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Artículos de revistas sobre el tema "Documentary"

Siga este enlace para ver otros tipos de publicaciones sobre el tema: Documentary.

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

EKIMOVA, ANASTASIYA V. "INTERACTIVE DOCUMENTARY: DOCUMENTARY AND VIRTUALITY". Art and Science of Television 15.2 (2019): 93–106. http://dx.doi.org/10.30628/1994-9529-2019-15.2-93-106.

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2

GALLAGHER, KATHERINE. "Documentary". Critical Quarterly 37, n.º 3 (septiembre de 1995): 101. http://dx.doi.org/10.1111/j.1467-8705.1995.tb01079.x.

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3

Yu, Kiki Tianqi. "Documentary". Journal of Chinese Cinemas 10, n.º 1 (2 de enero de 2016): 7–11. http://dx.doi.org/10.1080/17508061.2016.1142727.

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4

&NA;. "Documentary". Nurse Educator 13, n.º 6 (noviembre de 1988): 37. http://dx.doi.org/10.1097/00006223-198811000-00007.

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5

Ali, Isra. "Documentary". Feminist Media Histories 4, n.º 2 (2018): 67–71. http://dx.doi.org/10.1525/fmh.2018.4.2.67.

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6

Le Roy, Frederik y Robrecht Vanderbeeken. "The Documentary Real: Thinking Documentary Aesthetics". Foundations of Science 23, n.º 2 (29 de diciembre de 2016): 197–205. http://dx.doi.org/10.1007/s10699-016-9513-8.

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7

형대조. "Between Documentary and Fiction, and these combination: Documentary Fiction or Fictional Documentary?" Film Studies ll, n.º 67 (marzo de 2016): 185–213. http://dx.doi.org/10.17947/kfa..67.201603.007.

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8

Townsend, Dana y Kuldeep Niraula. "Documentary Filmmakers". International Journal of Conflict Engagement and Resolution 4, n.º 1 (mayo de 2016): 28–40. http://dx.doi.org/10.5553/ijcer/221199652016004001003.

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9

Pfister, Christian y Heinz Wanner. "Documentary Evidence". PAGES news 10, n.º 3 (diciembre de 2002): 2. http://dx.doi.org/10.22498/pages.10.3.2.

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10

Tobia, Blaise. "Undermining Documentary". Afterimage 18, n.º 2 (1 de septiembre de 1990): 16–17. http://dx.doi.org/10.1525/aft.1990.18.2.16.

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11

Donnelly, F. "Documentary Essay". Labour History Review 55, n.º 1 (abril de 1990): 35–43. http://dx.doi.org/10.3828/lhr.55.1.35.

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12

Morgan, Kevin y Robert Duncan. "Documentary Essay". Labour History Review 60, n.º 1 (abril de 1995): 35–51. http://dx.doi.org/10.3828/lhr.60.1.35.

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13

Sayigh, Yezid. "Documentary Misrepresentation". Journal of Palestine Studies 15, n.º 1 (1985): 120–23. http://dx.doi.org/10.2307/2536582.

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14

Irani, George. "Italian Documentary". Journal of Palestine Studies 18, n.º 3 (1989): 154–55. http://dx.doi.org/10.2307/2537354.

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15

Gaines, Jane M. "Documentary Radicality". Canadian Journal of Film Studies 16, n.º 1 (marzo de 2007): 5–24. http://dx.doi.org/10.3138/cjfs.16.1.5.

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16

Sarkar, Bhaskar y Nicole Wolf. "Documentary Acts". BioScope: South Asian Screen Studies 3, n.º 1 (enero de 2012): 21–34. http://dx.doi.org/10.1177/097492761100300103.

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17

MACK, MICHAEL. "DOCUMENTARY DILEMMAS." Art Book 1, n.º 4 (septiembre de 1994): 23a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00203.x.

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18

Koortbojian, Michael. "Documentary values". Art History 17, n.º 1 (marzo de 1994): 109–16. http://dx.doi.org/10.1111/j.1467-8365.1994.tb00565.x.

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19

Penley, Constance. "Documentary/Documentation". Camera Obscura: Feminism, Culture, and Media Studies 5, n.º 1-2 (1985): 84–85. http://dx.doi.org/10.1215/02705346-5-1-2_13-14-84.

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20

Harris, Emily. "Documentary Review". Metal Music Studies 4, n.º 2 (1 de junio de 2018): 381–83. http://dx.doi.org/10.1386/mms.4.2.381_5.

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21

Strøm, Gunnar. "Animated documentary". Studies in Documentary Film 9, n.º 1 (2 de enero de 2015): 92–94. http://dx.doi.org/10.1080/17503280.2014.1002253.

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22

Thon, Jan-Noël. "Post/Documentary". Poetics Today 40, n.º 2 (1 de junio de 2019): 269–97. http://dx.doi.org/10.1215/03335372-7298550.

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23

Bowers, Roger. "Documentary synthesis". Early Music XXVII, n.º 3 (agosto de 1999): 481–83. http://dx.doi.org/10.1093/earlyj/xxvii.3.481.

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24

Hagerty, Bill. "Documentary drama". British Journalism Review 25, n.º 3 (septiembre de 2014): 5–7. http://dx.doi.org/10.1177/0956474814550591.

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25

Etting, S. "Documentary Anthropology". Current Anthropology 49, n.º 3 (junio de 2008): 361. http://dx.doi.org/10.1086/529408.

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26

Purvis, June. "Documentary article". Women's History Review 10, n.º 3 (1 de septiembre de 2001): 379. http://dx.doi.org/10.1080/09612020100200293.

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27

Forceville, Charles. "Animated Documentary". Journal of Pragmatics 89 (noviembre de 2015): 66–68. http://dx.doi.org/10.1016/j.pragma.2015.09.008.

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28

Langendorf, Richard. "Documentary photography". Computers, Environment and Urban Systems 15, n.º 1-2 (enero de 1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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29

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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30

Moon, Won-Leep. "Why Documentary?" Film Studies ll, n.º 62 (diciembre de 2014): 109–32. http://dx.doi.org/10.17947/kfa..62.201412.005.

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31

Rice, Mark. "Documentary Declension". Reviews in American History 28, n.º 3 (2000): 437–44. http://dx.doi.org/10.1353/rah.2000.0062.

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32

Chrisler, Joan C. "Fattitude [documentary]". Fat Studies 8, n.º 2 (8 de enero de 2019): 203–5. http://dx.doi.org/10.1080/21604851.2019.1546515.

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33

Thomas, Erika. "Editorial: documentary". Studies in French Cinema 18, n.º 3 (24 de mayo de 2018): 171–77. http://dx.doi.org/10.1080/14715880.2017.1382250.

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34

Aston, Judith. "Interactive Documentary". Interactive Film & Media Journal 2, n.º 4 (30 de diciembre de 2022): 7–18. http://dx.doi.org/10.32920/ifmj.v2i4.1732.

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This article responds to the 4th Interactive Film and Media International Conference (IFM 2022) themes of eco-media, epistemologies and listening by focusing on the role that interactive documentary can play in addressing the existential and pressing issue of climate change. It re-visits the article Interactive Documentary: setting the field which I co-authored with Sandra Gaudenzi in 2012 in light of this now central concern and asks how the affordances of interactive documentary can be used to help re-frame our engagement with the human and the non-human. It places metamodern and polyphonic thinking at the centre of this discussion, as two key concepts that I consider to be particularly helpful when thinking about the contribution that interactive documentary can make to wider debates about eco-media. The paper argues that metamodernism and polyphony can contribute to the development of transformative approaches to interactive documentary and indeed to interactive narrative more generally. This is important as it offers us a set of cognitive tools through which to think about how to navigate the complexities and uncertainties of our collective futures which climate change is undoubtedly bringing. The paper engages with the theoretical arguments first and then applies these to a discussion of my work as a co-convenor of the Polyphonic Documentary project before bringing these thoughts together as tentative conclusions and unresolved issues.

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35

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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36

Ivan Kapustin. "DOCUMENTARY TIES". Current Digest of the Russian Press, The 75, n.º 051-052 (31 de diciembre de 2023): 15. http://dx.doi.org/10.21557/dsp.95021515.

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37

Mehta, Rijuta. "Manifest Documentary". JCMS: Journal of Cinema and Media Studies 63, n.º 1 (septiembre de 2023): 53–79. http://dx.doi.org/10.1353/cj.2023.a910938.

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abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, "The Great Migration," reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black American, and Native American—into the fantasy of postwar US hegemony.

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38

Jekanowski, Rachel Webb. "Green Documentary: Environmental Documentary in the 21st Century". Interdisciplinary Studies in Literature and Environment 22, n.º 1 (23 de marzo de 2015): 187–88. http://dx.doi.org/10.1093/isle/isv017.

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39

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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40

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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41

Nash, Kate. "Documentary-for-the-Other: Relationships, Ethics and (Observational) Documentary". Journal of Mass Media Ethics 26, n.º 3 (20 de julio de 2011): 224–39. http://dx.doi.org/10.1080/08900523.2011.581971.

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42

Strøm, Gunnar. "The animated documentary". Norsk medietidsskrift 8, n.º 02 (1 de octubre de 2001): 51–65. http://dx.doi.org/10.18261/issn0805-9535-2001-02-04.

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43

Ogden, Michael. "Interactive/Transmedia Documentary:". INTERIN 25, n.º 1 (6 de diciembre de 2019): 121–38. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp121-138.

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Este artigo explora o desenvolvimento da realidade da contação de histórias através do veículo de documentário interativo imersivo, participativo, dirigido pelo usuário e multiplataforma. O que surge é uma alfabetização evolutiva mediada como resposta às tecnologias emergentes da narrativa e o surgimento da "cultura da convergência" que está refazendo a maneira como vivenciamos as histórias. O resultado é uma recuperação da narrativa da Indústria Cultural e o surgimento de uma nova ecologia da narratividade para histórias atraentes e interativas. Ademais, a natureza participativa dessa narratologia em evolução atribui papéis diferentes a 'autor', 'sujeito' e 'público / usuário' - cada um deles imerso no discurso narrativo e envolvido ativamente na co-construção da atualidade (isto é, ' verdade ') através do ato de contar histórias.

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44

Хатунцев, Станислав. "Diplomat (Documentary Heritage)". Полис. Политические исследования, n.º 2 (2004): 183–85. http://dx.doi.org/10.17976/jpps/2004.02.19.

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45

Aufderheide, Pat. "Theorizing Documentary:Theorizing Documentary",. Visual Anthropology Review 11, n.º 1 (marzo de 1995): 132–33. http://dx.doi.org/10.1525/var.1995.11.1.132.

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46

Patterson, Wendy. "Far from Documentary". Afterimage 13, n.º 7 (1 de febrero de 1986): 4–7. http://dx.doi.org/10.1525/aft.1986.13.7.4.

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47

Kenny, Lorraine. "Theorizing Feminist Documentary". Afterimage 13, n.º 9 (1 de abril de 1986): 25. http://dx.doi.org/10.1525/aft.1986.13.9.25.

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48

Patterson, Wendy. "Far from Documentary". Afterimage 13, n.º 7 (1 de febrero de 1986): 4–7. http://dx.doi.org/10.1525/aft.1986.13.7.4.

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49

Kenny, Lorraine. "Theorizing Feminist Documentary". Afterimage 13, n.º 9 (1 de abril de 1986): 25. http://dx.doi.org/10.1525/aft.1986.13.9.25.

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50

Harle, Peter. "Devoti: The Documentary". Italian American Review 6, n.º 1 (1 de enero de 2016): 138–40. http://dx.doi.org/10.5406/italamerrevi.6.1.0138.

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