Tesis: "Documentary film"

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Lange, Shara K. "Documentary Film Engagement". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3651.

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Lange, Shara K. "Documentary Production & Documentary Problems". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

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3

Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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4

Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.

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5

Meiser, Cory. "Documentary Film: Love's Story". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

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6

Bell, Leah Helanie. "Documentary Film: Access Denied". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.

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Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.

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7

Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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8

Dinc, Nefin. "Documentary Film: I Named Her Angel". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.

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Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.

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9

Rughani, Pratap. "Towards intercultural documentary". Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7082/.

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‘Towards Intercultural Documentary’ is a PhD by Published Work that is comprised of four documentary films, an exhibition catalogue essay and an academic book chapter to form a collective body of work in film and text focused on what Rughani proposes as ‘intercultural documentary practice’. This body of work configures ‘intercultural documentary practice’ as a space or arena in which people of radically different perspectives encounter the other.1 Intercultural documentary aspires to create pluralised spaces of exchange by engaging difference within and between communities. In this work, voices traditionally overlooked, excluded or edged to the cultural margins are re-framed to find a new centrality in a broader encounter, more accurately reflecting the diverse influences that comprise polyglot societies. In the United Kingdom (UK) context, three submitted films, broadcast to peak-time audiences on BBC 2 and Channel 4, stood in contradistinction to mainstream narratives that typically portrayed British experience as largely monocultural and homogeneous. The contribution to knowledge of this thesis is in deepening and extending the dynamics of documentary practice to embrace intercultural communication and to weld this to the ethics of documentary making. In so doing, this body of work situates ethics as central to the documentary encounter and offers new practice-based insights into navigating tensions in the process of making such work and its methodologies. ‘Towards Intercultural Documentary’ presents a case for the coherence of the body of work that makes a contribution to knowledge at the inter-disciplinary confluence of: documentary studies and practice, ethics and intercultural communication. The submission comprises: Islam and the Temple of’ ‘Ilm’ (BBC 2, 1990); One of the Family (Channel 4, 2000); Playing Model Soldiers (Channel 4, 2000); Glass Houses (British Council, 2004); the exhibition catalogue essay British Homeland in Home (British Council, 2004) and the book chapter ‘Are You a Vulture? Reflecting on the ethics and aesthetics of coverage of atrocity and its aftermath, in Peace Journalism (Peter Lang, 2010).

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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/.

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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.

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11

Penfold, Christopher. "Elizaveta Svilova and Soviet documentary film". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367302/.

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The focus of my research is Soviet documentary filmmaker, Elizaveta Svilova (1900-75), most commonly remembered, if at all, as the wife and collaborator of acclaimed Soviet film pioneer, Dziga Vertov (1896-1954). Having worked with her husband for many years, Svilova continued her career as an independent director-editor after Vertov fell out of favour with the Central Committee. Employed at the Central Studio for Documentary Film, a state-initiated studio, Svilova’s films were vehicles of rhetoric, mobilised to inform, educate and persuade the masses. She draws on visual symbols familiar to audiences and organises them according to the semiotic theories – namely techniques of dialecticism and linkage – attributed to the Soviet montage school of the 1920s. On-screen credits indicate that, during the period 1939 to 1956, Svilova was the director-editor of over 100 documentaries and newsreel episodes, yet this corpus of films has received very little critical attention. As my thesis aims to demonstrate, the reasons for the lack of attention to Svilova’s films are partly due to her husband’s eminent status – the rules whereby we construct film history have resulted in Svilova’s contribution being absorbed into Vertov’s – and this is related to the long-standing tendency within film criticism to marginalise the female artist. My thesis also touches on issues regarding curatorial and archival policies, and provides an opportunity to rethink early film history and the modes through which historiographic and filmographic knowledge are transmitted.

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12

Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.

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Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.

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Lakpassa, Komlan Daholega Levin Ben. "Gods, have Merced! a documentary film /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9763.

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14

Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.

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15

Waititi, Kahurangi Rora. "Applying Kaupapa Māori Processes to Documentary Film". The University of Waikato, 2007. http://hdl.handle.net/10289/2437.

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This thesis explores the application of Kaupapa Māori processes to documentary filmmaking through practiced-led research. The need for this research came to light through the experience of witnessing unacceptable behaviour shown by film crews towards kaumātua who were attending the 2006 28th Māori Battalion Reunion. In reflecting on this experience and considering my own filming experience as a person with a Te Ao Māori background, the basis for this argument was conceived. This thesis argues that there are alternative ways in which filming can be conducted by considering processes that already exist within Māori practices and philosophies. This Thesis, therefore, investigates alternative processes of filming that have developed from a Kaupapa Māori perspective through practical filming experience. An historical overview of the relationship between Māori, media and filming practices have been provided to give context to this discussion. The application of Kaupapa Māori processes to film was considered through the use of Marae protocol and philosophies. The application of these concepts was supported by the creative research which was utilised by referencing specific examples. The reader is, therefore, instructed to refer to the DVD in the front of the thesis as referenced in the written text.

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Ferris, Mika Levin Ben. "Mama D's 2 blocks a documentary film /". [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3674.

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Ferris, Mika. "Mama D's 2 Blocks: A Documentary Film". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3674/.

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Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.

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18

Lange, Shara K. "The Documentary, “The Dressmakers,” & Film Screening". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3664.

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19

Abrahams, Johann. "Fairness in subjective documentary storytelling : A reflective essay supporting the documentary film 'Coming Home'". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12717.

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Includes bibliographical references.
Ever since filmmakers started making non-fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Today television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of people working in a team. The question in this study is how a film can still be truthful, fair and relevant for viewers despite a clear bias on the part of the filmmaker. Michael Rabiger, Stella Bruzzi, and Sheila Bernard gave great insight into the importance of fairness toward participants, while the P.O.V series aired on PBS in the US show how to make films from a particular point of view to stimulate debate. Based on this I will argue that it is possible for a filmmaker to hold a particular view and to still make a film that is fair and accurate.

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20

Hearing, Trevor. "The documentary imagination : an investigation into the performative application of documentary film in scholarship". Thesis, Bournemouth University, 2015. http://eprints.bournemouth.ac.uk/22423/.

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The aim of the research has been to discover new ways in which documentary film might be developed as a performative academic research tool. In reviewing the literature I have acknowledged the well-established use of observational documentary film making in ethnography and visual anthropology underpinned by a positivist epistemology, but I suggest there are forms of reportage in literary and dramatic traditions as well as film that are more relevant to the possibility of an auto-ethnographic approach which applies documentary film in an evocative context. I have examined the newly emerging field of Performative Social Science and the "new subjectivity" evident in documentary film to investigate emerging opportunities to research and disseminate scholarly knowledge employing reflective documentary film methods in place of, or alongside, text. This inquiry has prompted me to consider the history of the creation and transmission of scholarship. The research methodology I have employed has been auto-ethnographic reflective film practice. Specifically, I have drawn on images from my previous documentary films and woven them together into a research film to explore the possibility of provocative, evocative filmmaking as a “creative academic research tool”, whilst noting the value of a relevant skill-set to deliver a quality threshold in applying such a method. In this particular instance of filmic scholarship, I have questioned the notion of the ‘B’ roll to illustrate and interrogate the performative application of auto-ethnographic film production. I became interested in the idea of the performative artefact as an expression of investigation when I spent a year documenting the construction of Sir Antony Gormley’s landmark sculptures Another Place and The Angel of the North. Gormley’s statement in the film that sculpture might be thought of as “a witness to life”, has informed my own practice as a filmmaker and informs the film that has become the data for this thesis. The following year when I made a film about a fishing community, Village By The Sea, I began to develop the idea that film or video artefacts might also be viewed like sculpture, as “an inert, benign object that stands somewhat outside time, somewhat outside the span of human life, but that acts as a witness to it” (Gormley, 1998). I have incorporated what Gormley terms this “impulse” into my research by creating a hybrid ‘para-documentary’ using ‘B’ roll footage: an experiment in a performative method that I am reporting on here, and an experiment which obliges the filmmaker to engage with the ethical questions which arise when grappling with the imaginative and the documented. The outcome of the research is described as the discovery of the research experience that while I have been walking around in the world, that world has been walking about in me. Three implications are identified from this outcome. Firstly, that the concept of the Creative Academic Research Tool might be a useful systematic matrix with which to frame the specific traces of a practice-based research and from which to draw more generic outcomes. Secondly, counter-intuitively to the conventions of other media documentary forms that prioritize character and dialogue, the application of the wider angle of the ‘B’ roll filmic technique might offer a particularly powerful evocative tool in Performative Social Science. Thirdly, the documentary sensibility identified in this research, when placed performatively in the hands of the audience, might place the imagination at the heart of the scholarly documentary project.

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21

Little, John Arthur. "The Power and Potential of Performative Documentary Film". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/little/LittleJ0507.pdf.

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In this thesis, I argue the performative mode of documentary filmmaking is an emerging, intrinsically powerful and virtually unexplored weapon in the arsenal of science documentary. Through selected theoretical and academic writings, I examine origins and pathways of documentary film that ultimately lead to the performative documentary. I contrast the performative mode against a common paradigm that documentary, and particularly science documentary, demands a filmic text that embraces traditional conventions of narrative, realism, empiricism, causality and evidentiary truth claims. I then analyze the utility and application of common elements in performative documentary films including my performative science documentary, At the Risk of Being Smote. I show that viewers are uniquely able to assemble their own meaning from an adiachronistic structure of associated but fragmentary filmic events. Each person's mind weaves together patches of representation, fictive or not, into a tapestry of aesthetic response of knowledge and rhetorical truth. After discussing the current state of performative filmmaking tools and techniques, I look into the future of performative science documentary. Based on evolving trends and technologies, it is possible that audiences will not just view films, but rather participate in a multi-sensory experience. I conclude that performative science documentary is an immensely powerful, emerging tool that allows the viewer to perceive personal authorial control and voice that allows the boundary between discourse and intuition, between fiction and 'reality' to dissolve. Ultimately, this approach takes the filmmaker out of the role of interlocutor, giving the viewers a sense of invisible omniscience as they experience the filmic panopticon.

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22

Raijmakers, Sebastiaan W. J. J. "Design Documentaries : Using documentary film to inspire design". Thesis, Royal College of Art, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503021.

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23

Lange, Shara K. "Opportunities for Engagement: Documentary & Public Health". Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3656.

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24

Mendoza, Darwin Y. "Theorizing on Honduran Social Documentary". Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1268429222.

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25

Horst, Jennifer Lynne. "The making of the documentary film Women in Red". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.

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Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.

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26

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.

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(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.]

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27

Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.

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(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

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28

MacLennan, Gary. "From the actual to the real : left wing documentary film in Australia". Thesis, Queensland University of Technology, 2000.

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This thesis constructs and develops a critique of the tradition of left wing documentary film in Australia. The critique is from the perspective of the Critical Realist paradigm developed by Roy Bhaskar and others. The thesis is both an attempt to critique a tradition and to provide a new basis for documentary theory and criticism. On the theoretical level the thesis engages the work of the leading documentary film theorists including Noel Carroll, Bill Nichols, Paula Rabinowitz, Michael Renov and Trinh T. Minh-ha. These theorists take up positions, which range from New Realist to Poststructuralist. It is the contention of this thesis that, because they lack a notion of a stratified ontology, they are unable to sustain either a critique of or a coherent account of documentary practice. The definition of left wing that underpins the selection of the films is a narrow one, namely, coming from or influenced by the Marxist tradtion. The criticism of the films begins with Joris Ivens Indonesia Calling (1946) and concludes with Tom Zubrycki's Billal (l996).

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Walsh, Angela. "Obscene intimacies : postmodern portraiture in documentary film and television". Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/54728.

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The past several decades have witnessed a steadily increasing output of documentaries which aim to explore the intimate lives of individual subjects. Although there has been no official scholarly study delineating these films as a documentary sub-genre, they have been variously termed portrait or biographical documentaries, and they are a persistent feature of both documentary film production and non-fiction television programming. This project aims to situate these films and television programs within broader cultural shifts that have occurred in the latter half of the twentieth century, including an upsurge in the ubiquity of images, distrust in the photographic medium’s ability to access the real, and dismantling of taste hierarchies. All of these changes fit under the broad paradigm of postmodern theory and culture, a societal condition that continues to evidence itself in the current age. Despite postmodernism’s proclamation that social relationships and individualism have collapsed, contemporary portraiture documentaries still aim to facilitate a sense of connection between viewer and subject. Postmodernism intersects here with what Richard Sennett has called the “intimate society,” which is characterized by a societal impetus toward personal revelation and emotional expression. I posit that portraiture documentaries represent the collision and working through of these two competing cultural features. Following an overview of the scholarship relevant to my research in Chapter One, Chapter Two will discuss two films by the documentary filmmaker Nick Broomfield, Heidi Fleiss: Hollywood Madam (1995) and Aileen: Life and Death of a Serial Killer (2003). Often maligned in both critical and scholarly circles for failing to interrogate ideology in any meaningful way, I argue that his work operates on a reflexive level to suggest that images fail us when attempting to extract the intimate truth of the individual. In Chapter Three I discuss two examples of reality television series that focus on the lives of individuals, Errol Morris’s First Person (IFC, 2000-2001) and Intervention (A&E, 2005 - ), which demonstrate the persistent need to render the subject in visual terms and make the viewer witness to the most intimate and personal aspects of their lives.
Arts, Faculty of
Theatre and Film, Department of
Graduate

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30

Giesman, Holly. "Encounters in authenticity : documentary film and the 'authentic' restaurant". Thesis, University of Roehampton, 2014. https://pure.roehampton.ac.uk/portal/en/studentthesis/encounters-in-authenticity(16b5ab21-b509-4b34-9f20-65562c5de1a5).html.

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This PhD thesis is the product of practice-‐based research in which I used reflexive documentary filmmaking—along with reflection on and theorization of that practice—to engage with issues of authenticity and mediation in documentary. I confront a particular conundrum that has enduring resonance for documentary scholars and filmmakers: How do we reconcile claims and expectations of authenticity in documentary with the fact of mediation? My work puts this fundamental documentary dilemma into a new context and offers a different way of engaging with it—experientially and from a unique perspective. I explored this dilemma in practice through the process of making a documentary film, and I sought insight from those who also deal with issues of authenticity and mediation but in a completely different context—in the foreign national restaurant in London. The resulting film Eating Cultures—the practice component of this thesis—constructs a relationship between the meal in the restaurant and the documentary film based around the metaphors of “eating cultures” and “mediating worlds”. The written thesis then contextualizes and reflects on the practice and develops these themes—considering the documentary dilemma within the broader contemporary context of cultural globalization, making new cross-‐disciplinary connections with tourism and food studies scholarship, further articulating and theorizing the metaphors of “eating cultures” and “mediating worlds”, and finally suggesting additional cross-‐disciplinary relevance within cultural cosmopolitanism scholarship.

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31

Seldin, Ellen. "Musical score for the documentary film Sixty Million Years". Thesis, Southern Methodist University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1588467.

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The music composed to portray the desert is initially in the quartal harmonies favored by Aaron Copland. The open and vast expanses of the desert led to this first desert theme. An arial view of the desert inspires a second, romantic desert theme, in F major. The most fundament organization of music, the overtone series, accompanies the presentation of the tortoise eggs, and follows them through their emergence from these shells. A tortoise theme, the third theme, using the consonant middle range of the overtone series, intervals of a third and a whole step, is created to accompany the first views of the baby tortoise movements. With the destruction of both the desert and the creatures within it by wildfires, the musical pattern becomes ever more dissonant, with finally only the intervals from the upper reaches of the overtone series, the tritone and half step, being used. Percussion is introduced when there is mention of civilization encroaching upon the desert. The bassoon is chosen to portray the tortoise. When we see the tortoise moving across the desert floor the tempo becomes adagio. In the third section, where there are suggestions for what might be done to avoid extinction of this creature, (replanting of seeds, relocation of the tortoise population to more suitable habitats), major harmonies are chosen. The goal of the musical score is, ultimately, to evoke admiration for a creature that has survived for so long. In the final two minutes of the film the tortoise theme is expanded. Judicious use is made throughout of the range of orchestral colors and instruments: in some places just a few instruments will sound, in others, especially toward the end of this nineteen minute film, the full palette of the orchestra is used. Ellen Taylor Seldin Sixty Million Years Abstract: The desert tortoise has survived sixty million years, outliving the dinosaurs and several ice ages. This documentary film, Sixty Million Years, portrays its current existence in the Mojave Desert, Nevada, USA, and the desert scientists working for its survival. The film is divided into three sections: the emergence of the tortoise from its egg shell, the adult tortoise, with the on-going threats to its existence, and in the third section, areas where there can be realistic hope for its survival. The music composed to portray the desert is initially in the quartal harmonies favored by Aaron Copland. The open and vast expanses of the desert led to this first desert theme. An arial view of the desert inspires a second, romantic desert theme, in F major. The most fundament organization of music, the overtone series, accompanies the presentation of the tortoise eggs, and follows them through their emergence from these shells. A tortoise theme, the third theme, using the consonant middle range of the overtone series, intervals of a third and a whole step, is created to accompany the first views of the baby tortoise movements. With the destruction of both the desert and the creatures within it by wildfires, the musical pattern becomes ever more dissonant, with finally only the intervals from the upper reaches of the overtone series, the tritone and half step, being used. Percussion is introduced when there is mention of civilization encroaching upon the desert. The bassoon is chosen to portray the tortoise. When we see the tortoise moving across the desert floor the tempo becomes adagio. In the third section, where there are suggestions for what might be done to avoid extinction of this creature, (replanting of seeds, relocation of the tortoise population to more suitable habitats), major harmonies are chosen. The goal of the musical score is, ultimately, to evoke admiration for a creature that has survived for so long. In the final two minutes of the film the tortoise theme is expanded. Judicious use is made throughout of the range of orchestral colors and instruments: in some places just a few instruments will sound, in others, especially toward the end of this nineteen minute film, the full palette of the orchestra is used.

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32

Dayan, Dror. "The manifestations of political power structures in documentary film". Thesis, Bournemouth University, 2018. http://eprints.bournemouth.ac.uk/31565/.

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The aim of this practice-led research is to explore the ways in which the political and social power structures between filmmaker and protagonist are manifested in the aesthetics and cinematic means of documentary film. Through a synthesis of filmmaking practice and “hidden knowledge” with critical theories from the fields of cultural studies and political philosophy the research devise methodological approaches to the critical analysis of documentary films in light of the political and material conditions of their emergence. By exploring filmmaking practice, both through the practical aspects of the research as well as through experiences made and reported by filmmakers, and placing those in the context of wider theories pertaining to issues of power structures and representation, it sheds light on the different aspects which must be considered when approaching the analysis of a documentary film for its ideological and political content. The work also asserts that in order to fully understand and analyse a documentary film, a wider range of factors must be considered, most prominently the material conditions of the filmmaking process. Those include the financing and commissioning of the film, the conditions of its production as well as its distribution and reception. Drawing on methodologies of dialectical materialism in cultural studies, the research approaches the studied films as well as the practical experiences in a holistic fashion, contextulaising them in historical, political and cultural processes instead of viewing them as isolated texts divorced from social context.

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33

Horst, Jennifer Lynne Levin C. Melinda. "The making of the documentary film Women in red". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9088.

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34

Hookham, John Henry. "Lives are led: autobiographical film and the new documentary". Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/16170/1/John_Hookham_Thesis.pdf.

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This thesis consists of two parts: an autobiographical documentary film and a written exegesis. The film, My Lovers Both, is a record of two journeys back to my native South Africa wherein I confront aspects of my past. These two trips offer a means to explore a personal history around the experiences of immigration, displacement and exile. In the exegesis, I argue that autobiography is changing and rather than offering catalogues of public achievement, contemporary personal histories deal with sites of trauma and challenge dominant narratives of official memory. Likewise, the New Documentary is embracing fictional strategies and moving towards increased subjectivity and introspection. As a consequence, new forms are created that generate novel insights into causality and time. The exegesis goes on to examine the major influences on my work as a filmmaker and then articulates a reflective analysis of the creative process which produced My Lovers Both.

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35

Hookham, John Henry. "Lives are led: autobiographical film and the new documentary". Queensland University of Technology, 2004. http://eprints.qut.edu.au/16170/.

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This thesis consists of two parts: an autobiographical documentary film and a written exegesis. The film, My Lovers Both, is a record of two journeys back to my native South Africa wherein I confront aspects of my past. These two trips offer a means to explore a personal history around the experiences of immigration, displacement and exile. In the exegesis, I argue that autobiography is changing and rather than offering catalogues of public achievement, contemporary personal histories deal with sites of trauma and challenge dominant narratives of official memory. Likewise, the New Documentary is embracing fictional strategies and moving towards increased subjectivity and introspection. As a consequence, new forms are created that generate novel insights into causality and time. The exegesis goes on to examine the major influences on my work as a filmmaker and then articulates a reflective analysis of the creative process which produced My Lovers Both.

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36

Sadegh-Vaziri, Persheng. "Iranian Documentary Film Culture: Cinema, Society, and Power 1997-2014". Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/363567.

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Media & Communication
Ph.D.
Iranian documentary filmmakers negotiate their relationship with power centers every step of the way in order to open creative spaces and make films. This dissertation covers their professional activities and their films, with particular attention to 1997 to 2014, which has been a period of tremendous expansion. Despite the many restrictions on freedom of expression in Iran, especially between 2009 and 2013, after the uprising against dubious election practices, documentary filmmakers continued to organize, remained active, and produced films and distributed them. In this dissertation I explore how they engaged with different centers of power in order to create films that are relevant to their society. To focus this topic, my research explores media institutions, their filmmaking practices, and the strategies they use to produce and distribute their films. This research is important because it explores the inherent contradictions in the existence of a vibrant documentary film community in a country that is envisioned as uniformly closed and oppressive in the West. The research is also personally motivated, because I have close connections to the Iranian documentary film world, where I previously made films and produced television programs. I conduct the study with a multi-faceted approach, utilizing participant observation in the field in a four-month period, in-depth interviews with key players, personal reflections, and textual analysis of the films. I focus on about twenty filmmakers and their films, chosen from a pool of more than 500 documentary filmmakers, giving a cross section of this community based on their age, sex, and their professional history and success within Iran and internationally.
Temple University--Theses

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37

Gordon, Stephani Rae. "Film and the illusion of experience". Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/gordon/GordonS0510.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2010.
Typescript. Chairperson, Graduate Committee: Dennis Aig. Chasing birds in Beringia is a DVD accompanying the thesis. Includes bibliographical references (leaves 34-39).

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38

Solbrig, Heide Frances. "Film and function : a history of industrial motivation film /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3142448.

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39

Chesher, Andrew. "Seeing connections : documentary as an intervention in the social world". Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/2303/.

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This thesis examines the nature of the relationship between documentary and social practices. In particular it seeks to develop and theorise a mode of documentary practice in which social practices in general are dialogised rather than represented. I characterise social practices as consisting of a largely tacit consensus in ways of acting and understanding. This consensus is, I argue however, inherently open to re-evaluation and re-articulation in practice itself; and it is as part of rather than as a representation of-such processes that dialogical documentary operates. In the written thesis, which discusses a number of specific documentaries in relation to their overall approach to practices, I argue for a mode of documentary based not in representational strategies of external observation and objective overview, but rather in the dialogising of moments of practice. An act that has been dialogised is revealed as involving a degree of ambiguity or heterogeneity-and hence the possibility of a re-evaluation, i. e., re-negotiation of practices themselves. For dialogical documentary objective representation is neither means nor goal; on the contrary tendential intervention becomes a legitimate and central method-both in the local situation, where the filmmaking process provokes behaviour and reflection rather than merely recording it; and on the level of public discourse, to which the documentary raises particular instances of practice by enunciating them, or allowing them to be enunciated, within a discursive field. These concerns are directly reflected in the main practice element of the thesis-a documentary project exploring the rehearsal of a piece of music by Christian Wolff called Changing the System (1973). This exploration is based around the score of the piece, which, offering different possibilities for its realisation, both on the macro and micro level, requires explicit dialogical interaction between the players.

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40

Hong, Jiachun. "DOCUMENTARY PRODUCTION AS A SITE OF STRUGGLE: STATE, CAPITAL, AND PRECARITY IN THE CONTEMPORARY CHINESE DOCUMENTARY". OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1627.

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Documentary filmmakers have been considered artists, authors, or intellectuals, but rarely as labor. This study investigates how the nature of work as well as life is changing for those who work in the expanding area of TV documentary in China, in the midst of China’s shift towards a market-based economy. How do documentary makers reconcile their passion for documentary making with the increasingly precarious conditions of work? And, how do they cope with and resist the pressures of neoliberalism to survive in increasingly competitive local and global markets? Based on data gathered through the interviews with 40 practitioners from January 2014 to August 2017 and my own experience as a director and worker in the Chinese documentary for a decade, I outline the particularity and complexity of the creative work in China. My research indicates that short-time contracts, moonlighting, low payments and long working hours, freelancing, internship, and obligatory networking have become normal working conditions for cultural workers. Without copyright over their intellectual creations, cultural workers are constrained to make a living as waged labor, compelled to sell their physical and mental labor in hours or in pieces. Self-responsibility and entrepreneurism have become the symbols of the neoliberal individual. Following the career trajectories of my interviewees, I elaborate on the mechanisms by which cultural workers are selected, socialized and eliminated. When they decide to escape from the production line, they use four types of strategies: going international, surviving in the market, switching to new media career, and sticking to journalistic ideals. This dissertation also reveals that global production has intensified exploitation by increasing working hours through a 24/7 production line that works across national borders and time zones, amplifies competition by introducing global talent, and alienates local workers by imposing the so-called “universal” aesthetics of global production. The crisis of cultural work is the outcome of the incapacity of the neoliberal imagination to imagine plausible and feasible futures for sustained creative work. It is through my research into the history of documentary production in China and conversations with cultural workers that I found explanations for the increasing precarity of work and possible forms of resistance to it in post-socialist China.

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41

Schilt, 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.

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42

Kennerson, Elliott Doran. "Ocean Pictures the construction of the ocean on film /". Thesis, Montana State University, 2008. http://etd.lib.montana.edu/etd/2008/kennerson/KennersonE1208.pdf.

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Thesis (MFA)--Montana State University--Bozeman, 2008.
Typescript. Chairperson, Graduate Committee: Ronald Tobias. Sealed Off is a DVD accompanying the thesis. Includes bibliographical references (leaves 31-35).

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43

O'Sullivan, Shane. "Enemies of the state : framing political subversives in documentary film". Thesis, University of Roehampton, 2013. https://pure.roehampton.ac.uk/portal/en/studentthesis/enemies-of-the-state(932b5c2c-6b00-4532-beb4-63daa5d89694).html.

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This paper presents an extended analysis of my two recent feature documentaries, RFK Must Die: The Assassination of Bobby Kennedy (2008) and Children of the Revolution (2010), which seek to challenge state narratives and demystify the lives and actions of three central characters – Robert Kennedy’s convicted assassin Sirhan Sirhan, the German terrorist Ulrike Meinhof and Japanese Red Army leader Fusako Shigenobu. I explore key issues that arose during the production of these films, and the strategies a documentary filmmaker can use to re-investigate and re-present the lives of political subversives, using Pierre Bourdieu’s ‘field theory’ and Frederic Jameson’s ‘three levels of narrative’ as my theoretical framework. With RFK Must Die, I stress the primacy of the research and writing of documentaries in their power to challenge conventional wisdom and examine the interplay between historian, filmmaker and investigator in finding an alternative history. I explore the historiography of both Kennedy assassinations and the historical reliance on independent filmmakers to re-examine the state’s evidence and present the case for the defence. I also explore what issues affect credible witness testimony and what audiovisual evidence can tell us about a crime scene. I explore two key elements of Children of the Revolution: the decision to tell the stories of Meinhof and Shigenobu ‘through the eyes of their daughters’ and the use of archive concerning their revolutionary movements. I present a case study of my working relationship with Meinhof’s daughter, Bettina Röhl, analysing the complex issues of trust, identity and authorship that arose in telling Meinhof’s story from another person’s perspective. I also discuss the critical misalignment between the cost of archive and the budgets and prices paid for documentaries, and analyse the hypothesis of the recent Hargreaves Report (2011) that the audiovisual archive sector ‘is not fit for purpose for the digital age’.

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44

Schoen, Steven W. "The Rhetoric of Evidence in Recent Documentary Film and Video". Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4399.

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Documentary is a genre of film that portrays "real" events using depictions that connote the objectivity and facticity implied by the processes of photorealism. Many contemporary documentary theorists and critics observe a constitutive problem in this ethos: despite the apparent constructions and agendas of documentary filmmaking, the framing and assumption of documentary as a window on the world tend to naturalize its own constructions as "real." Critics who engage documentary trace the multitude of ways this problem plays out in particular films. These projects yield many important insights, but they most often approach documentary as a form of inherently deficient representation fraught with ethical questions-- questions created by the frame and ethos of objectivity it fails to achieve. Are events portrayed truthfully? Are people depicted fairly? Are filmmakers misrepresenting? In this study I seek to show that a rhetorical approach to documentary shifts the critical focus to instead examine how documentary constructions and images work as evidence in the claims and rhetorical agendas of documentary. I study recent film texts (2000-2012) that explicitly and primarily structure their documentary materials as evidence for the truth of an argument or interpretation, and I argue that documentaries, when they work as documentary, establish and verify their depictions as evidence by drawing on the elements of their "scene." I use Kenneth Burke's dramatistic approach to observe that the "real world" as depicted in documentary is at once experienced as representation of the world outside the documentary, but also constructed as the scene of a dramatization. Understanding the dramatism of documentary helps me to characterize what I call a "rhetoric of evidence" that may be particular to documentary expression. In the films I study documentary "scene" interacts at key moments and particular ways to locate the events of films in the "real world," not just as evidence that something is real, but also as meaningful for particular arguments and rhetorical moves. This study reveals the often extremely subtle ways that documentaries wield the influence of "truth," and also offers filmmakers an understanding of how evidence might be deployed more deliberately to present a social world that is open for transformation.

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45

BaÌ‚, SaeÌˆr Maty. "Malcolm X and the documentary film representation : text and intertext". Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.430093.

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46

Schoenbaechler, Jessica. "Beach Drive: Public Rights and Private Property: A Documentary Film". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5345/.

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The Texas Open Beaches Act states that the public beach extends from the water up to the line of vegetation. Once a privately-owned property is submerged, it transfers into state ownership. Because of severe erosion and the shifting nature of vegetation, the Village of Surfside has lost several rows of houses and streets and, currently, over thirty houses are located on the public beach obstructing public access in violation of the Texas Open Beaches Act. The extreme erosion in this small village on the Texas Gulf Coast puts homeowners, property owners, legislators, and beachgoers in difficult positions and many are at odds with one another. The documentary film is structured around rental property owner Russell Clinton, environmentalists Ellis Pickett and Jeff Hooton, and former State Senator A.R. "Babe" Schwartz.

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47

Da, Canha Taryn. "Redefining the griot : a history of South African documentary film". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/17956.

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Includes bibliography and filmography.
The South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.

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48

Ribera, 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.

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49

London, Joseph. "The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2130.

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This creative work and its associated exegesis examines the concept of what I have termed a ‘transcendental structure’ in relation to a documentary film form, and what outcomes, specific to a non-fiction mode of representation, result from the application of this structure. A transcendental structure in film has a long history of investigation and interpretation in narrative fiction film theory and practice, but is substantially absent from documentary scholarship. The topic appears, in different forms, in the critical writings of Zavattini (1940), Bazin (1946), Pasolini (1965), Schrader (1972), Deleuze (1985), and more recently, Perez (1998) and Minghelli (2016). All of these theorists have identified a cinema of a double nature: on one level, explicit in its narrative programme and engagement, while on another level, simultaneously registering a spatial and temporal ‘beyond’ that invites an alternative experience based on a formal engagement. This aesthetic or non-narrative dimension is made perceivable through cinematic strategies that aim to interrupt or suspend the narrative flow and foreground elements external to the narrative programme. It is for this reason that landscape holds particular importance to a transcendental structure; in its physical interaction with and set-apartness from the human narrative, and through this, in its contrasting temporality to the narrative and less tangible level of registration. This research will proceed by testing this structure through my own creative practice: a documentary feature on Fremantle’s Rajneesh sannyasin community, titled The Beloved. This is an ongoing community in Fremantle, which in the eighties, experienced a dramatic and public rise and fall as a movement. It is also a community with which I have an enduring personal relationship. This has allowed me to address not only their public history, but also the troubled memory that survives within the community. This documentary will be accompanied by the exegesis which will identify the concept of a transcendental structure within fiction film scholarship and, in the absence of critical writings that relate to this concept in documentary, will examine documentaries that are able to be discussed in these terms. The key films that I examine in the exegesis include Shoah (Lanzmann, 1985), which brings the incomprehensibility of the Holocaust into the realm of present experience by rejecting archival imagery in favour of landscapes from the concentration camps in their contemporary state; and sleep furiously (Koppel, 2008), in which the unprocessed trauma of community disintegration is registered through affect-based experience rather than the narrative or representational programme. From the sum of this research, I argue that the interview based historical documentary is particularly suitable as a platform for a transcendental structure, and useful to historical subjects of a sensitive, troubled, and unresolved nature. The double nature of the structure, exhibited in the dissociation of the voice recounting the historical narrative from imagery of present-day settings, opens up new communicative possibilities and spaces for the contemplation and processing of incomprehensible, repressed, or traumatic experience.

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50

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.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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