Academic literature on the topic 'Post-industrial documentary'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Post-industrial documentary.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Post-industrial documentary"
1
Andrews, Kylie. "National History or Post-Industrial Commodity?: Negotiating Australian History Through Television Documentary." History Australia 8, no. 1 (January 2011): 196–214. http://dx.doi.org/10.1080/14490854.2011.11668363.
Full text
2
Campion, Garry. "People, process and the poverty-pew: a functional analysis of mundane buildings in the Nottinghamshire framework-knitting industry." Antiquity 70, no. 270 (December 1996): 847–60. http://dx.doi.org/10.1017/s0003598x00084118.
Full textAbstract:
Industrial archaeology has traditionally concentrated on the recording and study of technological and engineering survivals — hence the name ‘industrial’ as, often, a near-synonym for ‘post-medieval’ in naming the archaeology of early modern capitalism. This study of three mundane industrial buildings draws upon building and documentary evidence as aids to understanding working structures not distinguished by technological or engineering innovation.
3
Schwartz, Gregory. "Employment Restructuring in Russian Industrial Enterprises." Work, Employment and Society 17, no. 1 (March 2003): 49–72. http://dx.doi.org/10.1177/0950017003017001252.
Full textAbstract:
Labour market developments in post-Soviet Russia have presented liberal economists with an apparent paradox: the absence of mass compulsory redundancies in the face of substantial collapse in output. The seemingly irrational `labour hoarding' in Russian enterprises has been interpreted as either influenced by workers choosing a wage cut in exchange for job security, or enterprises resisting redundancies in order to obtain state funding, or as a result of rent-seeking firm behaviour. However, systematic research on employment decision-making in industrial enterprises presents another picture. By combining documentary sources with interviews conducted in six industrial enterprises in Russia, this article will suggest that the disproportionate correlation between employment and production decline lies in the fact that the acute technological and structural degradation of the post-Soviet economy has resulted in enterprise adjustment being made through demand for labour.
4
Evrard, Audrey. "Shifting French Documentary Militancy: From Workers' Rights to an Ethics of Unemployment." Nottingham French Studies 55, no. 1 (March 2016): 96–116. http://dx.doi.org/10.3366/nfs.2016.0141.
Full textAbstract:
If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and Christophe Coello. Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) unapologetically and uncompromisingly reject the normative legitimacy of waged employment as a warrant of individual and social productivity. Nonetheless, it would be highly reductive to see in these two films and in the filmmakers' project a celebration of idleness. Rather, as they strive to restore the productive value of individuals unable and unwilling to enter the labor market, they reject what the filmmakers see as leftist politics' complacency about capitalism's promotion of work as an ethics of self-realization. Drawing from Jacques Rancière's emphasis on the proletariat's self-identification and incidental political inscription in late nineteenth-century society, this analysis argues that the two films discussed here operate therefore a political and aesthetic shift away from twentieth-century militant cinema by replacing the figure of political consciousness commonly associated with industrial capitalist society, namely the worker, with the unemployed post-industrial subjects of the late-twentieth and early twenty-first centuries.
5
Roychoudhuri, Ranu. "Documentary Photography, Decolonization, and the Making of “Secular Icons”: Reading Sunil Janah’s Photographs from the 1940s through the 1950s." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 46–80. http://dx.doi.org/10.1177/0974927617717898.
Full textAbstract:
Through historicizing photographs made by celebrated Indian photographer Sunil Janah (1918–2012), this paper will elucidate the ways in which Janah created “secular icons” of historical moments during India’s passage from the colonial to the postcolonial. I will primarily focus on two sets of Janah’s photographs: the first set is from the 1940s, and centers on the Bengal Famine of 1943, communal violence, and the displacement of population before and after the partition of 1947, while the second set is from the 1950s, and emphasizes in particular photo-documentations of independent India’s industrial growth during the first two five-year plans. Contrast between these two sets will focus on two distinct ways of becoming iconic, while also highlighting the politics of revival/retrospection and the ways in which particular genres of photographs are memorialized, while others remain relatively unknown. Later day viewers of Janah’s photographs have seen only the political import of his pre-independence photographs of the Bengal Famine (1943) and the post-Partition mass exodus, while I argue for a seamless continuity between Janah’s pre-Independence social-documentation and post-independence industrial photography. I further contend that Janah’s photographs were material traces of an indubitable reality that embodied and at the same time exceeded their ideological message.
6
Paton, Kevin. "Waterway to Go! Excavations at Lochrin Basin, Edinburgh." Scottish Archaeological Journal 44, no. 1 (March 2022): 46–63. http://dx.doi.org/10.3366/saj.2022.0164.
Full textAbstract:
Regeneration of the former industrial areas surrounding Tollcross, Edinburgh, has provided opportunities to rediscover some of the important elements of the area's industrial past. Constructed as a private enterprise that linked into the newly constructed canal network, Lochrin Basin was a significant example of an ambitious family enterprise of the 19th century. Due to its private status and abandonment in the late 19th century, it was infilled and was unfortunately not given the same protected status as the rest of the canal network. However, excavations at the site of the former canal basin revealed that it survived mainly intact, with some surprising elements encountered. As part of the post-excavation process, a programme of documentary research was undertaken to provide a more comprehensive history of Lochrin Basin's inception, construction, and use.
7
Miranda, Ronaldo Leão, and Gilberto Friedenreich Dos Santos. "GREEN GDP INDICATOR: APPLICATION IN A BRAZILIAN FOUNDRY INDUSTRY (2008-2016)." Revista de Administração e Negócios da Amazônia 12, no. 1 (May 30, 2020): 41. http://dx.doi.org/10.18361/2176-8366/rara.v12n1p41-59.
Full textAbstract:
The objective is to calculate the value of the green industrial PIB of a foundry in the territory of Santa Catarina and to contextualize its importance as a new methodological tool. To legitimize the objective of this study, the green GDP equation is equal to the Gross Sales Revenue (Industrial GDP) - (Depletion of Water Resources + Cost of Environmental Degradation). In this context, the depletion of natural resources corresponds to the total value of the extraction of water resources, and the cost of sectoral environmental degradation is given through the proxies of the methodology of the Industrial Pollution Projection System (IPPS) applied directly to the industrial product sector. estimate of the cost of the industrial sector studied here. Methodologically, it is an exploratory, descriptive, explanatory, bibliographic, documentary and ex post facto study. As a result, the green GDP of the foundry was lower than the industrial GDP in all the surveyed years. It is noticed that the industrial economic activity of the foundry, within these parameters of analysis, signals a loss of future sustainability, taking into account the years investigated. Therefore, in order for this particular industry to reverse this scenario, investments in technologies are necessary, in order to minimize the consumption of natural resources and consequently maximize its green GDP.
8
Ashmore. "Time and Mobility in Photographs of the Northeast Industrial Landscape." Arts 8, no. 3 (September 9, 2019): 116. http://dx.doi.org/10.3390/arts8030116.
Full textAbstract:
This paper addresses documentary landscape photographs of the industrial and post-industrial Northeast of England from 1983 to 2005. Adopting a “mobilities” approach, this paper addresses these images as revealing a process, in which the movement of things and people, on multiple scales and timeframes, continually adapts space and the subjectivities of the people inhabiting it. The representation of mobility is considered in relation to issues of time in the photograph and it proposes one approaches these images not as static representations of a singular time and place but as part of an extended “event”. This interpretation was suggested by Ariella Azoulay and the approach encompasses the historical circumstances of their making, in addition to the multiple viewing positions of their consumption. As such, these photographs suggest an ongoing relationship between power, movement and dwelling. The paper advocates for a contemplative, relational viewing position, in which viewers consider their own spatio-temporal and socio-political position in regard to those landscapes, as well as a continuum of mobilities.
9
Long, Philip. "Popular music, psychogeography, place identity and tourism: The case of Sheffield." Tourist Studies 14, no. 1 (December 10, 2013): 48–65. http://dx.doi.org/10.1177/1468797613511685.
Full textAbstract:
Tourism and cultural agencies in some English provincial cities are promoting their popular music ‘heritage’ and, in some cases, contemporary musicians through the packaging of trails, sites, ‘iconic’ venues and festivals. This article focuses on Sheffield, a ‘post-industrial’ northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a ‘psychogeographical’ sense of place in the ‘soundscape’ of the city.
10
Delgado Pereira, Arturo. "Reenactment as Social Action: The Making of Encierro." International Journal of Film and Media Arts 7, no. 1 (October 3, 2022): 27–47. http://dx.doi.org/10.24140/ijfma.v7.n1.02.
Full textAbstract:
On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it?
Dissertations / Theses on the topic "Post-industrial documentary"
1
Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
Full textAbstract:
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
2
Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
Full textAbstract:
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
Books on the topic "Post-industrial documentary"
1
Camilo José Vergara : Tracking Time: Documenting America's Post-Industrial Cities. Kerber Verlag, 2016.
Find full text
2
Kishore, Shweta. Indian Documentary Film and Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474433068.001.0001.
Full textAbstract:
Independent documentary is enjoying a resurgence in post-reform India. But in contemporary cinema and media cultures, where ‘independent’ operates as an industry genre or critical category, how do we understand the significance of this mode of cultural production? Based on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a 'tactical practice’, contesting the normative definitions and functions assigned to culture, cultural production and producers in a neoliberal economic system. Focusing on selected filmmakers, the book establishes how they have reorganised the dominance of industrial media, technology and social relations to develop practices that build upon principles of de-economisation, artisanship and interdependence.
3
Blatt, Ari J., and Edward Welch, eds. France in Flux. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941787.001.0001.
Full textAbstract:
The look and feel of metropolitan France has been a notable preoccupation of French literary and visual culture since the 1980s. Numerous writers, filmmakers and photographers have been drawn to articulate France’s contrasting spatial qualities, from infrastructural installations such as roads, rail lines and ports, to peri-urban residential developments and isolated rural enclaves. In doing so, they explore how the country’s acute sense of national identity has been both asserted and challenged in topographic terms. This wide-ranging collection of essays explores how the contemporary concern with space in France has taken shape across a range of media, from recent cinema, documentary filmmaking and photographic projects through to television drama and contemporary fiction, and examines what it reveals about the state of the nation in a post-colonial and post-industrial age. The impact of global flows of capital, trade and migration can be mapped through attention to the specificities of place and topography. Investigation of liminal locations, from seaboard cities and abandoned industrial sites to refugee camps and peasant smallholdings, interrogates the assertion of a national territory (and thereby, a national identity) through the figure of the hexagon, and highlights the fluidities, instabilities and lines of flight which render it increasingly unsettled.
Book chapters on the topic "Post-industrial documentary"
1
Jørgensen, Anne Mette. "A Gentle Gaze on the Colony: Jette Bang’s Documentary Filming in Greenland 1938–9." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0018.
Full textAbstract:
This chapter discusses one of few women documentary filmmakers of the Arctic, Danish Jette Bang. A prolific photographer and filmmaker in Greenland throughout her career, Jørgensen shows how the early color film Inuit (1940) was nimbly shot and cinematographically deliberate. Made for the 1940 International Polar Year, the film and accompanying photo book created substantial media coverage when it premiered in Copenhagen. Bang’s later films, including her depictions of a changing Greenlandic society in the 1950s and 60s, this chapter argues, were made with the intent to both document Greenlandic life in the post-war era and as a testament to Denmark’s benevolent colonial rule of Greenland. Bang’s films thereby showcase the welfare state and industrial modernization processes imported Greenland, while maintaining an interest in ‘traditional’ practices and customs.
2
Sánchez Gaviño, Arantxa. "Valoración de la apropiación digital: base de propuesta educativa." In Reflexiones sobre la educación en diseño en contextos de emergencia, 218–24. Universidad Autónoma Metropolitana. Unidad Azcapotzalco. División de Ciencias y Artes para el Diseño., 2022. http://dx.doi.org/10.24275/uama.2901.9237.
Full textAbstract:
La apropiación de las tecnologías digitales y el aprendizaje del diseño industrial son dos procesos íntimamente relacionados. Dicha apropiación requiere una profunda reflexión acerca del uso tecnológico razonado, para acentuar el compromiso social y ambiental que el aprendizaje sobre el diseño industrial conlleva. Esta correspondencia pudiera ser el artífice que trabaje en la construcción del mundo entero, con el alma estética, artística y sistemática, desde una profundidad responsable y creadora de cada profesional del diseño, integrado en equipos multidisciplinarios. Este trabajo tiene el objetivo de abordar aspectos como la definición del significado de apropiación de las tecnologías digitales, una reflexión desde el abordaje teórico-filosófico y los principios generales de una propuesta educativa prospectiva, en un contexto post COVID-19. Desde un análisis documental, se plantea una investigación exploratoria y cualitativa, de alcance transversal, bajo el supuesto de una ausencia de la apropiación adecuada. Se espera documentar en los resultados si las acciones personales de los estudiantes de la Maestría en Innovación y Diseño, en la Universidad de Guadalajara, son resultado de una toma de conciencia responsable, para adecuar el uso de tecnologías en sus aprendizajes, al adquirir información con filtros, comprobar su veracidad, compartir la propia con seguridad y ejercer valores en la interacción digital, para convertirse en productores de conocimiento, o si son dependientes tecnológicos en beneficio de otros.
3
Loukopoulou, Katerina. "“A Campaign of Truth”." In Cinema's Military Industrial Complex. University of California Press, 2018. http://dx.doi.org/10.1525/california/9780520291508.003.0018.
Full textAbstract:
This chapter, by Katarina Loukopoulou, discusses the Marshall Plan (MP) documentary films about Greece in the post–World War II geopolitical context. Drawing on archival research, it explores documentaries that propagated the beneficial impact on Greece of the U.S.-funded European Recovery Program (1948–52, widely known as “Marshall Plan”) both in terms of economic reconstruction and geopolitical stability. It then analyses the audio-visual rhetoric of two MP films about Greece—Victory at Thermopylae (1950) and Island Odyssey (1950)—in relation to the ideological context of the Greek Civil War (1945–49), during which U.S. military intervention played a decisive role. The chapter contributes to the growing literature about the MP publicity campaign and Cold War cultural propaganda.