Bibliografías temáticas / Documentary truth

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Literatura académica sobre el tema "Documentary truth"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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Artículos de revistas sobre el tema "Documentary truth"

Arthos, John. "Narrative Manipulation and Documentary Truth". Film and Philosophy 3 (1996): 87–94. http://dx.doi.org/10.5840/filmphil199638.

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Lodge, Sue Wise. "Truth exposed in The Hospital documentary". Nursing Standard 31, n.º 22 (25 de enero de 2017): 30. http://dx.doi.org/10.7748/ns.31.22.30.s31.

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Walker, Janet. "Moving Testimonies: Documentary, "Truth," and Reconciliation". Velvet Light Trap 60, n.º 1 (2007): 87–88. http://dx.doi.org/10.1353/vlt.2007.0029.

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KOZLOV, V. P. "«THE TRUTH OF HISTORY» AND DOCUMENTARY MEMORY". JOURNAL OF PUBLIC AND MUNICIPAL ADMINISTRATION 11, n.º 1 (2022): 143–54. http://dx.doi.org/10.22394/2225-8272-2022-11-1-143-154.

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The purpose of the article is to consider and correlate the concepts of "the truth of history" and documentary memory. The author examines the framework concept of historical memory and proposes a new typology of forms of historical memory (ordinary, constructivist, scientific and cognitive). In addition, the concept of documentary memory is introduced separately – the result of the transformation of a document as a regulator of vital activity. As a result of the research, the author analyzes various properties of documentary historical memory (continuity, inactivation, inviolability, etc.), as well as its functions which are important for cognition of the past.

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Minle, SUN. "Documentary Writing and Politics of "Truth". Critical Theory 2, n.º 2 (2018): 136–81. http://dx.doi.org/10.47297/wspctwsp2515-470204.20200202.

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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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Hasan, Renta Vulkanita. "INDONESIAN DOCUMENTARY: A THEORETICAL REVIEW OF TRUTH CLAIMS PERSPECTIVE". Journal of Urban Society's Arts 7, n.º 1 (20 de septiembre de 2020): 15–20. http://dx.doi.org/10.24821/jousa.v7i1.3903.

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Documentary is a type of film that tends to be defined as a recording of reality that embedded in moving images. Documentary cannot be separated from the role of the filmmaker because they constructed reality and issues by assembling footage into narratives. Narratives are that accompanied by the social realm as fact and the role of filmmakers in the documentary brings a notion toward truth claim. Truth claims on the documentary need to be investigated because it involves two aspects: fact and filmmakers. Investigations are conducted to look for possibilities, whether another side of documentary is about trustworthiness. The first step of the investigation is to conduct a theoretical review. Theoretical review is needed in order to find previous research that have notions about truth claim of documentary from another perspective. The method of this investigation is that comparing some previous approaches with cognitive film approach where are from being initially put on the elements of reality and filmmakers, shifted to the perspective placed on the filmic element by engaging the audience. This research has an outcome that is possible to shift perspective from truth claim into trustworthiness through the filmic element that evokes the audience's experience through film clues.

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Nas, L. "The ‘unreel’ in Woody Allen’s Zelig". Literator 13, n.º 3 (6 de mayo de 1992): 93–100. http://dx.doi.org/10.4102/lit.v13i3.775.

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By presenting Zelig (1983) in the form of a historical documentary using archival film footage, film - director Woody Allen breaks down the conventional distinction between documentary and fiction film. Through metacinematic self-consciousness Zelig hybridly 'chameleonizes’ recorded historical 'truth' exposing this truth to be ‘unreal’: it explodes the notion of the cinematic ‘real’, turning it into the ‘unreel’.

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Deutsch, J. I. "Rothstein's First Assignment: A Story about Documentary Truth". Journal of American History 99, n.º 1 (22 de mayo de 2012): 382–84. http://dx.doi.org/10.1093/jahist/jas124.

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Zeng, Jinyan. "Visualizing truth-telling in Ai Xiaoming’s documentary activism". Studies in Documentary Film 11, n.º 3 (19 de junio de 2017): 184–99. http://dx.doi.org/10.1080/17503280.2017.1340795.

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Tesis sobre el tema "Documentary truth"

Goldson, Annie. "A claim to truth: documentary, politics, production". Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.

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The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.
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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins". Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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Mitropolous, Maria. "Regimes of truth: Documentary photography in the margins". Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical ISsues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmanuel Levinas' philosophy of the Other with a Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Administration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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Mickwitz, Nina. "Comics and/as documentary : the implications of graphic truth-telling". Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/48686/.

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Examining examples from a cluster of early twenty-first century comics this thesis argues that these are comics adopting a documentary mode of address. The recognition that they share a documentary ambition to visually narrate and represent aspects and events of the real world, in turn calls for a closer examination of the contribution such comics present in terms of documentary’s repertoire. This thesis challenges the persistent assumption that ties documentary to recording technologies, and instead engages an understanding of the category in terms of narrative, performativity and witnessing. In so doing, it aligns with debates and questions raised by recent academic work around animated documentary. Shared concerns include conventions, truth-claims and trust, and the limitations of representation as verisimilitude. Mindful not to overstate correspondence with animated and inherently moving image forms, however, this contribution explicitly concerns documentary in comics form: as constituted by static and silent pages. The enquiry is structured according to concerns and themes that have been identified as central to documentary theory: the relation between documentary image and its referent; the production of archives and popular history; the social function of documentary as visibility and ‘voice’, and the travelogue as cultural narrative and production of knowledge. In other words, examples of comics that address actual, as opposed to imagined, persons and events of the historical world, are read through the lens of documentary. Close reading and visual analysis, engaging comics-specific frameworks, asks how comics by means of their formal qualities might offer alternative strategies and even the possibility to overcome certain problems associated with audiovisual modes of documentary representation. The thesis simultaneously extends an alternative perspective to literary frameworks, in particular the categories of memoir and autobiography, which have come to dominate in a steadily growing field of comics studies.

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Shaw, Nicola. "Truth-telling strategies of British drama-documentary : from realism to postmodernism". Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496787.

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This study offers a retrospective, critical view of the field of drama\documentary on British television and, through the examination of key social and theoretical shifts surrounding issues of "reality" and "truth", offers a new critical and conceptual framework for the consideration of drama\documentary texts. Locating selected examples of realist compositional strategies within an account of contemporary thinking in the field of reality, this thesis traces the development of the form and shifts in conceptions of the real that have impacted upon it. Two contrasting historical moments are established as a means of demonstrating the shift in consciousness and strategies of authentication from the realisms of the post-war period to the post-structural discourse of the postmodern era. A comparative analysis of specific texts is placed in the context of this shift, foregrounding its impact on features of textual composition, faith in television discourse, and changing reading dispositions. The significance of these texts does not lie simply in the relationship between dramatic and documentary modes and the extent to which either has been employed, but also in the which dramatic forms are used or documentary traditions referenced, and to what effect, within a specific historical context. This thesis argues for a historically situated approach to the medium of drama\documentary and suggests that codes and conventions deployed within given texts are always relative to time. This is evidenced through the concept of "reality status", which asserts that guarantors of truth and strategies of authentication within the drama\documentary text are drawn from the truth-telling strategies of the era.

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Bevins, Thomas Levin Ben. "Street chords and the truth a street level view of country music /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6134.

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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.

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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.

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Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.

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Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.

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Drummer, Aurora. "Unconventional story-weavers and their "Ecstatic Truth": An analysis of voice-overs in documentary film". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12877.

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Includes bibliographical references.
This dissertation takes theories of voice-over narration that are typically applied to fiction film and applies them to documentary film. It looks at issues of representation and truth values in the documentary films of Werner Herzog, John Marshall, Luis Buñuel and Karin Jurshcick. It argues that the choices filmmakers make regarding types of voice-over affect these issues and are therefore worthy of study. It argues that the unconventional story-weavers in documentaries like those of Marshall and Herzog‘s can inadvertently marginalise their subjects. It looks at Buñuel‘s Land Without Bread as an extreme example of an (intentionally) manipulative narrator. It suggests that a voice-over narrator that follows Chion‘s conceptualisation of the complete acousmêtre encourages audiences to engage on a more critical level. Finally, it argues that even a seemingly traditional narrator as seen in Jurshick‘sIt Should Have Been Nice After That can be unconventional and reveal an - ecstatic truth.

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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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Libros sobre el tema "Documentary truth"

Gallery, Whitechapel Art, Tate Modern (Gallery) y ebrary Inc, eds. Truth or dare: Art & documentary. Bristol, UK: Intellect, 2007.

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1967-, Navarro Vinicius, ed. Crafting truth: Documentary form and meaning. New Brunswick, N.J: Rutgers University Press, 2010.

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Avi. Nothing but the truth: A documentary novel. New York: Orchard Books, 1991.

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Kennedy, Michael. An examination of truth and meaning in documentary. London: LCPDT, 1994.

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Manufacturing truth: The documentary moment in early Soviet culture. DeKalb: Northern Illinois University Press, 2008.

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Screening truth to power: A reader on documentary activism. Montréal, Québec: Cinema Politica, 2014.

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Telling the truth: The theory and practice of documentary fiction. Ithaca: Cornell University Press, 1986.

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Factual fictions: Narrative truth and the contemporary American documentary novel. Newcastle upon Tyne: Cambridge Scholars, 2010.

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Mind's eye, mind's truth: FSA photography reconsidered. Philadelphia: Temple University Press, 1989.

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Blood on the lens: A filmmaker's quest for truth in Afghanistan. Washington, D.C: Potomac Books, 2007.

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Capítulos de libros sobre el tema "Documentary truth"

Mickwitz, Nina. "The Truth-Claims of Images". En Documentary Comics, 29–57. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137493323_3.

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Keshishian, Alek. "Truth or Dare (aka In Bed with Madonna/ Madonna: Truth or Dare)". En 100 Documentary Films, 225–26. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-84457-551-0_93.

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Beattie, Keith. "The Truth of the Matter: Cinéma Vérité and Direct Cinema". En Documentary Screens, 83–104. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-62803-8_6.

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Kellner, Douglas. "On Truth, Objectivity and Partisanship: The Case of Michael Moore". En The Documentary Film Book, 59–67. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_5.

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Eitzen, Dirk. "The Duties of Documentary in a Post-Truth Society". En Cognitive Theory and Documentary Film, 93–111. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_6.

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Nannicelli, Ted. "Interactive Documentary, Narrative Scepticism and the Values of Documentary Film". En Truth in Visual Media, 167–88. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474467.003.0008.

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This chapter critically assesses some of the claims that have been made about interactive documentary’s putatively special capacity to yield a variety of values – epistemic, ethical, and political – and to defend a moderately pessimistic view of interactive documentary’s ability to realise any of those values in a way that is superior to traditional, narrative documentary film. The chapter also rebuts the corollary claim that linear narrative – in documentary film and more generally -- is unable or ill-equipped to realise those values. The chapter closes on a more positive note by highlighting the various virtues narrative documentary can realise at its best.

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Khatib, Lina. "Documentary, History and Reality:". En Truth or Dare, 47–56. Intellect Books, 2006. http://dx.doi.org/10.2307/j.ctv36xvw0g.7.

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Hillier, Jim. "Truth or Dare (aka In Bed with Madonna/Madonna: Truth or Dare)". En 100 Documentary Films. British Film Institute, 2009. http://dx.doi.org/10.5040/9781838710606.0096.

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Nannicelli, Ted. "8. INTERACTIVE DOCUMENTARY, NARRATIVE SCEPTICISM AND THE VALUES OF DOCUMENTARY FILM". En Truth in Visual Media, 165–88. Edinburgh University Press, 2021. http://dx.doi.org/10.1515/9781474474481-011.

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"Documentary, or instants of truth". En Photography: History and Theory, 94–131. Routledge, 2013. http://dx.doi.org/10.4324/9780203153215-10.

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Actas de conferencias sobre el tema "Documentary truth"

Yesicha, Chelsy. "Reality the Truth of Religious Practice in Documentary Covid-19". En International Conference on Emerging Media & Communication. European Publisher, 2022. http://dx.doi.org/10.15405/epsbs.2022.01.02.32.

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Li, Peng-Peng y Geng Zhang. "Environmental Discourse Production and Confrontation in Environmental Documentary-Using ⟨⟨An Inconvenient Truth⟩⟩ and ⟨⟨Under the Dome⟩⟩as examples". En 2019 IEEE Eurasia Conference on IOT, Communication and Engineering (ECICE). IEEE, 2019. http://dx.doi.org/10.1109/ecice47484.2019.8942707.

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Informes sobre el tema "Documentary truth"

San Deogracias, José Antonio y María Antonia Paz Rebollo. A modified representation of truth through the use of editing in the documentary La pelota vasca. Revista Latina de Comunicación Social (RLCS), 2011. http://dx.doi.org/10.4185/rlcs-66-2011-922-001-030-en.

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Lubkovych, Igor. METHODS OF JOURNALISTIC COMMUNICATION. Ivan Franko National University of Lviv, marzo de 2021. http://dx.doi.org/10.30970/vjo.2021.50.11096.

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Journalistic communication is professional, its purpose is to obtain information and share it withthe audience. A journalist communicates when he intends to receive information directly from the interlocutor, from documents that the interlocutor has, or by observing the behavior of the interlocutor during the conversation. The most common method is communication in order to obtain verbal information. In the course of communication, a journalist succeeds when he adheres to politeness, clarity, brevity. It is important that the conditions of communication must be prepared or created: a place of communication, participants of communication, demonstration of listening skills, feedback. You should always try to get documentary evidence of what you have heard. An active reaction to what is heard by the journalist should be used to find out how much the interlocutor understands what is being said. At the beginning of the conversation, when the interlocutor expresses his attitude to the event or problem in question, it should not be interrupted. A journalist, like most people, often makes two mistakes when communicating: perceives as truth what is presented and attributes characteristics. Attribution of the characteristic as a psychological error is known since the beginning of the last century. And the perception of everything as the truth has long been inherent in our society.

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Khomenko, Tetiana. TIME AND SPACE OF HISTORICAL PARALLELS OF EUGEN SVERSTIUK’S JOURNALISM. Ivan Franko National University of Lviv, marzo de 2021. http://dx.doi.org/10.30970/vjo.2021.50.11095.

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The article is dedicated to the investigation of time-space measurements of journalistic works of Eugen Sverstiuk, a well-known Ukrainian journalist. In particular, the time-space continuum of his works is being discussed, which is characterized as comprehensive, continuous, filled with archetypical images which metaphorize the text, but at the same time structure it, and are beaded on the axis of time and documentarily located in the space. The logics of images initiated in the text is exaggerated by constant dwelling of the author in the time-space dimensions of the epoque, of which he was a contemporary, as well as precise knowledge of World and Ukrainian history and culture. Historical parallelism of journalism of E. Sverstiuk possesses double potential. On the one hand, the author provides arguments for confirmation of his own opinion, and on the other, he shows us historical collisions in the new aspect, which helps consider the past, better understand the present, and think of the future. Pages of his works is space for author’s considerations, which logics impresses by free transgression of the author in the time, and his ability to grasp the most essential, although sometimes precedent, sometimes sudden and forgotten, or even unknown historical facts in order to force them to resonate in the new historical realities, first of all to indicate the importance of national and the need for assigning to it more significance. Using retrospectives, E. Sverstiuk encourages us to return to the national sources and to seek in ourselves the reflections of nationality in order to return historical truth to our audience. This is what, according to E. Sverstiuk, was believed to be one of the most necessary conditions of existence to the independent state. Time-space continuum of E. Sverstiuk’s journalism is reproduction of comprehensive history as continuous process of the development of humanity, and of formation of comprehensive, total, and so to say epic reading and understanding of these processes via accentuation of reader’s attention on key events, phenomena, and facts.

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