Artículos de revistas: "Documentary truth"

1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Carolyn Kraus. "Proof of Life: Memoir, Truth, and Documentary Evidence". Biography 31, n.º 2 (2008): 245–68. http://dx.doi.org/10.1353/bio.0.0014.

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12

Routt, William D. "The truth of the documentary — for John Langer". Continuum 5, n.º 1 (enero de 1991): 60–75. http://dx.doi.org/10.1080/10304319109388215.

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13

Nolley, Ken. "Fahrenheit 9/11: Documentary, Truth-telling, and Politics". Film & History: An Interdisciplinary Journal of Film and Television Studies 35, n.º 2 (2005): 12–16. http://dx.doi.org/10.1353/flm.2005.0052.

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14

Fuhs, Kristen. "How Documentary Remade Mike Tyson". Journal of Sport and Social Issues 41, n.º 6 (18 de julio de 2017): 478–92. http://dx.doi.org/10.1177/0193723517719668.

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This article will theorize the relationship between stardom and documentary by considering the ways in which documentary representations contribute to the discursive formation of a star. Specifically, the article will explore the central role that documentary film has played in remaking Mike Tyson’s public image by analyzing the boxer’s representation across three distinct films: Fallen Champ: The Untold Story of Mike Tyson (Barbara Kopple, 1993), Tyson (James Toback, 2008), and Mike Tyson: Undisputed Truth (Spike Lee, 2013).

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15

Williams, Linda. "Mirrors without Memories: Truth, History, and the New Documentary". Film Quarterly 46, n.º 3 (1993): 9–21. http://dx.doi.org/10.2307/1212899.

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16

Mitcheson, Katrina. "Truth, Autobiography and Documentary: Perspectivism in Nietzsche and Herzog". Film-Philosophy 17, n.º 1 (diciembre de 2013): 348–66. http://dx.doi.org/10.3366/film.2013.0020.

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17

Butchart, Garnet C. "On Ethics and Documentary: A Real and Actual Truth". Communication Theory 16, n.º 4 (noviembre de 2006): 427–52. http://dx.doi.org/10.1111/j.1468-2885.2006.00279.x.

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18

Sorensen, Kristin. "Truth and Justice: Transience and Doubt in Chilean Documentary". Journal of Human Rights 7, n.º 4 (4 de diciembre de 2008): 341–52. http://dx.doi.org/10.1080/14754830802476902.

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19

Williams, Linda. "Mirrors without Memories: Truth, History, and the New Documentary". Film Quarterly 46, n.º 3 (abril de 1993): 9–21. http://dx.doi.org/10.1525/fq.1993.46.3.04a00030.

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20

Melo, Carla. "Live from the Front: A Poetics of Slamming the “Truth”". TDR/The Drama Review 53, n.º 3 (septiembre de 2009): 84–97. http://dx.doi.org/10.1162/dram.2009.53.3.84.

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Documentary performances usually take the stance of objectivity and critical distance. But sometimes this is not the case. Live from the Front is a performance of Jerry Quickley's embodied experience of the US-led invasion of Iraq. Quickley's account of “Shock and Awe” as a slam poet-turned-unembedded reporter for Pacifica Radio subverts the idea of documentary objectivity, opening up new ways to get at the “truth.”

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21

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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22

Houghton, Deirdre, Gary Soles, Andrew Vogelsang, Valerie Irvine, Francois Prince, Leona Prince, Carla Martin, Jean-Paul Restoule y Michael Paskevicius. "Truth and Reconciliation Through Inquiry-based Collaborative Learning". Open/Technology in Education, Society, and Scholarship Association Conference 2, n.º 1 (23 de diciembre de 2022): 1–8. http://dx.doi.org/10.18357/otessac.2022.2.1.126.

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This paper overviews a project conducted at Fort St. James Secondary School in the Nechako Lakes School District, which is in Northern British Columbia, Canada. Three highschool teachers from different disciplines (Social Studies, Digital Media, and Carpentry) launched a cross-curricular inquiry-based project in partnership with local knowledge holders and School District 91, focusing on truth and reconciliation, that connected the learners in their highschool and the broader community, including knowledge holders from the local Indigenous communities. Those engaged in the project examined questions around what truth and reconciliation meant to the learners and its significance. Resulting products included a legacy wall containing individual learning represented in motifs, design of the feather using wood from around the world, and a video documentary containing interviews from school and community stakeholders. We share information on how to access the video documentary.

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23

Couret, Nilo. "Due Process: A Conversation with Maria Augusta Ramos". Film Quarterly 72, n.º 3 (2019): 52–58. http://dx.doi.org/10.1525/fq.2019.72.3.52.

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Nilo Couret interviews Brazilian documentary filmmaker Maria Augusta Ramos. Her recent documentary, O Processo (The Trial, 2018), chronicles the “parliamentary coup” against Dilma Rousseff, delving into the impeachment process and the former president's trial in the Senate. In O Processo, Ramos engages with enduring themes and subjects from her twenty-year career, particularly her well-known Justice Trilogy, which examined the Brazilian criminal justice system. For Ramos, documentary shares an affinity with forensic discourse when its purpose is truth-telling in the service of justice. Rousseff's trial and impeachment, however, find the filmmaker probing how justice has been sundered from the truth in a contemporary moment when corruption scandals and fake news compromise our democratic institutions. Her films combine an observational approach with institutional analyses in order to reveal the workings of power behind the surfaces of everyday life.

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24

McH., B. y Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction". Poetics Today 8, n.º 2 (1987): 455. http://dx.doi.org/10.2307/1773053.

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25

Heyne, Eric y Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction". Journal of the Midwest Modern Language Association 20, n.º 1 (1987): 111. http://dx.doi.org/10.2307/1315002.

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26

Plantinga, Carl y Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction". Journal of Aesthetics and Art Criticism 45, n.º 3 (1987): 316. http://dx.doi.org/10.2307/431467.

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27

Forceville, Charles. "Animating Truth: Documentary and Visual Culture in the 21st Century". Leonardo 55, n.º 1 (2022): 93–96. http://dx.doi.org/10.1162/leon_r_02170.

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28

Markotic, Nicole. "Play the Facts and the Truth: Disability in Documentary Film". Canadian Journal of Disability Studies 1, n.º 2 (10 de mayo de 2012): 1. http://dx.doi.org/10.15353/cjds.v1i2.40.

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29

Spence, Louise y Aslı Kotaman Avcı. "The talking witness documentary: remembrance and the politics of truth". Rethinking History 17, n.º 3 (septiembre de 2013): 295–311. http://dx.doi.org/10.1080/13642529.2013.774714.

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30

Cass, Philip. "REVIEW: Maintaining the climate struggle". Pacific Journalism Review : Te Koakoa 23, n.º 2 (30 de noviembre de 2017): 220. http://dx.doi.org/10.24135/pjr.v23i2.338.

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An Inconvenient Sequel: Truth to Power, directed by Bonni Cohen, John Shenk. Produced by Richard Berge. Actual Films & Participant Media. Documentary. 2017. 98min.An Inconvenient Sequel picks up a decade after the powerful and passionate An Inconvenient Truth introduced us to Al Gore’s crusade to make people behave responsibly over climate change.

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31

De Diego, Estrella. "Three Women in a Garden. Alice Austen’s Pictures and the Paradox of Documentary Photography". Anales de Historia del Arte 28 (25 de septiembre de 2018): 147–62. http://dx.doi.org/10.5209/anha.61609.

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That so very difficult question about “truth”, frequently posed in relation to both autobiographical artefacts and documentary photography, is no doubt the key query concerning Alice Austen’s whole oeuvre. Taking that question as a starting point for discussion, this article explores Austen’s autobiographical and documentary work as part of the same strategy, since Austen’s autobiographical photography “documents” the life of New Women and the class that she belonged to. But if her autobiographic production is documentary, why not consider her documentary work autobiographical? The article works on this hypothesis by engaging canonical autobiography texts and exploring how watching an event may mean becoming part of the event itself.

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32

Akhavan, Niki. "Nonfiction Form and the “Truth” about Muslim Women in Iranian Documentary". Feminist Media Histories 1, n.º 1 (1 de enero de 2015): 89–111. http://dx.doi.org/10.1525/fmh.2015.1.1.89.

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More than three decades of hostile relations between Iran and the West have meant that images about Iran and Iranian women circulate in a charged political environment. In this geopolitical context, Iranian women filmmakers have often found receptive audiences abroad who turn to documentaries as sites to reveal the truths of contemporary Iran. The enthusiasm for these works, however, also exerts pressures on filmmakers to adhere to familiar narratives about Iran and Iranian women or risk losing their audiences. Focusing on Nahid Sarvestani's Prostitution behind the Veil (2004) and Mahvash Sheikholeslami's Where Do I Belong? (2007), this article examines two tendencies in recent Iranian documentary. The former film exemplifies the prevalent trend of repeating troubling but familiar tropes about Islam and Muslim women, while the latter is an example of attempts to provide a more nuanced picture of Iran's social and political problems. Placing these films in the broader context of the history of nonfiction films in Iran, the article also draws from both feminist scholarship on representations of the Muslim world and longstanding debates within documentary studies to show the high stakes of producing films about Iran and to suggest that documentary works by and about Iranian women should be more rigorously interrogated for their ethical and political implications.

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33

Richards, Daisy. "Blurring the Boundaries Between Life and Death:". Exchanges: The Interdisciplinary Research Journal 5, n.º 2 (7 de junio de 2018): 26–43. http://dx.doi.org/10.31273/eirj.v5i2.235.

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This article aims to engage with and problematise traditional ideas relating to re-enacted sequences within documentary films, and how these sequences might allow audiences a new and previously denied access to some level of so-called ‘truth.’ Positing that re-enactments essentially function as devices of distraction and fantasy, Bill Nichols (2008) sheds invaluable insight onto the nature of ‘truth’ in the use of re-enactments in documentary filmmaking. This article engages with, and attempts to build upon this existing scholarship, by performing a closer examination of the ways in which filmmakers deploy strategies of re-enactment in Carol Morley’s Dreams of a Life (2011) and Clio Barnard’s The Arbor (2010). Re-enactments are employed by their respective filmmakers not solely in order to present complete rejections of reality, but also to depict the filmmaking processes and the ways in which they have been ‘worked through’ to audiences in innovative and reflexive ways. Through the specific utilisation of stylistic features that directly and obtrusively call attention to a documentary’s status as documentary, filmmakers do not wholeheartedly reject real-life events. Instead, they continually draw attention to the artifice of their artworks, reminding audiences that there can, indeed, only ever be ‘a view from which the past yields up its truth’, and that these views are completely and wholly unstable and elusive.

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34

Malitsky, Joshua. "Science and Documentary: Unity, Indexicality, Reality". Journal of Visual Culture 11, n.º 3 (diciembre de 2012): 237–57. http://dx.doi.org/10.1177/1470412912455615.

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This article serves as an introduction to this Special Issue and explores in depth three concepts integral to the links between science and documentary: unity, indexicality, and reality. After outlining how and why the ‘scientific’ has been conceived as a problem in scholarship on documentary, the author offers an alternative framework based on recent scholarship in science and technology studies. This model seeks to account for the value of critiques of scientific approaches while recognizing the ways in which scientists have developed methods of image management that maintain the usefulness of their evidence while simultaneously recognizing the contingency of their truth claims. The author proposes that a conception of indexicality as both trace and deixis provides one tool for understanding the multiple strategies that scientists employ to figure reality.

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35

Brändli, Sabina. ""It is truth, it is not Propaganda." Youtube als Herausforderung für den Geschichtsunterricht". Didactica Historica 3, n.º 1 (2017): 53–59. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.53.

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Without special training, teens can view documentary movies as a trustworthy non-fiction source. Thus they can become defenceless towards political manipulation through the Internet. To be able to learn seeing through the style and motivation of such movies, this article advocates the use of different film studies concepts, like the documentary movie typology by Bill Nichols. The introduction of the differentiation between soft and hard propaganda shows the increased danger that comes from the growing global access to a whole range of movies, which evades national protective regulations.

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36

Jesús Vassallo. "Documentary Photography and Preservation, or The Problem of Truth and Beauty". Future Anterior: Journal of Historic Preservation, History, Theory, and Criticism 11, n.º 1 (2014): 15. http://dx.doi.org/10.5749/futuante.11.1.0015.

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37

LEE, Sung Wook. "Documentary, Representation, and the Truth - Focusing on the Movie Diving Bell". CONTENTS PLUS 14, n.º 6 (31 de octubre de 2016): 93–106. http://dx.doi.org/10.14728/kcp.2016.14.06.093.

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38

Yeo, Sara K., Andrew R. Binder, Michael F. Dahlstrom y Dominique Brossard. "An inconvenient source? Attributes of science documentaries and their effects on information-related behavioral intentions". Journal of Science Communication 17, n.º 02 (20 de junio de 2018): A07. http://dx.doi.org/10.22323/2.17020207.

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We investigate the impact of a science documentary on individuals' intention to engage in information-related behaviors by experimentally testing the effects of source type (scientist, politician, or anonymous source) and communication setting (interview or lecture) using a manipulated clip from the documentary, ‘An Inconvenient Truth’. Our results indicate that, compared to anonymous sources, use of authoritative ones result in greater intention to engage in some information-related behaviors. Additionally, our results suggest that increased intentions to engage in exchanging information can be attributed to negative affect induced by the clip featuring a politician. Implications for documentary films and science communication are discussed.

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39

Lim, Jia. "A narrative analysis of a movie as seen in a abduktion method: Focus on the plot of the documentary film “Thin Blue Line”". Korean Society of Human and Nature 3, n.º 1 (30 de junio de 2022): 123–38. http://dx.doi.org/10.54913/hn.2022.3.1.123.

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The purpose of this study is to analyze the storytelling technique of a documentary film that effectively conveys the truth based on the theory of Umberto Echo's “abduction” method. Among the various existing research results, the speed of storytelling has been developed in the movie as a double-track role commonly used in the genre of drama films and suspense. This paper study analyzes the story structure of the documentary film The Thin Blue Line.

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40

Norman, Barnaby. "Time of Death: Herzog/Derrida". Oxford Literary Review 35, n.º 2 (diciembre de 2013): 205–20. http://dx.doi.org/10.3366/olr.2013.0070.

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This article proposes to explore questions of testimony, truth and fiction in Werner Herzog's 2011 documentary film Into the Abyss: A Tale of Death, a Tale of Life through Derrida's writings on Maurice Blanchot.

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41

Young, Stuart. "Playing with Documentary Theatre: Aalst and Taking Care of Baby". New Theatre Quarterly 25, n.º 1 (febrero de 2009): 72–87. http://dx.doi.org/10.1017/s0266464x09000074.

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The coinings of ‘verbatim theatre’ and the ‘testimony play’ have added new factors to any consideration of documentary drama. It is a form that has been proliferating recently, whether in enacted judgements of public policy – privatization of the railways in David Hare's The Permanent Way, the invasion of Iraq in Called to Account at the Tricycle – or in exploring the ‘truth’ about more private issues. In the following article, Stuart Young questions whether the form is appropriate to the discovery of such ‘truth’, but finds that two recent works in the genre, Aalst and Taking Care of Baby, have effected a more complex and reflexive intervention by emphasizing the process of writing or reporting, thereby drawing attention to the methods of construction in documentary theatre and to the problematic issues inherent in those methods. Stuart Young is Associate Professor and Co-ordinator of the Theatre Studies programme at the University of Otago. He has published on Chekhov in performance abroad and rewritings of the plays, New Zealand drama, and gay and queer theatre, and also translates Russian and French drama. He is currently working on a documentary theatre project on family violence in New Zealand.

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42

Domalewski, Adam. "‘You’re ignoring the truth’ – Fatih Akın’s Polluting Paradise (2012) and Eco-Trauma Cinema". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 31, n.º 40 (17 de enero de 2023): 61–69. http://dx.doi.org/10.14746/i.2022.40.03.

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The paper provides an analysis of the documentary Polluting Paradise (2012) by Fatih Akın within the context of eco-trauma cinema. The movie depicts ecological contamination as a social problem and mutual catastrophe, exactly as the theory of eco-trauma cinema suggests. Through a careful observational mode of filmmaking that characterize Polluting Paradise, the mechanisms that are responsible for environmental pollution are being scrutinized. The author argues that the movie combines documentary techniques with melodramatic structures for the sake of the audience’s emotional involvement. The article concludes with a reflection on the cinematic rhetoric used by Akın to affect the viewers.

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43

Zhou, Yang y Rouqi Zhang. "A Brief Analysis of Subtitle Translation of Documentary Wild China from the Perspective of Eco-translatology". Theory and Practice in Language Studies 9, n.º 10 (1 de octubre de 2019): 1301. http://dx.doi.org/10.17507/tpls.0910.06.

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Based on the principle of truth, the documentary exchanges knowledge and conveys emotions. The documentary Wild China has received strong attention from domestic and foreign audiences since its launch on National Geographic. However, due to the differences between Chinese and Western cultures, most Chinese viewers need subtitle translation to have a better understanding of this documentary. Unlike the subtitle translation of films and TV plays, the content of the documentary has strong professionalism and knowledge. Thus, documentary subtitle translation requirements are also higher than those of films and TV plays. Meanwhile, it is necessary to discuss the subtitle translation of documentaries. Ecological translation was first proposed by Professor Hu Gengshen. In the past ten years, many remarkable research results have been achieved. Taking ecological translation as the theoretical support, this paper chooses the subtitle translation of the documentary Wild China (CCTV) as the research object, and combines the theoretical discussion and the case analysis to focus on the translator’s “adaptation” and “selection” in the linguistic, cultural and communicative dimensions, thus verifying the guiding significance of eco-translatology to the subtitle translation of the documentary and supplementing the theoretical research perspective of subtitle translation of the documentary.

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44

Gardner, Colin. "Constructing an Immanent Sublime: Ecosophical Aesthetics as “Ecstatic Truth” in Werner Herzog’s Lessons of Darkness (1992)". Journal of Ecohumanism 1, n.º 1 (23 de enero de 2022): 45–56. http://dx.doi.org/10.33182/joe.v1i1.1735.

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On its release in 1992, Werner Herzog’s quasi-documentary, Lessons of Darkness, was heavily criticised for ‘aestheticizing’ the ecological devastation of the First Gulf War by combining dream-like images of the Kuwaiti oil field fires with an overly romanticized soundtrack dominated by Wagner’s operas. Herzog’s response was that he was striving to move beyond what he calls ‘the accountant’s truth’ of Cinéma Vérité and achieve instead an ‘ecstatic truth,’ a term derived from Longinus which categorizes the sublime as a combination of immanent terror and delightful horror that strives not to persuade or educate the viewer but to entrance them, thereby attaining a higher form of truth, much like Nietzsche’s definition of art as ‘the highest power of falsehood,’ whereby ‘the will to deception is turned into a superior ideal.’ The essay then applies this form of ecstatic sublime to Félix Guattari’s ecosophical strategy, outlined in The Three Ecologies, where the usual dialectic between subject and object/nature, virtual and actual, fiction and documentary is dissolved in favour of nonhuman, interactive singularities, which act as a dynamic intersection for a series of autonomous vectors that radically transform ecology (and its associated activism) as we know it.

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45

MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening". Music, Sound, and the Moving Image 15, n.º 1 (1 de julio de 2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.

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Saputra, Arif Hijrah y Widayati Widayati. "Juridical Study on Implementation of Village Chairman Using E-Voting Method". Law Development Journal 2, n.º 3 (11 de octubre de 2020): 392. http://dx.doi.org/10.30659/ldj.2.3.392-401.

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Evidence is a problem that plays a role in the process of trial court examination which aims to find material truth. From the evidence, it is determined whether the defendant is guilty or not. At this stage of evidence, according to Article 52 of the Criminal Procedure Code, the defendant has the right to present mitigating evidence as a defense to give rise to the judge's conviction that he is innocent. The defendant's submission of mitigating evidence is to protect the rights of the defendant and uphold the principle of equality before the law. The evidence presented by the defendant to prove his innocence was documentary evidence. The purpose of this study was to identify and analyze the use of documentary evidence submitted by the defendant in a murder crime case and to find out the weaknesses and solutions to the use of documentary evidence submitted by the defendant in a murder crime case. This legal research uses empirical juridical research methods, by conducting descriptive analysis. This research uses a statutory approach, documents and field research. This legal research is also supported by the results of interviews with informants. Results of the study: The panel of judges accepted the use of documentary evidence by the panel of judges, but the strength of evidence could not be considered in the verdict. The reason is because documentary evidence is not independent evidence and must be supported by other evidence. In accordance with Article 183 of the Criminal Procedure Code, which regulates the minimum number of at least two valid pieces of evidence. The weaknesses of documentary evidence submitted by the defendant include: (a) From a formal perspective, that the power of proof of documentary evidence in a criminal case is controlled by the rules, namely Article 187 KUHAP, they must determine the conviction of the judge. Evidence in a criminal case to seek material truth, the judge is free and not bound by evidence. (b) In terms of material, whereas what is sought in criminal procedural law is material truth, then the consequence is that the judge is free to use or set aside a letter. Although there is no special regulation, according to the negative evidence system (negatief wettelijk bewijstheorie) adopted by the Criminal Procedure Code, namely there must be confidence from the judge regarding the evidence presented at trial. Even though from a formal perspective, the evidence is an official letter, but the value of perfection does not support it to stand on its own and must comply with the principle of the minimum limit of proof stipulated in article 183 KUHAP.

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47

Kurniawan, Andhika Widya y Maryanto Maryanto. "Using of Letter Evidence by Defendant in Murder Crime". Law Development Journal 2, n.º 3 (11 de octubre de 2020): 383. http://dx.doi.org/10.30659/ldj.2.3.383-391.

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Evidence is a problem that plays a role in the process of trial court examination which aims to find material truth. From the evidence, it is determined whether the defendant is guilty or not. At this stage of evidence, according to Article 52 of the Criminal Procedure Code, the defendant has the right to present mitigating evidence as a defense to give rise to the judge's conviction that he is innocent. The defendant's submission of mitigating evidence is to protect the rights of the defendant and uphold the principle of equality before the law. The evidence presented by the defendant to prove his innocence was documentary evidence. The purpose of this study was to identify and analyze the use of documentary evidence submitted by the defendant in a murder crime case and to find out the weaknesses and solutions to the use of documentary evidence submitted by the defendant in a murder crime case. This legal research uses empirical juridical research methods, by conducting descriptive analysis. This research uses a statutory approach, documents and field research. This legal research is also supported by the results of interviews with informants. Results of the study: The panel of judges accepted the use of documentary evidence by the panel of judges, but the strength of evidence could not be considered in the verdict. The reason is because documentary evidence is not independent evidence and must be supported by other evidence. In accordance with Article 183 of the Criminal Procedure Code, which regulates the minimum number of at least two valid pieces of evidence. The weaknesses of documentary evidence submitted by the defendant include: (a) From a formal perspective, that the power of proof of documentary evidence in a criminal case is controlled by the rules, namely Article 187 KUHAP, they must determine the conviction of the judge. Evidence in a criminal case to seek material truth, the judge is free and not bound by evidence. (b) In terms of material, whereas what is sought in criminal procedural law is material truth, then the consequence is that the judge is free to use or set aside a letter. Although there is no special regulation, according to the negative evidence system (negatief wettelijk bewijstheorie) adopted by the Criminal Procedure Code, namely there must be confidence from the judge regarding the evidence presented at trial. Even though from a formal perspective, the evidence is an official letter, but the value of perfection does not support it to stand on its own and must comply with the principle of the minimum limit of proof stipulated in article 183 KUHAP.

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48

Borum Chattoo, Caty y Will Jenkins. "From reel life to real social change: the role of contemporary social-issue documentary in U.S. public policy". Media, Culture & Society 41, n.º 8 (17 de enero de 2019): 1107–24. http://dx.doi.org/10.1177/0163443718823145.

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This article examines three digital-era social-issue documentaries – Sin by Silence, Playground, and Semper Fi – to reveal elements of cultural and narrative influence that contributed to legislative change in the United States. Expanding the coalition model of documentary’s political impact through case studies and in-depth interviews with policy subnetworks shaped for each film – policymakers and legislative staffers, advocacy group leaders, and documentary directors – this study finds that social-issue documentaries are influential for U.S. policy engagement when they are perceived as emotional, factual, and nonpartisan. Documentary is thus positioned as ‘situated knowledge’ in a policymaking context – narrative that presents human implications and lived experiences. Ultimately, the policy impact of these documentaries is attributed to the dual defining characteristics of documentary: creative expression and reflection of truth. The present work contributes to expanding literature about documentary and social change.

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49

Takahashi, Tess. "Experiments in Documentary Animation: Anxious Borders, Speculative Media". Animation 6, n.º 3 (noviembre de 2011): 231–45. http://dx.doi.org/10.1177/1746847711417934.

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Animated documentaries like Julia Meltzer and David Thorne’s It’s Not My Memory of It: Three Recollected Documents (2003), Jackie Goss’s Stranger Comes To Town (2007), and Stephen Andrews’s The Quick and the Dead (2004) invite us to consider the larger implications of the intensified dislocation and movement of individuals and information over the past decade. Through these exemplary texts, this article examines a trend in experimental animated documentaries in which artists visibly and self-consciously investigate the current status of the ‘documentary guarantee’. How can current documentary establish truth claims in a context in which there is widespread cultural anxiety regarding visible movement in a world assumed to be uncertain, unstable, and precarious?

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50

PLANTINGA, CARL. "Barbara Foley, Telling The Truth: The Theory and Practice of Documentary Fiction". Journal of Aesthetics and Art Criticism 45, n.º 3 (1 de marzo de 1987): 316–17. http://dx.doi.org/10.1111/1540_6245.jaac45.3.0316.

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