author examines the composer's compositions through the prism of stylistic and linguistic innovations of the 1960s, proves the close connection of Tishchenko's symphonism with his time, with the contradictory cultural and social processes that befell the generation of composers of the "sixties".

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Ratnasingam, Malini, and Lee Ellis. "Sex Differences in Mass Media Preferences Across Four Asian Countries." Journal of Media Psychology 23, no. 4 (January 2011): 186–91. http://dx.doi.org/10.1027/1864-1105/a000054.

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Background. Nearly all of the research on sex differences in mass media utilization has been based on samples from the United States and a few other Western countries. Aim. The present study examines sex differences in mass media utilization in four Asian countries (Japan, Malaysia, South Korea, and Singapore). Methods. College students self-reported the frequency with which they accessed the following five mass media outlets: television dramas, televised news and documentaries, music, newspapers and magazines, and the Internet. Results. Two significant sex differences were found when participants from the four countries were considered as a whole: Women watched television dramas more than did men; and in Japan, female students listened to music more than did their male counterparts. Limitations. A wider array of mass media outlets could have been explored. Conclusions. Findings were largely consistent with results from studies conducted elsewhere in the world, particularly regarding sex differences in television drama viewing. A neurohormonal evolutionary explanation is offered for the basic findings.

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MACISZEWSKI, AMELIA. "Texts, Tunes, and Talking Heads: Discourses about Socially Marginal North Indian Musicians." Twentieth-Century Music 3, no. 1 (March 2007): 121–44. http://dx.doi.org/10.1017/s1478572207000357.

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AbstractIn this study, criss-crossing discourses – written, visual, and aural – are brought together in an effort to shed light on a section of the tawa’if (traditional courtesan) community in contemporary North India. As a kind of companion text to my point-of-view documentaries Guria, Gossip, and Globalization and Chandni’s Choice, I present an overview of the NGO Guria. This organization works to empower tawa’ifs to reclaim their liminality as artists, able to move back and forth between their own profoundly socially marginalized community and mainstream society, a privilege they enjoyed historically but have virtually lost in the present day. I have juxtaposed this with an exegesis of talk, including gossip, about and by these performers and their music. This includes issues of their gossip- and media-driven legacy that have led to their current position, often dangerously vulnerable, in the global marketplace. Finally, I examine the life of a teenage member of a musical matriarchy whose foremothers have been somewhat successful at continuing to traverse the borderlands between various levels of society.

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Bonde, Anders. "Multimodal emergens via musik - Eksemplificeret ved en reklamefilm og en dokumentarfilm [Emergent forms of meaning-making using music in multimodal compositions - Exemplified through a television commercial and a television documentary]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 20. http://dx.doi.org/10.7146/mediekultur.v26i48.2121.

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In this article I will demonstrate an analytic-hermeneutic approach regarding multimodal semiosis in audio-visual media products, such as television commercials and documentaries in which several modalities or semiotic resources co-operate and interact. As a theoretical framework I will exploit the concept of emergence. Although usually associated with philosophy, systems theory and the sciences, this concept can prove instructive in evaluating intermodal correlation in perceptive-aesthetic phenomena as well, seeing that multimodal semiosis is not merely a summation of images plus words plus music. Taking as a point of departure the expressive and semantic potential of music as one component in a coherent multimodal whole, I will discuss a number of profound contributions to the field of music’s semiotic potential in multimedia in relation to a comprehensive analytical framework, which take into consideration the established criteria for emergence. I shall illustrate my approach by analysing a television commercial for “SkandiaBanken”, named Killarna (“The Guys”), and two scenes from a Danish documentary, Fogh bag facaden (“Fogh behind the façade”). All three audio-visual clips include the same musical composition (“Waltz No. 2” by Dmitri Shostakovich), but compared to each other, the music takes on different roles and positions against the other modalities/resources, and consequently, different types of meaning emergence are shaped.

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Zhang, Min. "Multi-Modal Discourse Analysis of Public Crisis Anti-Epidemic Documentaries—Take The City of Heroes as an Example." Theory and Practice in Language Studies 12, no. 3 (March 1, 2022): 511–17. http://dx.doi.org/10.17507/tpls.1203.10.

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With the rapid development of multi-modal discourse analysis theory, discourse research is no longer limited to text analysis. The documentary brings together multiple modalities such as thematic text, subtitles, images, background music, etc., providing researchers with new ideas. This article takes the documentary The City of Heroes launched by Xinhua News Agency as an example, analyzes the discourse of visual, voice and image modality, and explores the meaning conveyed by the documentary in a public crisis, which is conducive to expanding the multi-modality in the documentary. By discourse analysis, we can understand the way it realizes the meaning of the text.

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Tsai, Eva, and Hyunjoon Shin. "Strumming a place of one's own: gender, independence and the East Asian pop-rock screen." Popular Music 32, no. 1 (January 2013): 7–22. http://dx.doi.org/10.1017/s0261143012000517.

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AbstractThe first decade of the 21st century has seen a concurrent rise of pop-rock screen productions in Japan, South Korea and Taiwan, particularly feature films, documentaries and TV series informed by the guitar and/or band culture. This paper probes the popularisation of pop-rock in the region and asks what gender and sexual expressions have been mobilised in such productions and representations. The paper juxtaposes dominant gender tropes, such as the failing male rocker in search of rebirth (Korea), romantic youth pursuing authenticity (Japan), dazzling but also bedazzled rocker-girl on stage (Japan), indie music goddess in control of subdued femininity (Korea) and peripheral girl-with-acoustic-guitar who chronicles boys' sorrow (Taiwan). Responding to the familiar myth of rebellion in pop-rock discourses, our inter-referential analysis suggests that East Asian pop-rock screen is about the making of heterotopias rather than utopias.

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Cipriani, Alessandro, and Giulio Latini. "Global/Local Issues in Electroacoustic Music for the Cinema of the Real: A case study." Organised Sound 13, no. 2 (June 25, 2008): 89–96. http://dx.doi.org/10.1017/s1355771808000125.

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AbstractThe authors describe various experiences regarding the use of sonic materials from local musical cultures and soundscapes in the field of electroacoustic music as applied to the creative documentary. The introduction concentrates on the general characteristics of the process of ‘globalisation’ now underway and on the various different interpretations of it that have been developed over the last fifteen years.A number of methodological and ethical questions are then asked in relation to the debate regarding the global/local dichotomy in the context of electroacoustic and audiovisual elaboration, especially when phonic material originating from the most varied geographic-cultural areas is artistically restructured and reconfigured.In the third part of the article the accent is placed on the personal experiences of the authors regarding the production of pieces of electroacoustic music and documentaries realised in Morocco, China and Lapland.In the last section the article concentrates on a possible diachronic perspective (i.e. studying a phenomenon in its passage through time) by means of which one can come to a relationship with soundscape sounds, and some sonic and visual examples from works realised in Catania and London are supplied.

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Popiołek-Walicki, Aleksandra. "Cultural Importance of the 4th International Chopin Piano Competition in the Light of Polish Music Life Reviving after the WW II." Edukacja Muzyczna 15 (2020): 327–45. http://dx.doi.org/10.16926/em.2020.15.08.

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The article aims at summarizing different activities undertaken to organize and run the first post- war Chopin piano competition. It is an attempt to collect facts, accounts and memories concerning actions initiated by Polish music culture environment after the Second World War. The author fo- cuses on a detailed description of the organization and proceedings of the 4th International Piano Competition, making use of information that has existed in independent sources so far. The article uses diaries, biographies, autobiographies, private notes, interviews with representatives of Polish culture, archive films and documentaries belonging to the Polish Film Chronicle. Press excepts were not used on purpose, as most press information was included in the aforesaid bibliography entries. The analyzed sources let us conclude that the organization of the first post-was Chopin piano competition in Warsaw was an event requiring both the engagement of all state institutions and personal contribution of musicians and music teachers. The author considers such a detailed historical-cultural account justified and necessary, especially in 2020, the 210th birth anniversary of Frederic Chopin, the year in which the 18th Frederic Chopin International Piano Competition was supposed to take place.

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RODRÍGUEZ-SOLÁS, DAVID. "Occupying Las Ramblas: Ocaña's Political Performances in Spain's Democratic Transition." Theatre Research International 43, no. 1 (March 2018): 83–98. http://dx.doi.org/10.1017/s030788331800007x.

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This article demonstrates that José Pérez Ocaña's political performances open up the possibility of questioning the narrative of the transition to democracy in Spain as one resulting from political consensus. Using sources available in documentaries and in the archives of the counterculture, the essay studies Ocaña as a political subject of the transition. Among his public acts, the essay considers his street performances, his sexually explicit performance in the Canet Rock music festival and in International Anarchist Days in 1977, and his problematic participation in gay pride parades in Barcelona. In his public appearances, Ocaña eroded the distinction between public and private while asserting his right to appear. Despite his prominence in countercultural realms, gay activists and anarchist organizations rejected him. I argue that Ocaña opted to disidentify with all labels as he confronted both gender norms and the countercultural public sphere.

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Adams, Lynda. "Creation Explosion in Central Alberta." Canadian Theatre Review 136 (September 2008): 30–33. http://dx.doi.org/10.3138/ctr.136.006.

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2005 sometime, somewhere in Alberta — two artists (Mieko Ouchi and myself) were discussing the fact that a creation explosion was taking place — specifically, in a smallish city in central Alberta, where art galleries displaying exceptional art by local artists were springing up all over, new theatre companies were creating edgy work, local film artists were making award-winning films and documentaries, numerous writers were writing in many forms and getting published and progressive musicians were composing brave and unique new music for distribution. Where exactly was this creation explosion happening? In red-neck Red Deer, where the population is reputedly ultra-conservative. In Red Deer, conveniently situated on the corridor (QE II highway), half-way between Edmonton and Calgary, artists were actively creating new work and weaving their patterns into the tapestry of the Alberta arts community.

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