Tesis sobre el tema "Documentary ethics"
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Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film". Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.
Texto completoSchilt, Paige Eileen. "Fables of authority : ethics, power, and authenticity in contemporary documentary film /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
Texto completoLingwood, James R. "Dancing in the Slaughterhouse: Negotiations Between Documentary Filmmaker and Subject". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/398875.
Texto completoThesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
Full Text
Blackall, David. "John Perceval an ethical representation of a delinquent angel /". Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050215.154037/index.html.
Texto completoTypescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.
Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins". Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.
Texto completoMelzer, Kym M. "Impact and Documentary Filmmaking: Ethical Reflections On A Practice Based Study". Thesis, Griffith University, 2019. http://hdl.handle.net/10072/387285.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
Hart, Phoebe. "Orchids : intersex and identity in documentary". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.
Texto completoHart, Phoebe. "Orchids : intersex and identity in documentary". Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
Texto completoJørgensen, Christine Sander. "Ethical Issues in Documentary Filmmaking - A Case Study of DR's Generation Hollywood". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22615.
Texto completoRibera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.
Texto completoPantoja, Peschard Maria Jose. "The screen as a hospitable border : analysing the ethics, aesthetics and politics of documentary films about migration and border-crossing experiences". Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10724/.
Texto completoThompson, Angela M. "Ethics of seeing and politics of place : FSA photography and literature of the American South /". view abstract or download file of text, 2006. http://wwwlib.umi.com/cr/uoregon/fullcit?p3211227.
Texto completoTypescript. Includes vita and abstract. Includes bibliographical references (leaves 211-224). Also available for download via the World Wide Web; free to University of Oregon users.
Araújo, Juliano José de 1981. "Cineastas indígenas, documentário e autoetnografia : um estudo do projeto Vídeo nas Aldeias". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285321.
Texto completoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Criado em 1986 pelo indigenista e documentarista Vincent Carelli, o projeto Vídeo nas Aldeias (VNA) objetiva fortalecer as identidades, patrimônios culturais e territoriais dos povos indígenas através dos recursos audiovisuais. O VNA atua como uma escola de cinema para os povos indígenas brasileiros por meio de oficinas de formação em audiovisual realizadas nas aldeias e na sede do projeto, em Olinda, no estado de Pernambuco. Desempenha também um papel fundamental como entidade responsável pela captação de recursos, produção e distribuição dos documentários. Nesse contexto, esta pesquisa analisa 28 documentários da série "Cineastas indígenas" realizados entre 1999 e 2011 no âmbito do projeto VNA. Trata-se de seis curtas-metragens e 22 médias-metragens de cineastas indígenas das etnias Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará e Xavante. Essa produção audiovisual de não-ficção é considerada como uma prática de autoetnografia no documentário, à medida que ao conceder a câmera para os indígenas lhes é permitido o que dizer, quando, onde e como filmar, a partir de uma perspectiva interna, na qual eles apresentam suas aldeias, seu cotidiano, sua história, suas festas e rituais, como também os problemas sociais que enfrentam. Nesse sentido, a tese propõe a categoria de documentário autoetnográfico para o corpus analisado, tendo como questões norteadoras: Quais são os procedimentos de criação, métodos de trabalho e condições de realização dos documentários autoetnográficos do projeto VNA? E as posturas éticas, opções estéticas e técnicas neles presentes? Qual a importância desses filmes para as comunidades indígenas que deles participam? Com que finalidade eles são realizados? A partir da análise fílmica, em uma perspectiva textual e contextual, isto é, estabelecendo um diálogo entre elementos internos (imagem, som etc.) e externos dos documentários (entrevistas com realizadores indígenas, equipe do VNA, sujeitos filmados, conceitos das teorias do cinema antropológico e documentário etc.), apresenta-se o estudo do corpus enfatizando, respectivamente, as dimensões ética, estética e política da produção audiovisual de não-ficção do projeto VNA. Considera-se essas três dimensões do discurso fílmico como fundamentais para se compreender melhor a categoria de documentário autoetnográfico que, para além de um conceito dos estudos pós-coloniais, acredita-se constituir em uma tomada de posição e reflexão do campo do cinema diante dos filmes dos realizadores indígenas. A análise dos documentários autoetnográficos do projeto VNA revela: um processo de realização cinematográfica (preparação, filmagem e montagem) no qual a autoria é compartilhada, sendo a ética um elemento presente em todas as etapas; o emprego e a modulação de diferentes gestos estéticos com uma forte influência dos cinemas direto/verdade, mas também questões que emergem com força na produção audiovisual de não-ficção contemporânea, como a encenação e o uso das imagens de arquivo; o papel político desempenhado pelos documentários, tendo em vista que se direcionam aos espectadores não-indígenas, seus enunciatários, para discutir a relação entre história oficial versus história não-oficial, a identidade e cultura indígenas, ou ainda para denunciar, reivindicar e lhes dar visibilidade
Abstract: Created in 1986 by the indigenist and documentary filmmaker Vincent Carelli, the project Vídeo nas Aldeias ¿ VNA (Video in the Villages) aims at reinforcing the identities, cultural and territorial patrimonies of indigenous peoples by means of audiovisual resources. VNA works as a cinema school and provides Brazilian indigenous peoples with workshops on audiovisual production, both in the villages and at the project headquarters, located in the city of Olinda, in the state of Pernambuco. It also plays a fundamental role as the responsible entity for the fundraising, production and distribution of documentaries. In this context, this research analyzes 28 documentaries from "Indigenous Filmmakers", a series produced by VNA from 1999 to 2011. This set of documentaries includes 6 short films and 22 medium-length films by indigenous filmmakers of the ethnic groups Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará, and Xavante. This nonfiction audiovisual production is seen as a practice of autoethnography inside the documentary: once the Indians are provided with cameras, they are also allowed to decide what to say, when, where and how to shoot. From an inner perspective, they present their villages, their daily life, their histories, their rituals and traditional events, as well as the social problems they face. That being said, this dissertation argues that the corpus analyzed in this work fit into the category of autoethnographic documentary and presents the following questions: What are the creation procedures, working methods and realization conditions involved in the production of VNA¿s autoethnographic documentaries? And what are the ethical stances, the aesthetic and the technical options presented by them? What is the importance of these films for the indigenous communities that take part in them? For what purpose are they made? The study of the corpus is based on filmic analysis, from textual and contextual perspectives, that is, establishing a dialogue between internal (image, sound etc.) and external (interviews with indigenous filmmakers, the VNA¿s staff, the filmed subjects, concepts from the anthropological cinema and documentary film theories etc.) elements of the documentaries. It also underscores the ethical, aesthetical and political dimension of VNA¿s nonfiction audiovisual production. These three dimensions of the filmic discourse are seen as fundamental for a better comprehension of the autoethnographic documentary ¿ a category which is not only a concept from the postcolonial studies, but also a way through which cinema takes a stance and reflects on the production of indigenous filmmakers. The analysis of VNA¿s autoethnographic documentaries reveals: a filmmaking process (preparation, filmmaking and montage) in which authorship is shared and the ethics an element present in all these steps; the employment and modulation of different aesthetic gestures, a strong influence from the direct cinema/cinéma vérité, alongside issues that emerge with force in the contemporary nonfiction audiovisual production, such as the staging and the use of archival footage; the political role played by the documentaries, since they are addressed to the non-indigenous public in order to discuss the relation between official and unofficial history, indigenous identity and culture, or even to denounce, claim and give visibility to indigenous peoples
Doutorado
Multimeios
Doutor em Multimeios
Lang, Ian William y 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.
Texto completoLang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
McKessar, Anna Meredith. "Five hours with Raja ethics and the documentary interview : an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Communication Studies (MCS), 2009 /". Click here to access this resource online, 2009. http://hdl.handle.net/10292/685.
Texto completoDias, Verônica Ferreira. "A construção da realidade - o estudo do processo criativo de Eduardo Coutinho na elaboração do documentário Santo Forte". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-23052013-104519/.
Texto completoThe aim of this thesis is to compare and analyze the unedited material with the commercial movie Santo forte to identify - by means of studying the documentary completion process, the selections and articulations of images and testimonials - the authorial trace of Eduardo Coutinho, his methodology (interview based) and his ethics (both directed to the \"social actor\", in order to preserve a person\'s image and the image of the character created, and to the \"spectator\", in order to explain in the movie itself the way it has been constructed). When selecting the participants for his movies, Coutinho takes into account the ability one has to fairly tell their stories - ability that will allow him to create interesting characters. On the one hand, if participants should \"act fittingly\" for the camera, on the other, it is Coutinho´s responsibility to stimulate this performance. To accomplish this, the movie maker uses some strategies for the interviews: starts the interview naturally, dealing with general themes or talking about subjects that he may have in common with the participant; he stays physically close to the interlocutor, he does not follow a script of questions, thus allowing the participant to speak freely; he looks for the appropriate time to resume the issues that he thinks are most interesting; he has the support of people on the staff who have had previous contact with the participant; he does not skip a question asked by the interviewed person and does not enter into confrontation with him.
Baggio, Eduardo Tulio. "Da teoria à experiência de realização do documentário fílmico". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4610.
Texto completoThe main objective of this research is the analysis of the experience of making a documentary film, considering the fundamental traditional theories of documentary filmmaking and also the thoughts of the documentary filmmakers. The starting point of it is that a problem was verified due to the low number of studies on filmmaking, especially on making documentaries, so it reaches up to this essential question: what does the experience of making a documentary film presents the theories do not contemplate? Some complementary objectives are the delimitation of the concept of documentary film, guided by realistic expectations and the organization of a theoretical framework on the thought of documentary filmmakers. The methodology is based on a comparative literature tracing that has three main theoretical routes. First, the realistic thinking that guides the conceptual definition of documentary that I work with, especially authors such as Charles Sanders Peirce and Ivo Assad Ibri, who allow the understanding of man's relationship with the world and its realistic representations, regardless of being filmic or not. Also, the theories of André Bazin, which consider a theoretical framework of realism in cinema, in his ontology of kinetic picture. Secondly, the theories of documentary filmmaking in its transit from the phenomenological perspective, through post- structuralism and coming to cognitive- analytic perspective, as proposed by Bill Nichols, Manuela Penafria, Carl Plantinga and Fernão Ramos. Finally, the thought of the documentary filmmakers, collected and organized in this work as theoretical proposals. The ten documentary filmmakers selected, following specific criteria are: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles and Pedro Costa. Given the prevailing relativism concept presented in film studies today, both in brazilian and international film documentaries, I propose a realistic understanding of documentarism, with contribution of the predominant theoretical trends related to their ethical and formal styles of interaction with the world of documentary filmmakers and their logical consequent of representation thoughts. With this presented, I could then get to the analysis of the realization process itself. The object of analysis of this research is the realization process of the documentary Santa Teresa, which was created for this research, and at it, analyzed. The performance runs the period between mid-2011 and the end of 2013
O objetivo principal da pesquisa é a análise da experiência de realização de um filme documentário, considerando como bases as teorias tradicionais do cinema documentário e o pensamento dos documentaristas. Parte-se do problema verificado quanto ao baixo número de pesquisas sobre realização fílmica, em especial sobre realização de documentários, e chegase até a questão essencial: o que a experiência de realização de um filme documentário apresenta que as teorias não contemplam? Tornam-se objetivos complementares a delimitação de um conceito de cinema documentário norteado por perspectivas realistas e a organização de um arcabouço teórico relativo ao pensamento de cineastas documentaristas. A metodologia de trabalho está fundada em um rastreamento bibliográfico comparativo que apresenta três percursos teóricos principais. Primeiro, o pensamento realista que norteia a definição conceitual de documentário com a qual trabalho, com destaque para autores como Charles Sanders Peirce e Ivo Assad Ibri, que permitem o entendimento da relação do homem com o mundo e suas representações realistas, independente de serem fílmicas ou não. Também, as teorias de André Bazin, que tratam de um aporte teórico do realismo no cinema, em sua ontologia da imagem cinética. Em segundo lugar, as teorias do cinema documentário em seu trânsito desde o viés fenomenológico, passando pelo pós-estruturalismo e chegando ao viés cognitivo-analítico, como proposto por Bill Nichols, Manuela Penafria, Carl Plantinga e Fernão Ramos. Por fim, o pensamento dos documentaristas, coletado e organizado no trabalho como propostas teóricas. Foram selecionados, seguindo critérios específicos, dez documentaristas: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles e Pedro Costa. Diante do relativismo conceitual predominante nos estudos de cinema documentário atuais, brasileiros e internacionais, proponho um entendimento realista do documentarismo, com aporte das tendências teóricas predominantes em seus pensamentos relacionados aos estilos ético-formais de interação dos documentaristas com o mundo e suas consequentes lógicas de representação, para então chegar à análise do processo de realização propriamente dito. O corpus de análise da pesquisa é o processo de realização do documentário Santa Teresa, realizado para a pesquisa e, nela, analisado. A realização percorre o período compreendido entre a metade de 2011 e o fim de 2013
Řádková, Kristýna. "Vývoj fotografie a význam současné reportážní a dokumentární fotografie". Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-194523.
Texto completoPereira, Dieison Marconi. "DOCUMENTÁRIO QUEER NO SUL DO BRASIL (2000 A 2014): NARRATIVAS CONTRASSEXUAIS E CONTRADISCIPLINARES NAS REPRESENTAÇÕES DAS PERSONAGENS LGBT". Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/6366.
Texto completoThrough a queer perspective, this study aims to investigate the representations of LGBT characters in documentaries produced in southern Brazil between 2000 and 2014. By understanding sexuality as a historical device regulation and social order, we discussed how these films appear the representations of gender, body and sexuality of "abject subject" and how to take or not a counteraesthetics and resistance to sexed and gendered norms. Representations as anchors narratives contribute to understanding the processes of imagining and recognize each other, because every film produces representations submitted to the view of a self enunciator, that is, as others see us and design in the film portraits. Postulate that horizon, the intention of this work unfolds in: (1) investigate the ethical stances of the works to articulate the film universe, leading the meanings given to LGBT characters; (2) analyze how the technical and stylistic devices used in the documentary contribute or not to the subversions of discriminatory film portraits; and (3) understand what are the representations that this movie has figured to establish (and down) his speech and queer aesthetics. The choice of the timeline is justified, first, by demarcating the post resumption of Brazilian cinema (NAGIB, 2002). Second, the emergence of a more committed national films with various representations of LGBT people (GARCIA, 2012). Third, it is from the year 2002 there is a greater heating of the national documentary production (Maruno, 2008). And fourth, the configuration of the LGBT movement in the last decade, which struggle for media spaces - including the cinema to give social existence to his speeches against hegemonic (SIMÕES, FACHINI, 2009). 19 mapped movies, analysis procedures underlie the prior literature and the analysis method filmic representation of LGBT characters that make up the filmic scenarios. In the end, it was possible to infer that, in general, the mapped films and analyzed share of an organic commitment to represent these subjects differently, developing an alternative and opposed to negative and stereotypical representations speech, humanizing the subjects that were out of a possible "humanity." Representing these oppositions and resistances to the discourses of prejudiced order, the filmic representations advance, at times, for upgrades and (re) signification of a place that would serve only to reinforce a control and exclusion strategy. However, to constantly seek to oppose the discourses of prejudiced order, some of these movies fall into the trap of reframing representations of these people characters in hegemonic terms, valuing speeches and aesthetic sanitized and aseptic rather reinvent and circumvent the very discursive regime which elects and defines how LGBT should behave to achieve a status of "viable life". While others bet on an identity reification and some open onto views of homosexuality, travestilidade, transsexuality or bisexuality as real critical land deconstruction of sex / gender, representing these subjects through ethnic and identity model. However, there are those films that are not just concerned with opposing the stereotyped portraits, to draw up a positive image of LGBT or reduce your creativity to an identity reification. In addition, betting on a resistance representation is also counterproductive contrasexual and queer.
Através de uma perspectiva queer, este estudo tem por objetivo investigar as representações das personagens LGBT nos documentários produzidos na região Sul do Brasil, entre 2000 e 2014. Ao compreender a sexualidade como um dispositivo histórico de regulação e ordem social, problematizamos como estes filmes figuram as representações de gênero, corpo e sexualidades dos sujeitos abjetos e como assumem ou não uma estética contraprodutiva e de resistência as normas sexuadas e generificadas. As representações, enquanto âncoras narrativas, contribuem para compreender os processos de imaginar e reconhecer o outro, pois todo filme produz representações submetidas ao ponto de vista de um eu enunciador, isto é, como o outro nos vê e nos projeta em retratos fílmicos. Postulado esse horizonte, a intenção desse trabalho se desdobra em: (1) investigar as posturas éticas das obras para articular o universo fílmico, conduzindo as significações dadas às personagens LGBT; (2) analisar como os dispositivos técnicos e estilísticos utilizados no documentário contribuem ou não para as subversões de retratos fílmicos discriminatórios; e (3) compreender quais são as representações que este cinema tem figurado para estabelecer (e se estabelece) seu discurso e estética queer. A escolha do espaço temporal justifica-se, primeiramente, por demarcar a pós retomada do cinema brasileiro (NAGIB, 2002). Em segundo lugar, pelo despontar de um maior número de filmes nacionais comprometidos com representações mais diversas das pessoas LGBT (GARCIA, 2012). Em terceiro lugar, é a partir do ano de 2002 que há um maior aquecimento da produção de documentários nacionais (MARUNO, 2008). E em quarto lugar, pela configuração do movimento LGBT nesta última década, o qual luta por espaços midiáticos entre eles o cinema para dar existência social aos seus discursos contra-hegemônicos (SIMÕES; FACHINI, 2009). Com 19 filmes mapeados, os procedimentos de análise perpassam pela pesquisa bibliográfica prévia e pelo método de análise fílmica da representação das personagens LGBT que compõe os enredos fílmicos. Ao final, pôde-se aferir que, de modo geral, os filmes mapeados e analisados compartilham de um comprometimento orgânico em representar esses sujeitos de maneira diversa, elaborando um discurso alternativo e de contraposição às representações negativas e estereotipadas, humanizando os sujeitos que antes estavam fora de uma humanidade possível . Ao representar estas contraposições e resistências aos discursos de ordem preconceituosa, as representações fílmicas avançam, em alguns momentos, para atualizações e (re)significações de um lugar que serviria apenas para reforçar uma estratégia de controle e exclusão. No entanto, ao buscar constantemente se opor aos discursos de ordem preconceituosa, alguns desses filmes recaem na armadilha de ressignificar as representações dessas pessoas personagens em termos hegemônicos, valorizando discursos e estéticas higienizadas e assépticas (em vez reinventar e burlar o próprio regime discursivo que elege e define como as LGBT devem se comportar para alcançarem um status de vida viável ). Já outros apostam em uma reificação identitária e pouco se abrem para visões da homossexualidade, travestilidade, transexualidade ou bissexualidade como reais terrenos críticos de desconstrução do sexo/gênero, representando estes sujeitos através de um modelo étnico e identitário. No entanto, há aqueles filmes que não estão preocupados apenas em se opor aos retratos estereotipados, em elaborar uma representação positiva das LGBT ou reduzir sua criatividade a uma reificação identitária. Para além disso, apostam em uma representação de resistência que também é contraprodutiva, contrassexual e queer.
Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.
Texto completoLago, Tainah Morais. "Mortes possíveis : análise de manifestações da morte no cinema documentário ocidental". Universidade Federal de Sergipe, 2016. http://ri.ufs.br:8080/xmlui/handle/123456789/3196.
Texto completoEsta pesquisa consiste em um estudo sobre as manifestações da morte em quatro obras do cinema documentário ocidental: Les Maîtres Fous (1954), dirigido por Jean Rouch; Mondo Cane e Mondo Cane 2 (1962 e 1964), dirigidos por Gualtiero Jacopetti e Franco Prosperi; e Nick’s Film: Lightning Over Water (1981), dirigido por Wim Wenders e Nicholas Ray. As obras fílmicas aqui selecionadas apresentam diferentes enfoques sobre a mortalidade, abordando desde a morte do outro, marcado pela alteridade cultural em relação ao cineasta, até a morte de si, inserida em um contexto familiar aos realizadores. O exame empreendido sobre esse conjunto de filmes se alicerça sobre dois elementos fundamentais no campo desse gênero cinematográfico: o primeiro é a questão da inserção da obra em um espaço ético sancionado pela sociedade, e o segundo é referente à indexação do conteúdo fílmico como assertivo. A manifestação visual da morte documentada aponta para um espaço constituído por relações sociais concretas que constroem uma base ética própria, conferindo problematizações de ordem moral aos atos de produzir e/ou assistir tais imagens. É importante esclarecer que a manifestação visual da morte é realizada através dos seus dois correlatos: a violência - praticada contra o corpo vivo - e o cadáver, e que esses dois elementos estão associados ao termo, quando for referido neste trabalho. As concepções de morte atuam na estruturação dos meios de vida e, a partir dessa noção, são retomados dados históricos sobre a iconografia da morte na sociedade ocidental, a partir do período medieval até os dias atuais. A trajetória da confrontação do homem com sua condição de mortal, revelada através dos diferentes meios de apropriação da morte, referentes a grupos sócio-históricos específicos, possibilita a percepção das noções atuais associadas ao tema como resultado de uma construção histórica, e não como sistematizações absolutas. Partindo do princípio de que a antropologia percebe o cinema como um produto cultural, as manifestações da imagem-intensa da morte no filme documentário são entendidas como registros das particularidades da nossa cultura acerca desta temática, constituindo um campo importante para a pesquisa antropológica.
Machado, Katia Regina. "Un regard à double égard sur la misère du monde. Analyse des effets de la forme esthétique des images photographiques de Sebastiao Salgado". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030098.
Texto completoThe photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world
Lichaa, Flora. "Le documentaire en Chine (1905-2017) : entre autonomie artistique et enjeux politiques". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF024.
Texto completoThis thesis proposes to explore the political, aesthetic and ethical issues of documentary in China. Based on a historical research from the birth of Chinese cinema in 1905 to the end of the Maoist era in 1976, I show that documentary was progressively subjected to politics, supporting the construction of a modern nation. Thus, aesthetics could not free itself from politics before the reform of the economic system in the 1980s. From that period onwards, I analyze the strategies adopted by filmmakers to free themselves from their ideological straitjacket, based on field surveys and film analyzes. While television has first enabled the re-evaluation of documentary to promote its diffusion, I show that the strengthening of censorship, following the student protests of 1989, has encouraged some documentary filmmakers to create production and diffusion channels independent from the audiovisual sector. The analysis of this network's organization mode reveals the mechanisms of professional recognition, that lead the filmmakers to develop their activities in the Chinese private sector, while seeking to exist on the international scene. This structural autonomy allows them to develop an ethics aimed at guaranteeing their proximity with the people filmed, who usually belong to the lower classes. However, the interference of the Chinese authorities only allows their films to be shown in festivals which have low visibility in the public space. As they are part of a marginalized space, frequented mainly by artists and intellectuals, their egalitarian aim is hampered by the impossibility of reconnecting with the Chinese audience. This paradox suggests the difficulty of establishing a constructive dialogue between documentary filmmakers and the audience, as long as the Chinese State does not allow the formation of a public sphere, functioning independently of political institutions, bringing together filmmakers, critics and audience members into a concrete community
Noonan, Michael. "Laughing & disability : comedy, collaborative authorship and Down Under Mystery Tour". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/48647/1/Michael_Noonan_Thesis.pdf.
Texto completoHyung, Daejo. "Case study : the ethical dilemma of autobiographical documentary - theory and practice". Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500065.
Texto completoBender, Stuart M. "Learning the documentary lesson: Theory and practice in English". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/6.
Texto completoComer, Kathryn Bridget. "From Private to Public: Narrative Design in Composition Pedagogy". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313075298.
Texto completoArchimbaud, Nicolas. "Vie quotidienne et soins des personnes âgées dépendantes en milieu hospitalier : une enquête filmique à l’hôpital Bretonneau (AP-HP, Paris 18ème)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100169.
Texto completoThis thesis deals with the daily life of the elderly who are patients at the Bretonneau Geriatric hospital, in Paris 18th arrondissement. It studies how these dependent or mentally-ill elders are cared for, focusing on innovative drug-free therapies (art therapy, esthetic therapy, psychomotricity).The field survey took place between 2008 and 2010 and used the method of exploratory filming, making the camera the main tool for the research. Three documentary films were made : Day Hospital (117 min), Short Stay (67 min) and Long Stay (120 min). While shedding some light on the way the institution works, these documentaries show the everyday life of a few patients and make them the main characters of the films. The written part analyses the strategy and the results of the field survey. It stresses the ethical issues raised by the presence of the filmmaker-observer in a highly sensitive environment and with very vulnerable subjects. The detailed analyses deal with the three main themes of the films : configuration of space and of material environment, physical techniques helping with loss of autonomy, interaction rituals between caregivers and patients
Makan, Amit J. "Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20093.
Texto completoAndrade, Gabriel Aguiar de. "O suporte videogrÃfico entre os Ãndios Tapeba: produÃÃo e afirmaÃÃo de identidade Ãtnica". Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9167.
Texto completoCom o advento das câmeras de vídeo, em meados da década de 70, os campos da comunicação e das ciências sociais presenciaram o nascimento de um instrumento tecnológico que alterou uma série de procedimentos teórico-metodológicos dentro da academia. Em posse de equipamentos leves e fáceis de manusear alguns antropólogos começaram a utilizar câmeras de vídeo e/ou gravadores portáteis de áudio em suas pesquisas etnográficas. Do mesmo modo, documentaristas e cineastas empregaram técnicas etnográficas no processo de realização de seus filmes, notadamente os que se davam em comunidades indígenas ou populações isoladas. Na presente dissertação analisamos dois vídeos sob o ponto de vista da utilização do suporte videográfico como instrumento de afirmação étnica e produção de uma identidade indígena Tapeba, verificadas nas ações construtivas de memória identitária que se desenvolvem dentro e a partir dessas narrativas audiovisuais, bem como através da forte presença da oralidade. Desde o início da década de 80, período que em intensificaram-se as manifestações indígenas no Ceará e em outros estados do Nordeste, várias produções audiovisuais (fotografias e documentários) fizeram parte de uma espécie de estratégia para valorização e difusão dos interesses indígenas.
With the advent of video cameras in the mid-70s, the fields of communication and social sciences witnessed the birth of a technological tool that changed a number of theoretical and methodological procedures within the academy. In possession of equipment lighter and easier to handle some anthropologists began to use video cameras and / or portable audio recorders in his ethnographic research. Similarly, documentary filmmakers and ethnographic techniques employed in the process of making their films, especially those that occurred in indigenous communities or isolated populations. In this dissertation we analyze two videos from the point of view the use of videographic support as an instrument of ethnic affirmation and production of an indigenous identity Tapeba, constructive actions observed in memory of identity that develop in and from those audiovisual narratives, and through strong presence of orality. Since the beginning of the 80s, a period of intensified manifestations in Ceará indigenous and other Northeastern states, several audiovisual (photographs and documentaries) took part in a kind of strategy use and dissemination of indigenous interests.
Shutt, Jason. "A New Circle". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3031/.
Texto completoUrniaz, Piotr. "Redigering och skuld : Ett kognitivt perspektiv på redigeringensfunktioner i ansvarsutkrävande tv-reportage". Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-66907.
Texto completoCalixto, Salazar Juan Carlos. "Ethical hacking aplicado al sistema de gestión documental de la ONPE para evitar vulnerabilidades y acceso no autorizado a la información". Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/14583.
Texto completoTrabajo de suficiencia profesional
de, León Hernández María Julia. "ENCUENTRO CON LA PRECARIEDAD: LA REAPARICIÓN DEL GITANO EN EL CINE DOCUMENTAL ESPAÑOL DE LA CRISIS DE 2008". UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/43.
Texto completoBrito, Ewerton William Gomes. "A documenta??o odontol?gica sob a ?tica dos cirurgi?es-dentistas de Natal-RN". Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/17087.
Texto completoCoordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The dental documentation or handbook is a collection of documents produced by the professional with diagnostic and therapeutical purpose where the inherent information to the buccal and general health of patients are registered. The register and proper filling of these documents, taking care of the ethical and legal requirements, provide to the dentist the possibility to contribute with justice in cases of human identification and makes of these documents an essential element of evidence in the ethical processes, administrative, civil and criminal against the dentists. Ahead of this fact, understanding such requirements and the importance of the dentist to register himself adequately, this research verified the knowledge of Natal (RN) City s dentists with relation to the elaboration of the dental handbook, investigating the concepts and the importance attributed to the handbook, identifying the documents more used and filed by these professionals, besides inquiring the legal value of filed documents and the filling time of these ones. The sample was constituted by 124 dentists, who had answered a questionnaire, after having been randomly selected ITom a list of professionals subscribed in the Dentistry Local Council/RN Section. The analysis of the results showed that majority of the participant cit?zens (52,3%) confers to the dental documentation the clinical importance, followed by the legal and forensic-dentistry importance; 59,3% of the searched professionals do not distinguish satisfactorily or they do not observe differences between the dental handbook and the clinical filing card, the X-rays, the dental certificates, the prescriptions, the directions and the receipts; between the documents of common use to cl?nical and specialist ones, the contract of rendering of services and term of ITee and cleared up consent are the documents less used by the professionals. It was still verified, that only 13,1% of the sample register the signature of the patients in the clinical filing card, making it more credibility to be presented in judgement. In the same way, copies of dental certificates and prescriptions evaluated and signed by the patients are filed respectively by only 13,5% and 9,4% ofthe searched professionals and 50% ofthe sample, keep these documents filed for an indeterminate period of time, that is, these professionals have the guard of the handbook and they do not intend to disdain it, although 85,5% of the sample does not recognize the real proprietor of the handbook. It is concluded that a great part of the dentists is unaware about the importance of the dental documentation, and neglect its elaboration, leaving themselves exposed to several kinds of penalties foreseen in the legislation
A documenta??o odontol?gica ou prontu?rio odontol?gico ? uma cole??o de documentos produzidos pelo profissional, com finalidade diagn?stica e terap?utica, onde s?o registradas as informa??es inerentes ? sa?de bucal e geral dos pacientes. O registro e arquivamento correto destes documentos, atendendo as exig?ncias ?ticas e legais, proporcionam ao cirurgi?odentista a possibilidade de contribuir com a justi?a nos casos de identifica??o humana e faz destes documentos um elemento de prova essencial nos processos ?ticos, administrativos, civis e penais contra os cirurgi?es-dentistas. Diante deste fato, entendendo tais exig?ncias e a import?ncia do cirurgi?o-dentista documentar-se adequadamente, esta pesquisa verificou o conhecimento cirurgi?es-dentistas do munic?pio de Natal- RN com rela??o ? elabora??o do prontu?rio odontol?gico, investigando os conceitos e a import?ncia atribu?da ao prontu?rio, identificando os documentos mais utilizados e arquivados por estes profissionais, al?m averiguar o valor jur?dico dos documentos arquivados e o tempo de arquivamento destes. A amostra foi constitu?da por 124 cirurgi?es-dentistas, que responderam um question?rio, ap?s terem sido alocados aleatoriamente a partir de uma lista de profissionais cadastrados no Conselho Regional de Odontologia - RN. A an?lise dos resultados mostrou que maioria dos sujeitos participantes (52,3%) confere ? documenta??o odontol?gica a import?ncia cl?nica, seguida pela import?ncia jur?dica e odontolegal; 59,3% dos profissionais pesquisados n?o distinguem satisfatoriamente ou n?o observam diferen?as entre o prontu?rio odontol?gico e a ficha cl?nica; os documentos mais utilizados s?o a ficha cl?nica, as radiografias, os atestados, as receitas, os encaminhamentos e os recibos; entre os documentos de uso comum a cl?nicos e especialistas, o contrato de presta??o de servi?os e o termo de consentimento livre e esclarecido s?o os documentos menos utilizados por estes profissionais. Verificou-se, ainda, que apenas 13,1% da amostra registra a assinatura dos pacientes na ficha cl?nica, dando-lhe mais credibilidade para ser apresentada em ju?zo. Da mesma forma, c?pias de atestados e receitas avalizadas e assinadas pelos pacientes s?o arquivadas respectivamente por apenas 13,5% e 9,4 % dos profissionais pesquisados e 50% da amostra mant?m estes documentos arquivados por um tempo indeterminado, ou seja, estes profissionais t?m a guarda do prontu?rio e n?o pretendem desprez?-Io, apesar de 85,5% da amostra desconhecer o verdadeiro propriet?rio do prontu?rio. Concluiu-se que uma grande parte dos cirurgi?esdentistas desconhece a import?ncia da documenta??o odontol?gica, e negligenciam a sua elabora??o, deixando-os predispostos as v?rias penalidades previstas na legisla??o
Junior, João Baptista Opitz. "Erro médico em cirurgia do aparelho digestivo: contribuição para o estudo das provas técnicas, periciais e documentais e suas implicações jurídicas". Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/5/5154/tde-04042007-080142/.
Texto completoThirty legal proceedings, which are in progress before the Regional Civil Courts both the Capital and the countryside of the State of Sao Paulo, Brazil, besides Examination Institutions in the Capital city of Sao Paulo, have been analyzed in this work Individual excerpts of each case were taken with the purpose of defining the main causes and documentation attached to them as well the consequences of each condition. The practical importance of the subject for the medical-social evolution has been addressed in the first place. The physician/patient relationship view was sought to be studied, even during the claim, as well as the information of the medical procedures and limitations to the patient and his or her family; the technical/legal documentation attached to the case; the physician technical/legal preparation and whether the filing of the action depends on the professional education and specialization. Trial court cases from 1996 to 2002 related to digestive system surgery have been analyzed. The analysis subject hereof has been based exclusively on the documents attached to the case record, where attempts have been made to evidence the clear existence of the breach of the physician/patient relationship, the existence of informed consent, the examination of the documentation attached to the defense by the parties or court request, and the qualification of the professional involved in the actions. Finally, after the results have been analyzed, a conclusion was reached that the best way of avoiding a civil action for damages due to medical malpractice includes: a good relationship between doctors and patients; keeping the patient record completed, legible, stamped, and signed; informed consent, which must be prepared but it is not sufficient on its own; and the professional technical experience and background do not constitute a mitigating circumstance for filing the action.
Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.
Texto completoDonovan, Kay. "Tagged: a case study in documentary ethics". 2008. http://hdl.handle.net/2100/778.
Texto completoThe growing concern about the role of ethics in western society has also touched documentary film-making. Yet, since the emergence in the late 1980s of the first journal articles discussing documentary ethics, the theoretical exploration of the key arguments in this field has been fitful. Debates amongst filmmakers about ethics are often immersed in topical discussions of production issues or issues relating to a few controversial films. With the exception of a few insightful works, there is little new analysis or examination devoted to exploring ethics in this discipline. This dissertation adds to the available body of work by examining in depth the ethics encountered in the production of a documentary film, Tagged, with young people, especially the ethics encoded in the aesthetic and discursive elements of the film. Theoretical discussions about ethics range from the analytical focus on the ethics of representation, through the use of subjective modes of expressivity and filmic techniques to epistemological analyses of specific issues such as privacy and the nature of consent that draw on legal and medical models. A study of relevant documentary films reveals the variety of approaches to the moral values reflected in their discourses and visual representations, and a range of authorial voices, heavily influenced by the relationship between filmmakers and subjects and by the production circumstances of each film. In Australia, broadcasters, funding bodies and production companies dominate the documentary film-making environment and their codes, editorial policies and protocols influence the whole sector of documentary filmmaking. By categorizing documentary within the broad scope of factual programming, they reflect an institutional gaze that fails to acknowledge those individuals including children and youth, who participate in its production. Through my examination of ethics in both the theory and practice, I address the relevant question of whether there should be a code of practice for documentary film-making. In focussing on my own ethical position and its translation into practice through the making of Tagged, I explore the ways in which the ethical stance that I established is pivotal to the documentary and represented both in the text and in the pragmatic choices of production. This led me to conclude that the development of an ethical position specific to a current project is an effective focus on the potential ethical conflicts in a production. From this I argue that while a broad code of conduct can provide valuable guidelines, it cannot replace the filmmakers’ investigation of their ethical practice and their establishment of an ethical statement and stance for their films thus creating a platform from which ethical conflicts can be understood and either avoided or resolved.
Hartzell, Lea Claire. "Ethics in documentary filmmaking : an anthropological perspective". Thesis, 2003. http://hdl.handle.net/2429/14094.
Texto completoBilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary". Thesis, 2015. https://vuir.vu.edu.au/26229/.
Texto completoRudin, Daniel. "Negotiating documentary space". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5803.
Texto completotext
Cherian, Antony 1974. "I give you my word : the ethics of oral history and digital video interpretation at Texas historic sites". 2012. http://hdl.handle.net/2152/19539.
Texto completotext
Houston, Natalie. "Coloured lens : a study of the socio-cultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, towards a photographic documentary". Thesis, 2012. http://hdl.handle.net/10321/761.
Texto completoSocial issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.
YU, TSU-YING y 游子瑩. "How Documentary Represents Identity: Images of Self and Ethnic Group in Bauki Angaw’s Documentaries". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/a7maqy.
Texto completo慈濟大學
傳播學系碩士班
104
As unrecognized indigenous people, the Ping-Pu indigenes in Taiwan were “disapeared” ethnic groups for official institutions and most of scholoars, and the recognition movement of Ping-Pu indigenes was suppressed by state apparatuses according Martial Law. After the abolition of Martial Law at the end of 1980s, some aboriginal directors started shooting the history and present situation of their own tribes and peoples by a genre of documnetary films. Pan chaur-cherng ( family name: Bauki Angaw)is one of these documentary film makers , who has filmed over 10 documentaries about Ping-Pu indegenes in last 20 years and still practicing now. This thesis analyze three documentaries filmed by Bauki Angaw. They are “NIAO TA DAN ZI DE GA MA LAN”(鳥踏石仔的噶瑪蘭) ,“DAI ZHI DA TIAO FAN QIN YOU LAI MEI” (代誌大條——番親有來沒)and “YUAN MIN HUI ZHAN GONG CE”(原民會戰功冊), all about identity of Ping-Pu peoples. The first one was filmed at end of 1990s and the last one was finished at 2013. As documentaries about ethnic recognition, these three ones have not only echoed the history of reconition movement of Taiwan plains indigenes, they were also the expression of Bauki Angaw’s points of view. This thesis uses the method of theme analysis exploring the meanings implied in the subject titles of films and trying to sum up research-related significance within chaotic materials in appearance.The main theme of “NIAO TA DAN ZI DE GA MA LAN” is awaking of personal identification. It recorded the awaking process of ethnic consciusness of Bauki Angaw himself by linking the family story and history of Kavalan, an ethnic group of Ping-Pu indigenes. The main theme of “DAI ZHI DA TIAO FAN QIN YOU LAI MEI” (代誌大條——番親有來沒)is the collective identification and its dilemma. It recorded hard situations that a Syraya tribe, another unrecognized Ping-Pu people, faced in the struggle for ethnic identity. The main theme of “YUAN MIN HUI ZHAN GONG CE”(原民會戰功冊)is struggle for recognition. This films is about how state apparatuses suppress the calling-for of recognition by Ping-Pu peoples. There is one axle running through three documentaries , that is recognition. For Bauki Angaw, the documentary is a tool for praxis. And here it is a tool for the struggle of recognition of Ping-Pu people
Chen, Yi-Zong y 陳義宗. "Showing Up and Speaking Out—Indigenous Documentary Filmmakers’ Life Course, Ethnic Identity, and Film Making". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/6aa7zg.
Texto completo國立臺灣大學
新聞研究所
102
Indigenous documentary filmmakers use video camera to shoot their own ethnic group and convey indigenous identity and ideology which they are aware of. Documentary films made by these filmmakers not only conserve the aboriginal traditional culture, but also establish the counter-discourse to resist against hegemony from mainstream society and put indigenous subjectivity into practice. This study applies life course analysis to explore indigenous filmmakers’ life experiences which are intertwined with their ethnic identity and broader social context factors. This study finds that tribal life experience is the key factor in shaping the indigenous identity and awareness of these filmmakers. The relationship between filmmakers’ tribal experience and their indigenous identity can be identified as two groups including “conflict-type” and “harmony-type”. This study also reveals that indigenous documentary filmmakers pursue “self-realization” and take social action through filmmaking. Their struggles to pursue indigenous subjectivity reflect and consistent with the development of indigenous rights in Taiwan.
Nevanti, Kirsi. "In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilm". Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-262.
Texto completoStenne, Raphaëlle. "Phénomène de biohype dans des articles scientifiques rapportant des résultats issus de recherches cliniques en nutrigénétique/nutrigénomique : caractérisation et perception des chercheurs". Thèse, 2014. http://hdl.handle.net/1866/11448.
Texto completoThe development of the nutrigenetics/nutrigenomics (NGx) has generated many expectations since the associated benefits are potentially beneficial for everyone, that is to say, both for healthy and sick individuals. High expectations were also associated with the Human Genome Project (HGP), but as of today only a few have been realized. The HGP thus evolved in a context marked by biohype, i.e., the promotion of exaggerated or unrealistic benefits. Given the importance of expectations associated with the development of NGx and the methodological limitations faced by clinical research conducted in this area, the main objective of this thesis is to determine whether scientific publications reporting results from clinical research conducted in Ngx contribute to the emergence of a biohype phenomenon. More specifically, it will also document the perception of researchers working in this area concerning this phenomenon, try to identify factors that could explain its emergence in scientific literature specific to NGx and suggest ways of actions to mitigate the risks associated with this phenomenon. We first conducted a document analysis of scientific articles reporting results from clinical research in NGx. This revealed that many benefits were promoted in the literature even though the methodological limitations were not necessarily presented or discussed. This observation led us to believe that the promoted benefits were potentially premature. We then sought to validate our findings among researchers working mainly in the field of NGx. Our survey revealed that researchers were generally in agreement with the benefits that we identified in the scientific articles. However, they did not consider that their realization was feasible in the medium term. This survey also revealed that the methodological limitations currently encountered in the conduct of clinical research raised doubts about the realistic outcome of the benefits promoted in scientific articles. These data confirm our observation that a biohype phenomenon is actually emerging in scientific articles reporting results of clinical research in NGx. Besides information about the audiences targeted by researchers and the elements that need to be included in a scientific article, the survey also helped us better understand the advantages associated with the promotion of benefits. The majority of researchers interviewed found that the promotion of benefits in a scientific article would increase the chances of a manuscript being accepted for publication and also foster continuing funding of the research area. In a competitive environment such as biomedical research, the promotion of benefits seems to be an avenue taken to stand out from the field. Although promoting premature or exaggerated benefits are not considered as being scientific misconduct, biohype can cause a weakening of the trust between the public and researchers. Ultimately, it can hinder the continuity of sound scientific research. Based on these findings, one of the strategies that could be use to prevent or mitigate the occurrence of the risks associated with biohype would be to increase awareness of the issue amongst researchers and scientific journal editors. Specifically, we encourage the integration of guidelines on the management of biohype within the codes of conduct that have been put in place to promote good practices in research.