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Lieberman, Janice S. "Film Review: Documentary Films". Journal of the American Psychoanalytic Association 58, n.º 4 (agosto de 2010): 819–25. http://dx.doi.org/10.1177/0003065110379488.
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Przylipiak, Mirosław. "Defining documentary". Panoptikum, n.º 29 (30 de junio de 2023): 11–38. http://dx.doi.org/10.26881/pan.2023.29.01.
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The aim of this paper is to define documentary film. After a brief review of existing definitions, the author proposes his own. The methods of working on the set and the textual features of the films are considered as distinguishing documentary filmmaking from other film genres. Issues such as the filmmakers’ interference with the filmed reality, the criteria for distinguishing between fictional and non-fictional elements, the admissibility of special effects, the specificity of editing, and the place of the documentary film among other nonfictional genres are considered. The final definition is confronted with the most recent genres of documentary cinema, namely the animated documentary, the mockumentary and the web-documentary.
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Li, Manxi, Wenqing Su y Xinman Li. "New Documentary Film Seeks to Be “More Real”". Scientific and Social Research 3, n.º 5 (5 de noviembre de 2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.
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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative support for the true publication of new documentary films.
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Louw, Lieza. "Documentary film politics and the politics of documentary film". Communicare: Journal for Communication Studies in Africa 40, n.º 1 (5 de octubre de 2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.
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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice forthe mine workers by offering his personal reaction to the deaths of the 34 black men by interviewsand archival material. Miners Shot Down was received well locally and internationally, but as an overt political narrativepresented in a subjective reconstruction, some of the omissions may impact on a fuller understandingof the tragic event.tion. This finding prompted recommendations for entrepreneurs, policymakersand scholarship.
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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan". Arts 8, n.º 2 (17 de mayo de 2019): 64. http://dx.doi.org/10.3390/arts8020064.
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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.
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Middleton, Jason. "Documentary Comedy". Media International Australia 104, n.º 1 (agosto de 2002): 55–66. http://dx.doi.org/10.1177/1329878x0210400108.
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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.
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Shestakova, I. V. "ALTAI DOCUMENTARY FILM TEXT". Culture and Text, n.º 44 (2021): 116–28. http://dx.doi.org/10.37386/2305-4077-2021-1-116-128.
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The article defines the methodological principles of the analysis of a film text, considers the historical, thematic, genre dynamics of «Altai documentary film text». The author uses the concept of text proposed By V. Toporov and developed in the research of «local texts» using the methods of intertextual and intermediate analysis. The article traces the formation of symbolic constants in films about Altai that determine the status of the region in the Russian and foreign media space.
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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking". Preservation, Digital Technology & Culture 51, n.º 4 (1 de diciembre de 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.
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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Ribke, Nahuel. "Documentary Filmmakers as Characters". Projections 17, n.º 3 (1 de diciembre de 2023): 64–82. http://dx.doi.org/10.3167/proj.2023.170304.
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Abstract Despite the increasing documentary filmmakers’ on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers’ on-screen presence and performance, making three central assumptions. First, documentary filmmakers’ on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in the film. Second, documentary filmmakers’ characters are generally shaped and constructed throughout the filmmakers’ careers, much like fiction film stars. Third and last, the salience of filmmakers as characters should be understood as the outcome of major cultural, technological, and economic shifts shaping and affecting the documentary film production patterns and stylistic devices.
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Loh, Yoke Ling y Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia". Jurnal Komunikasi: Malaysian Journal of Communication 38, n.º 1 (31 de marzo de 2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.
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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.
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Nushur, Rizki Dhian y Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION". Getsempena English Education Journal 8, n.º 1 (28 de mayo de 2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.
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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.
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Lestari, Emilika Budi. "KONSEP NARATIF DALAM FILM DOKUMENTER PEKAK KUKURUYUK". Jurnal Nawala Visual 1, n.º 1 (31 de mayo de 2019): 9–17. http://dx.doi.org/10.35886/nawalavisual.v1i1.3.
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Documentary movie that present reality in various ways and are made for various purposes. Social, political and cultural life mostly inspiresthe documentary. The concept of documentary movie is to build a storyline based on the reality. Documentary movie are made according to certain versions based on the reality. Various techniques can be used to convey information and convince the audience about the situation and conditions in the movie. Unlike fiction films that have a clear narrative structure, documentary films do not have a narrative structure. The main key to a documentary is the presentation of facts. Documentary films relate to real people, figures, events and locations. The style of storytelling in documentaries is non-narrative because documentaries do not contain the composition of the stories in them. In the documentary film Pekak Kukuruyuk, it can be seen that the narrative concept that was built from this film is the concept of realism (real), which is to build a storyline based on reality. Where this concept is opposite to experimental films that have the concept of formalism (abstract). This film was made through a direct recording method when the event actually took place and inserted several reconstructions and interviews in it.
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Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM". RUDN Journal of Studies in Literature and Journalism 22, n.º 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.
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Krstić, Igor. "Documentary film philosophy". New Cinemas: Journal of Contemporary Film 15, n.º 1 (1 de marzo de 2017): 3–12. http://dx.doi.org/10.1386/ncin.15.1.3_2.
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Knoll, Eva. "Documentary Film Review". Journal of Mathematics and the Arts 5, n.º 3 (septiembre de 2011): 167–68. http://dx.doi.org/10.1080/17513472.2011.589287.
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Calder, Wynn. "Documentary Film: DamNation". Journal of Education for Sustainable Development 9, n.º 2 (31 de agosto de 2015): 233–34. http://dx.doi.org/10.1177/0973408215600605.
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Gbambu, Abdul Rashid, Jemilatu Saaka Dramani y Morolake Omowumi Adekunle. "A Contextual Analysis of Documentary Film as a Product and Tool for Academic Exercise". European Journal of Communication and Media Studies 2, n.º 4 (27 de octubre de 2023): 25–35. http://dx.doi.org/10.24018/ejmedia.2023.2.4.22.
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This paper examines the justifications for using documentary film as a product of academic exercise, using the films "Return of the Biblical Plague: Mosquitoes" and "Bitter Lake" as case studies. Through an analysis of the production and reception of these films, the paper explores how documentary can be used to visually tell stories that follow the replicability of academic research procedures, from the selection of subject matter and site to planning and interviewing subjects to data collection and analysis. The paper also addresses the challenges and ethical considerations associated with using documentary film as an academic exercise, including representation, power, and objectivity issues. Ultimately, the paper argues that documentary films have the potential to enhance academic exercise by providing a compelling, engaging medium through which to explore complex issues and promote critical thinking. The paper is structured into four segments of analysis. The initial segment encompasses the foundational aspects of documentary film production, which involves establishing the core argument and exploring its historical contexts. The subsequent segment delves into research as a reproducible methodology, establishing empirical evidence concerning a particular phenomenon. The third part also examines the essence of the documentary film-making process, accompanied by a comparative analysis juxtaposed with research as a scientific procedural endeavor, including the analysis of two documentary films, "The Biblical Plague" and "Bitter Lake". Using the Auteur film theory, the final segment centers on, culminating in a comprehensive conclusion that substantiates the contention that documentary film-making serves as both a creative output and a valuable tool within the realm of academic exploration.
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Kostina, Anastasia. "“Documentary Filmmaking Is an Absolute Delight”". Film Quarterly 77, n.º 3 (2024): 79–85. http://dx.doi.org/10.1525/fq.2024.77.3.79.
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Vitaly Mansky is an internationally recognized documentary filmmaker whose writings, films, and programming practice have actively shaped the Russian documentary scene since the early 1990s. As a filmmaker, he has directed over thirty documentary productions that impress in their thematic scope and stylistic diversity. As the president of the ArtDocFest film festival, Mansky gave hundreds of independent filmmakers an opportunity to reach a broader audience. As a public figure, he has been vigorously promoting documentary cinema in his speeches and writing. In this interview with Film Quarterly, Mansky speaks about his path to documentary filmmaking, thoughts on documentary film form, the past and the future of Russian documentary cinema, his work as a curator and programmer, and his most recent documentary The Eastern Front (2023).
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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO". Culture Crossroads 10 (10 de noviembre de 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.
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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the generic fusion of the documentary and the fiction film as genre. The practice of including documentary sequences into the fiction films – in a tradition of the Riga poetic documentary school in the case of this study – (re)presents historical dynamics in film poetics. The appearance of several genre s paces in one spacetime continuum of a film (re)constructs the social space of film’s production momentum. The documentary sequences in the fiction film function both as an added and illustrative value to the main fictional visual narrative, and gradually become a meaning-making element in the wholeness of this cinematic text. Initially in the short film Divi (“Two”, 1965), directed by Mihails Bogins, filmed by Rihards Pīks, and later by Henrihs Pilipsons the documentary sequences were employed to (re)create the modern urban space. Later, as the practice of documentary inclusion became common in the middle of 1960s, the documentary sequences appeared in the musical film Elpojiet dziļi (“Breathe Deeply”, 1967, directed by Rolands Kalniņš, cinematographed by Miks Zvirbulis) to construct multiplicity of spaces, uniting creative and factual realities in the narrated space of the film. The film Elpojiet dziļi demonstrates that the merger of genres, styles and spaces is creative to the extent of spilling off the screen and into the non-cinematic reality. The film is a story of a fictional boy band. It inspired formation of the band Menuets to re-enact the songs written for and performed in the film. The con nectivity of the documentary and the fiction sequences in this film achieve a level of connection where it is no longer possible to speak of subjugation of one genre to the other. It can be described as a construction of a new connected and permeable cinematic space. A further instance of the connectivity of documentary and fiction generic spaces in a film is the film Ābols upē (“Apple in the River”, 1974, directed by Aivars Freimanis, cinematographed by Dāvis Sīmanis (sen)). This film represents a stream of multiple genres and a flow of various citations, inspirations and ideas featuring the cultural space of late Soviet republic of Latvia. In this film the connectivity of the documentary and the fictional episodes becomes rhetorical means of cinematic expression.
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Margineanu, Virgiliu. "The documentary film – means of education of the young generation". Studiul artelor şi culturologie: istorie, teorie, practică, n.º 2(43) (abril de 2023): 106–14. http://dx.doi.org/10.55383/amtap.2022.2.19.
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Every time you watch a soap opera, a documentary dies,” says a character in the Italian comedy “Tuttelovogliono” (2015). The context in which this character makes the statement highlights the educational role of documentaries, compared to the first genre of film production. But first of all, what is a documentary? The special nature of this kind of film in general, as well as the use of photographic images and sound recordings in particular, have proven difficult to conceptualize by reference to the distinction fiction film/non-fiction film. There is also terminological confusion caused by different uses of the term “documentary” and the phrase “non-fiction film”. “Latosensu”, we can attest to instructional non-fiction films, product promotion films, historical documentaries or biographical films.
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Roy, Carole y Lindsay McVicar. "Screening Inspiration". Journal of Festive Studies 4, n.º 1 (23 de febrero de 2023): 101–15. http://dx.doi.org/10.33823/jfs.2022.4.1.131.
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Documentary film festivals foster critical thinking and media literacy, exposing problems while also announcing possibilities (Paulo Freire). Attendees report gaining information and some claim perspective transformation from attendance at documentary festivals. Given such impact, documentary films were showed in carceral settings for some years before a research project examine the learning from a series of documentary film screening and group discussion with women in a carceral institution. Participants reported appreciation of the informal learning opportunities. They identified being inspired by seeing stories of people facing adversity and individually or collectively courageously challenging the situations they faced. Documentary films and the following discussions provided a liminal space where the participants claimed some respite from feeling incarcerated as they felt they were no longer ‘in prison’ during the weekly film screenings.
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Fisher, Duncan y Jolyon Mitchell. "Portraying Forgiveness through Documentary Film". Studies in World Christianity 18, n.º 2 (agosto de 2012): 154–68. http://dx.doi.org/10.3366/swc.2012.0013.
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At the heart of this article is an analysis of two documentary films that focus on the topic of forgiveness, one in Rwanda, in the wake of the 1994 genocide, and the other in northern Uganda, following the ravages of the Lord's Resistance Army. This essay includes a description of the production background of both films, a brief outline of the historical context in which they are set, and a more detailed examination of both documentaries. Special focus is placed upon how these films reflect the way in which local traditions are used in the aftermath of violence in an attempt to bring about reconciliation. Through this discussion the observation is made that while neither film actually shows the local Gacaca gathering in Rwanda nor the Mato Oput rituals in Uganda at work, the films do draw these practices into a larger narrative about forgiveness. These traditions of ritualised forgiveness and local justice pre-date the arrival of Christianity in central East Africa. In this context, it is suggested that the filmmakers have appropriated and used these practices for a particular rhetorical purpose: to show how forgiveness is possible even after unimaginable cruelties.
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Dwiyani, Ni Kadek, I. Kadek Puriartha y Dewa Ayu Leliana Sari. "The Cultural Philosophy Values in The “Denpasar-Style Bridal Makeup: Symbols and Meanings” Documentary Film". Mudra Jurnal Seni Budaya 38, n.º 1 (27 de diciembre de 2022): 9–15. http://dx.doi.org/10.31091/mudra.v38i1.2221.
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Documentary film is a film genre that has a very important role in human civilization. Documentary films can "revive" everything that did not exist before, so that it can be known by a wide audience through visualization and verbal information that can be accounted for. One of the functions that documentaries also have is as a cultural educational medium that is easily accessed digitally by anyone, anywhere. This writing will examine the philosophical values that are visually transformed in the Cultural Documentary Film "The Balinese Bride Makeup: Symbols and Meanings". This writing uses a qualitative descriptive method, by providing explanatory descriptions of the results of the study using Documentary Film theory (Ayawaila: 2018) and Anthropological theory (Sare: 2007). The results obtained through this paper include findings on 3 cultural philosophical values contained in the documentary films used as research objects, as follows: 1) Character Education Values; 2) Values of Roles and Responsibilities, and 3) Cultural Inheritance Values.
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Koutras, Konstantinos. "Documentary Fictions: Jacques Rancière and the Problem of Indexical Media". Film-Philosophy 27, n.º 2 (junio de 2023): 262–81. http://dx.doi.org/10.3366/film.2023.0229.
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The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, but of argument. In this article, I examine how philosopher Jacques Rancière offers an alternative account of the documentary grounded on aesthetics rather than sobriety. I show how, in rethinking the absent cause model of history as well as the relationship between fiction and nonfiction, Rancière's aesthetic approach resolves the conceptual problem posed by indexicality and brings clarity to the value and function of indexical media with respect to the documentary.
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Wessels, Josepha Ivanka. "Cosmopolitanism, Activism and Arab Documentary Film". Middle East Journal of Culture and Communication 13, n.º 2 (22 de octubre de 2020): 210–31. http://dx.doi.org/10.1163/18739865-01302003.
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Abstract Since the 1970s, Arab documentary filmmakers have highlighted struggles for personal freedom, dignity and democracy by those restricted by oppressive systems of colonialism, occupation and authoritarianism. In this article I study four contemporary Arab documentary films to identify a path vital for the rethinking of cosmopolitanism and global citizenship in Middle East studies. After the 2011 global interest in the Arab uprisings, Syrian and Palestinian documentaries rose to acclaim at international film festivals, and won Emmys and Oscar nominations. The often character-led stories of these films defy orientalist views of the Middle East. Creative global communities at international film festivals are emerging, where Arab documentary filmmakers and their non-elitist stories connect on various humanistic, sociocultural and political levels with non-Arab peers. In this article my aim is to contribute to a redefinition of cosmopolitanism, one not based on the rationalism of the Enlightenment but on the universality of human emotion and sentiment.
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Sapija, Andrzej. "“The Intensity of Looking” at Karabasz, 2018". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, n.º 33 (25 de marzo de 2019): 166–78. http://dx.doi.org/10.14746/i.2018.33.14.
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The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.
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Lakatos, Róbert. "A dokumentumfilm-tervek piaci követelményeiről és ezek átalakulásáról – első rész". Symbolon 24, n.º 2(45) (2023): 71–78. http://dx.doi.org/10.46522/s.2023.02.9.
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The international market of the documentary projects – the so called “pitching forums” – was formed about 30 years ago at the International Documentary Forum Amsterdam (IDFA) film festival. There the commissioning editors of different documentary TV slots could pre-buy the films at the level of project. Many documentaries could be made thanks to those pre-buys. After a while, many similar financing forums were formed in different countries, connected to different festivals, and they continue to play an important role regarding the documentary productions, although, due to the decreasing number of the documentary TV slots, it is more and more difficult to get financing at such forums. But they started to play an important role in the distribution of the films. Those who are not promoting their film at the level of project, have difficulties in the distribution of the completed film. This study is based on the personal experience of the author, who as film director and producer participated at preparation classes for different pitching forums, so he could observe not only the development of his projects, but also of the projects of the other participants. This study is also about the formal requirements of the documentary film projects presented at such pitching forums.
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Wahlberg, Malin. "The documentary film book". NECSUS. European Journal of Media Studies 4, n.º 1 (1 de enero de 2015): 215–19. http://dx.doi.org/10.5117/necsus2015.1.bry2.
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Greenberg, Miriam. "Documentary Film Review Essay". City & Community 12, n.º 4 (diciembre de 2013): 396–403. http://dx.doi.org/10.1111/cico.12042.
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Edwards, Dan. "Hong Kong documentary film". Studies in Documentary Film 11, n.º 1 (9 de diciembre de 2016): 81–83. http://dx.doi.org/10.1080/17503280.2016.1265765.
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Vandelanoitte, Pascal. "The documentary film book". Historical Journal of Film, Radio and Television 35, n.º 3 (8 de junio de 2015): 541–43. http://dx.doi.org/10.1080/01439685.2015.1052237.
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Bettinson, Gary. "Hong Kong Documentary Film". New Review of Film and Television Studies 13, n.º 2 (9 de enero de 2015): 227–30. http://dx.doi.org/10.1080/17400309.2014.993575.
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Bruveris, Klara. "THE “CREATIVE TREATMENT OF ACTUALITY”: POETICS AND VERISIMILITUDE IN LAILA PAKALNIŅA’S FILMS". Culture Crossroads 10 (10 de noviembre de 2022): 85–90. http://dx.doi.org/10.55877/cc.vol10.144.
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Laila Pakalniņa is a contemporary Latvian filmmaker who works across both documentary and fiction film. Her films are often regarded as avant-garde, experi- menting with genre conventions, challenging her audiences to reconsider their understanding of narrative and the cinematic form. Her work also pushes the boundaries between what constitutes fiction film and what constitutes documen- tary. This arguably occurs because of her engagement with the tropes of poetic documentary cinema, of which there is a strong tradition in Latvia due to the famous Riga School of Poetic documentary established in the 1960s. This paper examines her documentary film Čau, Rasma (“Hi, Rasma”, 2014) as a continu- ation of the poetic documentary tropes developed by John Grierson, and argues that verisimilitude can be found in her documentaries through an application of Grierson’s philosophical work. The paper aims to contribute to a broader discus- sion of poetic documentary practices in the current era, and how this documentary approach has developed from its modernist beginnings.
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Mwakalinga, Mona N. "African Documentary Film: Jean Marie Teno and Hybridism in Afrique, je te Plumerai". Tanzania Zamani: A Journal of Historical Research and Writing 11, n.º 1 (1 de marzo de 2019): 103–26. http://dx.doi.org/10.56279/tza20211115.
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Documentary film has been known for its capacity to interrogate issues of social, economic, cultural and political significance, but this interrogation has been at headlocks with African governments who use the documentary genre as showcasing and praising tool. This article examines the utilization of documentary films in Africa by African governments such as Tanzania, and by independent African filmmakers such as Jean Marie Teno. Jean Marie Teno’s film “Afrique, je te Plumerai” is examined and its role in the struggle for social, political, economic, and cultural emancipation of the Cameroonian, thus African people is revealed. Through the use of distinct mixed modes of cinematic address, Teno has created a hybrid documentary genre that invites and calls for a diversified filmic style that allows for self-expression, new images, and voices. Teno has created an African documentary film that juxtaposes two distinctive traditions; African oral narrative tradition and Western filmic technique to shake the African people to action. By artfully combining contemporary images with archival film footage, discontinuity narrative structure and fictionalized images the film challenges perspectives and offers viewers a far greater understanding of both history and present condition of misuse of political powers. Teno has pushed the envelope of documentary genre further and African documentary furthest.
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محمد توم, أ. د. مجذوب بخيت y أ. بهاء الدين محمد إبراهيم. "Documentaries and environmental issues in Sudan". علوم الاتصال 7, n.º 3 (5 de octubre de 2022): 1–42. http://dx.doi.org/10.52981/cs.v7i3.2699.
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This study, entitled" Utilizing documentary films for environmental issues in Sudan: semiotic analysis of film “looted Kingdom " aims to find out how documentary Films contribute to environmental awareness and social change and how its address the issues of environment in Sudan. The study also aims to explore the connotations and implicit dimensions that the images of this film carries.
The study uses a qualitative semiotic analytical approach based on the film script analysis.
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Rospitasari, Marina. "Youtube as alternative media for digital activism in documentary film creative industry". Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, n.º 3 (20 de noviembre de 2021): 665–92. http://dx.doi.org/10.25139/jsk.v5i3.3779.
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The development of the digital world provides ample scope to activists who are also engaged in Documentary Film Industry. In line with the democratic and deliberative spirit, YouTube, one of the social media platforms, has become an alternative media with a strategic positioning to be used by film activists to distribute their works. This research applied literature review and descriptive quantitative content analysis as a methodology. Based on alternative media theory, YouTube is alternative media that filmmakers utilise in the documentary film creative industry. Documentary films are products of the film industry and aspiration, identity struggle, and artistic expression. As a media representation of communication technology, YouTube provides ample opportunities for art activists to convey their critical ideas to voicing marginal groups’ aspirations. Based on reviewing the Watchdoc YouTube account, this research findings that YouTube supports filmmakers to develop interactive documentary and collaborative actions with other strategic stakeholders, such as Production House, NGO, individual activists, social communities, and educational institutions. According to the practising of digital activism, this phenomenon gives another perspective about building an activist network. Activism through the creative documentary industry is not reflected as people mobilisations but building engagement through the product (documentary film).
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Stonys, Audrius. "CINEMATIC SHIFT FROM THE FRONT TO THE BACKGROUND. LANDSCAPE IN A POST WORD ERA". Culture Crossroads 14 (9 de noviembre de 2022): 63–69. http://dx.doi.org/10.55877/cc.vol14.91.
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With great honour to readers of “Culture Crossroads” we are offering an essay by outstanding Lithuanian documentary film director Audrius Stonys (1966), in which he shares reflections on spatial and temporal changes in documentary films within the historical context by fixating cinematic turns in elements of mise?en?scène, especially in the landscape representation. The author is looking more closely at what is happening in the front and back- ground of the documentary film “Ten Minutes Before the Flight of Icarus” (Dešimt minučių prieš Ikaro skrydį, 1990) directed by Arūnas Matelis (1961), a contempo- rary of Stonys. This particular film has been considered as a landmark which led to a shift towards a new era in Lithuanian documentary cinema.
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Fredriksson, Antony. "The Art of Attention in Documentary Film and Werner Herzog". Film-Philosophy 22, n.º 1 (febrero de 2018): 60–75. http://dx.doi.org/10.3366/film.2018.0062.
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In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire (Echos aus einem düsteren Reich, Werner Herzog, 1990) as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process of domestication and contrasting it with Merleau-Ponty's and Bernhard Waldenfels's phenomenological account of perception, in which the role of attention becomes paramount. This is an attempt to show how the question – what makes the documentary image unique – is entangled in epistemological questions concerning the relationship between vision, image, self and object. A closer investigation of the ambiguities inherent in the concept of “documentary” reveals something important concerning how the unknown becomes known.
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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie". CINEJ Cinema Journal 6, n.º 1 (14 de septiembre de 2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.
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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”". Advances in Education, Humanities and Social Science Research 1, n.º 3 (30 de enero de 2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.
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"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology involved. This article through to the concept of pseudo documentary definition, origin and classification analysis, "The Possessed", for example, from the structure of the film the real context technique and USES the imaginary space of the narrative Angle of view to create two aspects, to illustrate how the pseudo documentary its style characteristics under the guidance of the theory of thematic to complete the actual filming and production, In this way, we will discuss what the film is worth learning and drawing lessons from and explore the innovation of the film director. Consider how domestic horror films should localize the emerging film form, how to rely on the form of "pseudo-documentary" to deepen the level of horror, so that the audience can experience the immersive film watching experience.
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Skolits, Wes. "Peter Lee-Wright (2010) The Documentary Handbook". Film-Philosophy 15, n.º 2 (octubre de 2011): 129–34. http://dx.doi.org/10.3366/film.2011.0032.
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Suleimenova, A. E. y A. K. Ishanova. "Fact and fiction in documentary films (Using the example of television films about the Great Patriotic War)". BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 141, n.º 4 (30 de diciembre de 2022): 56–65. http://dx.doi.org/10.32523/2616-7174-2022-141-4-56-65.
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This article is devoted to the study of methods of transmitting facts and artistic techniques in a documentary on television. The purpose of the scientific research is to determine the characteristic features of these techniques. The object of the study is documentaries about the Great Patriotic War of 1941-1945, released on television in Kazakhstan and Russia. The functional difference in the techniques of constructing a documentary film will allow us to further study the transformation processes in the structure of television documentaries. In addition, marking the boundaries between the methods of transmitting facts and artistic techniques can become the basis for the analysis of a documentary film. With the help of content analysis, calculations were made of the quantitative ratio of two types of techniques for constructing a documentary film, which clearly showed the crisis of dramaturgy and artistic image on modern television. The analysis also showed that the authors of documentaries on television do not always skillfully use artistic techniques. Manipulation of facts and mixing of feature films with documentaries negatively affects the structure of the documentary as a journalistic work. 65No 4(141)/2022ВЕСТНИК Евразийского национального университета имени Л.Н. Гумилева. Серия ЖурналистикаBULLETIN of L.N. Gumilyov Eurasian National University. Journalism SeriesThis conclusion makes us think about the quality of documentary films on television and about the possibilities of minimizing the risk of its manipulative impact through further research of documentary film construction techniques
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Wong, Mei-Yee. "Understanding the educational value of the film Please Vote for Me: The case for a pedagogical course in citizenship education". Citizenship Teaching & Learning 14, n.º 3 (1 de octubre de 2019): 263–76. http://dx.doi.org/10.1386/ctl_00010_1.
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Abstract Studies have demonstrated the importance of citizenship education for preservice teachers; however, studies on citizenship education pedagogies in university programmes have been rare. This small-scale study furthers the discussions in western and Chinese literature regarding the documentary film Please Vote for Me. By using the film in a citizenship and moral education curriculum course, this study explored undergraduate students' perceptions of using the documentary film Please Vote for Me and their actual learning experiences and outcomes. Data were collected through student interviews, reflective journals and worksheets. The study revealed that, overall, the students appreciated learning by using documentary films; they learned reflection and critical thinking skills and about the concept of democracy. They also discussed the educational topics in the film and reflected on the expected teacher and parent roles of citizenship education. The study provides empirical evidence to supplement the literature on citizenship teaching and learning in teacher education by using a documentary film as a resource.
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A, Amalia Hening, Kamalludin Kamalludin y Gunawan Ikhtiono. "Penerapan Jurnalisme Investigasi Terhadap Film Dokumenter “Punk Berani Hijrah”". Komunika: Journal of Communication Science and Islamic Dakwah 4, n.º 1 (19 de junio de 2020): 34. http://dx.doi.org/10.32832/komunika.v4i1.4894.
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<p class="15bIsiAbstractBInggris"><em>This research discusses Investigative Journalism with the topic of the documentary film Punk Berani Hijrah by the Laskar Berani Hijrah community in Depok City. The background of this problem is the emergence of knowledge that documentary films can be called journalistic products with the aim of making documentary films, namely conveying information to the public. There is a real correlation between investigative journalism and the documentary film itself, namely the similarity in its purpose to convey, show, show real truth or information. So, the purpose of this study is to discuss whether the documentary film under study is included in investigative journalism research by raising the formulation of the problem, namely: How is the application of investigative journalism in the Documentary Film Punk Berani Hijrah? And what is the purpose of the documentary film. This study uses a qualitative approach and uses the type of content analysis research. This method is used to analyze the documentary film "Punk Berani Hijrah" whether the process of making and the content of its delivery represent investigative journalism coverage. The result of this research is that the essence, elements and characteristics of the documentary film "Punk Berani Hijrah" are imperfect so that it cannot be called investigative journalism coverage. However, it contains impeccable journalistic elements. The purpose of making the documentary film "Punk Berani Hijrah" is to change the stigma of society on negative views of punks and as a da'wah movement by showing and conveying the message that street punks need to be embraced together towards a better way of life.</em></p><p class="15bIsiAbstractBInggris"><em></em><strong>Abs</strong><strong>trak</strong></p><p>Penelitian ini membahas tentang Jurnalisme Investigasi dengan topik pada film dokumenter Punk Berani Hijrah garapan komunitas Laskar Berani Hijrah di Kota Depok. Latar belakang masalah ini adalah munculnya pengetahuan bahwa film dokumenter dapat disebut sebagai salah satu produk jurnalistik dengan tujuan pembuatan film dokumenter tersebut yaitu menyampaikan informasi kepada publik. Terdapat korelasi yang nyata antara jurnalisme investigasi dan film dokumenter itu sendiri, yaitu kesamaannya pada tujuannya yang ingin menyampaikan, menunjukkan, memperlihatkan kebenaran atau informasi yang nyata. Maka tujuan penelitian ini membahas apakah film dokumenter yang diteliti termasuk ke dalam penelitian jurnalisme investigasi dengan mengangkat rumusan masalah, yaitu: Bagaimana penerapan jurnalisme investigasi pada Film Dokumenter Punk Berani Hijrah? Serta apa tujuan dibuatnya film dokumenter tersebut. Penelitian ini menggunakan metode pendekatan kualitatif dan menggunakan jenis penelitian analisis isi. Metode ini digunakan untuk menganalisis film dokumenter “Punk Berani Hijrah” apakah proses pembuatan dan isi penyampaiannya mewakili peliputan jurnalisme investigasi. Hasil dari penelitian ini ialah tidak sempurnanya esensi, elemen serta karakteristik dari film dokumenter “Punk Berani Hijrah” sehingga tidak dapat disebut sebagai liputan jurnalisme investigasi. Namun, mengandung unsur-unsur jurnalistik yang sempurna. Tujuan daripada dibuatnya film dokumenter ‘Punk Berani Hijrah” adalah untuk mengubah stigma masyarakat atas pandangan negatif terhadap anak-anak punk dan sebagai gerakan dakwah dengan cara memperlihatan dan menyampaikan pesan bahwa anak-anak punk jalanan perlu dirangkul bersama menuju jalan kehidupan yang lebih baik.</p>
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Mendonça, Rosiel y Sérgio Braga. "Glauber Rocha descobre a Amazônia: discurso e representações sociais no documentário Amazonas, Amazonas". Arteriais - Revista do Programa de Pós-Gradução em Artes 6, n.º 11 (27 de septiembre de 2021): 121. http://dx.doi.org/10.18542/arteriais.v6i11.11028.
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ResumoO artigo faz uma análise do discurso fílmico do documentário de curta-metragem Amazonas, Amazonas, dirigido pelo cineasta baiano Glauber Rocha entre os anos de 1965 e 1966. Para isso, recorremos a fontes documentais e bibliográficas no intuito de reconstituir a experiência do diretor na região e as condições sociais de produção do filme, buscando identificar que representações ele faz do Amazonas - e da região amazônica, em sentido mais amplo.AbstractThe article makes an analysis of the filmic discourse of the short documentary Amazonas, Amazonas, directed by Glauber Rocha between the years 1965 and 1966. For this, we used documentary and bibliographical sources in order to reconstitute the experience of the director in the region and the social conditions of production of the film. We also try to identify wich representations does the film make of Amazonas and the Amazon region.
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Hope Finnegan, Elizabeth. "To See or Not to See: A Wittgensteinian Look at Abbas Kiarostami's Close-up". Film-Philosophy 22, n.º 1 (febrero de 2018): 21–38. http://dx.doi.org/10.3366/film.2018.0060.
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Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up (1990) as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects of documented reality and unsettles certain aspects of the documentary process. In doing so, he reveals our blind spots about what we think documentary film does, or ought to do. Close-Up blends layers of the real: part documented present and part re-enacted past, the film recreates the story of a real group of people who become actors playing themselves, re-enacting the story for Kiarostami's camera, repeating all of their “lines” exactly (or perhaps not so exactly) as they recall them. Is this film a documentary? Is it fiction? Where is the “real,” and what is the truth? Is “truth” ever representable? For Kiarostami, as for Cavell, these questions of representation become ethical questions. With each unraveling of a layer of reality, Kiarostami reveals a new aspect and a new opportunity for his “characters” – and his audience – to see (or to fail to see) it.
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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE". Northern Archives and Expeditions 5, n.º 2 (30 de junio de 2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.
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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.
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Urban, Marek. "Documentary film as historical narrative". Ars Aeterna 7, n.º 2 (1 de diciembre de 2015): 31–43. http://dx.doi.org/10.1515/aa-2015-0009.
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Abstract The submitted study describes the documentary film as a historical narrative that carries within it problems documented by historians such as Paul Veyne and Hayden White. It argues on behalf of the thesis that a documentary film in itself does not classify historical clues according to historical truth but according to a selected purpose (e.g. despite aesthetic conventions or in the case of a narrative film - according to the story). The study refutes the argument of Noël Carroll, who deals with the popularizing documentary film - specifically, connecting scientific “truth” with the tropological character of a documentary film narrative can create at best an approximate picture of a historical event.
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Wirawan, I. Komang Arba y I. Gede Arya Sugiartha. "The Nyama (kinship) Documentary as an Intolerant Comparative Discourse in Pegayaman Village, Buleleng, Bali". Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, n.º 2 (4 de noviembre de 2020): 71–75. http://dx.doi.org/10.31091/lekesan.v3i2.1172.
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The Nyama documentary is as a counter-discourse on intolerant attitudes in Indonesia. Nyama film was the result of research and creation of written and audio-visual data documentation of the acculturation of art and culture in the Muslim village of Pegayaman Buleleng, Bali. It was an observational/direct cinema-style documentary film acculturation of Hindu and Islamic arts and culture in Pegayaman Village, Buleleng, Bali. The Nyama film identified the perceptions and acculturation of art and culture in Pegayaman Village, Buleleng, Bali. It was a qualitative descriptive research method. Sources of data obtained through a purposive sampling method were done by accidental sampling technique. The location of the sampling was carried out in Pegayaman Village, Buleleng, Bali. The method used in achieving these goals was Representing reality. The documentary tells an event or reality (facts and data). Principally, documentary films are based on facts and are demanded to be loyal to those facts. Discussion of research and creation of this movie is the observational/direct cinema documentaries. This film tells the story of several people in Pegayaman Village. The subjects in this film are not in the same condition but are equally struggling to preserve the acculturation of Hindu and Islamic arts and culture in the Bali region. The information building in this film was a combination of interviews with selected subjects. The results of the research and creation were in the form of Nyama documentary films. The Nyama documentary is an acculturation campaign for arts and culture and a counter-discourse on the intolerant attitude of Indonesian society that is multicultural and has the character of Indonesian nationality.
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Pērkone, Inga. "TOWARDS SOCIAL CINEMA: EXTENDING OF RIGA POETIC STYLE IN THE 1970s". Culture Crossroads 12 (10 de noviembre de 2022): 19–34. http://dx.doi.org/10.55877/cc.vol12.122.
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In the 1960s, a group of young and very gifted documentary filmmakers established themselves at Riga Film Studio and developed a poetic style, based on visual metaphors which they named themselves as Riga Style but later in the Soviet and East European context the style and its creators came to be known as Riga Poetic Documentary Film School. Yet in the 1970s one can identify pronounced focusing by the documentary filmmakers on social issues, the aspirations to offer in their films analysis of the problems existing in the society and sometimes offering their solution without losing the artistic qualities of the films. The article written in 1971 by Armīns Lejiņš, the script writer and theorist of the poetic cinema, “Poetic Cinema + Scientific Cinema = Social Cinema” can be perceived as their manifesto. Lejiņš was convinced that by combining poetry and science, Riga documentary filmmakers could facilitate henceforth logical, analytical and dialectical thinking culture in their films. Within the framework of my article, I’ll provide a broader insight into the social angle of films by Latvian documentary filmmakers, into their thematic and aesthetic aspects, and also offer a more detailed analysis of the film “The Woman We Expect?” (Sieviete, kuru gaida?, 1978) – the concept, the process of its making, relations with censorship and its reception.