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Artículos de revistas sobre el tema "Filmmaking"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 27 de julio de 2024

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1

Hemelryk Donald, Stephanie, Kaya Davies Hayon y Lucia Sorbera. "Refugee filmmaking". Alphaville: Journal of Film and Screen Media, n.º 18 (1 de diciembre de 2019): 3–11. http://dx.doi.org/10.33178/alpha.18.01.

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The origins of this issue of Alphaville lie in collaborations between the Forced Migration Research Network (UNSW – University of New South Wales) and the Refugee Council of Australia, and in the inspiration afforded us by international colleagues and guests to Sydney (Fadma Aït Mous), Liverpool (Dennis Del Favero) and Lincoln (Hoda Afshar) universities. We have benefited from these academic alliances and invitations, but we also embrace the widest notion of hospitality, whereby the moment of arrival, the request for assistance and shelter, and subsequent decisions over citizenship and long-term residency are located in a moral environment of welcome and mutual learning. We trace and acknowledge our intellectual relationships here in so far as they have allowed us to articulate an emerging and shared recognition that refugee lived experience stands as the barometer for political civility and social health in our time.

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2

Miller, William. "Filmmaking 101". College & Research Libraries News 61, n.º 9 (1 de octubre de 2000): 777–80. http://dx.doi.org/10.5860/crln.61.9.777.

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3

Perini, Julie. "Relational Filmmaking". Afterimage 38, n.º 4 (1 de enero de 2011): 8–10. http://dx.doi.org/10.1525/aft.2011.38.4.8.

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Bloching, Max y Abd Alrahman Dukmak. "Relational filmmaking". HAU: Journal of Ethnographic Theory 12, n.º 3 (1 de diciembre de 2022): 975–78. http://dx.doi.org/10.1086/724111.

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5

Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)". Academic Journal of Research and Scientific Publishing 4, n.º 41 (5 de septiembre de 2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.

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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.

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6

Schleser, Max. "Mobile Moving Image Culture & Smartphone Filmmaking Past, Present & Future". IMOVICCON Conference Proceeding 2, n.º 1 (6 de julio de 2021): 7–14. http://dx.doi.org/10.37312/imoviccon.v2i1.38.

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Over the last decade, smartphone filmmaking evolved from an underground and art house into an egalitarian filmmaking practice and moving-image culture. In an international context mobile, smartphone and pocket films can provide access to filmmaking tools and technologies for a new generation of filmmakers. Max Schleser will review the developments and directions in mobile, smartphone and pocket filmmaking through the International Mobile Innovation Screenings (www.mina.pro). During the last ten years, he curated the screening and smartphone film festival, which captures and celebrates smartphone films about communities and cities from around the world. Mobile, smartphone and pocket filmmaking expands the tradition of experimental filmmaking, expanded cinema and documentary making. Smartphone filmmaking facilitates experimentation. This presentation will outline how early mobile filmmaking aesthetics still resonate in contemporary smartphones films and documentaries that screen at major festivals such as Berlinale or Festival de Cannes. Furthermore, mobile moving image aesthetics now influence filmmaking more generally. As Creative Arts research in screen and digital media, Max Schleser’s research projects are also disseminated via non-traditional research outputs. He applies practice-led research to examine novel film forms and formats. His creative practice focuses on filmmaking and curation. Max Schleser has demonstrated how mobile media can drive social innovation in interdisciplinary research projects. To establish a conversation on mobile media's potential for transdisciplinary research, he co-edited Mobile Media Making in an Age of Smartphones and Mobile Story Making in an Age of Smartphones. His monograph, Smartphone Filmmaking: Theory & Practice will be published by Bloomsbury in September 2021.

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7

Holtmeier, Matthew y Chelsea Wessels. "Filmmaking-in-Place". Afterimage 48, n.º 1 (1 de marzo de 2021): 54–72. http://dx.doi.org/10.1525/aft.2021.48.1.54.

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In Meek’s Cutoff (2010) and Eden (2012), filmmakers Kelly Reichardt and Megan Griffiths (respectively) negotiate the interconnection between women, nature, and patriarchal capitalism through their emphasis on place, or one’s separation from it. Ecofeminist aesthetics resonate with regional production when directors emphasize relationships with environments and people over typical neoliberal concerns of production such as cost and infrastructure. A particular political aesthetics emerges when the approach emphasizes building community and the politics of place, rather than the bottom line. Reichardt’s Meek’s Cutoff shifts from the panoramic landscape shots of the classical Western to allow gendered engagement. This framing redirects the viewer away from the supposedly “male” action and instead focuses on the constant work of the women, which is the real action of survival. In Eden, Griffiths similarly frames human trafficking victim Hyun Jae in closed spaces where she is forced into sex work. Such cinematography is drastically juxtaposed with the open framing that signals potential emancipation. In each film, feminist politics intertwine with aesthetics of space to resist patriarchal capitalism co-opting women’s labor, an approach relevant to both environmentalism and feminism.

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8

Moderbacher, Christine. "Filmmaking for Fieldwork". Visual Anthropology 35, n.º 3 (27 de mayo de 2022): 312–13. http://dx.doi.org/10.1080/08949468.2022.2094190.

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Wu, Wenguang y Cathryn Clayton. "DV: Individual Filmmaking". Cinema Journal 46, n.º 1 (2006): 136–40. http://dx.doi.org/10.1353/cj.2007.0007.

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10

Jutta Brückner y Jeanette Clausen. "On Autobiographical Filmmaking". Women in German Yearbook: Feminist Studies in German Literature & Culture 11, n.º 1 (1995): 1–12. http://dx.doi.org/10.1353/wgy.1995.0027.

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11

Goodman, Paul S. "Filmmaking and Research". Journal of Management Inquiry 13, n.º 4 (diciembre de 2004): 324–35. http://dx.doi.org/10.1177/1056492604270795.

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12

Rodríguez, Richard T. "“Filmmaking Found Me”". GLQ: A Journal of Lesbian and Gay Studies 29, n.º 2 (1 de abril de 2023): 262–68. http://dx.doi.org/10.1215/10642684-10308549.

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Zhang, Xiaochun. "Accessible filmmaking: Integrating translation and accessibility into the filmmaking process". Translation Studies 13, n.º 3 (5 de febrero de 2020): 374–76. http://dx.doi.org/10.1080/14781700.2020.1719878.

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14

An, Grace. "Filmmaking at a Crossroads". Transfers 8, n.º 1 (1 de marzo de 2018): 130–33. http://dx.doi.org/10.3167/trans.2018.080112.

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Johanna d’Arc of Mongolia, West Germany/France, 1989, produced by Ulrike Ottinger. Filmproduktion Berlin in coproduction with Popular-Film GmbH Leinfelden, ZDF Mainz, and La Sept, directed and written by Ulrike Ottinger, starring Delphine Seyrig, Irm Hermann, Xu Re Huar, Gillian Scalicim Inés Sastre, Peter Kern, Sevimbike Elibay, Jacinta, and Else Nabu.

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15

Nevill, Alexander. "Cinematography and filmmaking research". Alphaville: Journal of Film and Screen Media, n.º 17 (1 de julio de 2019): 188–96. http://dx.doi.org/10.33178/alpha.17.13.

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This paper offers an overview of a recent practice-led doctoral enquiry which examined lighting techniques used by cinematographers and more widely amongst practitioners working with moving imagery. This research was completed in the Digital Cultures Research Centre at UWE Bristol and funded by the AHRC 3d3 Centre for Doctoral Training. The paper specifically reflects on three strands of enquiry which existed in dialogue with one another, showing how the mutual interaction and reinforcement between scholarly activity, collaborative film production and independent creative experimentation were fundamental to the approach and direction of the research. Amongst a wider contribution, this doctoral research can be seen as methodologically innovative, providing a more detailed first-hand investigation into lighting processes than is currently available by using autoethnographic methods to capture practical knowledge that is deployed in situ during moving image production. The paper discusses this novel use of autoethnography within practice-research and also explains how the resulting evidence was incorporated in the thesis through a layered approach to writing.

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16

Petty, Sheila. "Black African Feminist Filmmaking?" Society for Visual Anthropology Review 6, n.º 1 (marzo de 1990): 60–64. http://dx.doi.org/10.1525/var.1990.6.1.60.

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17

Marchetti, Gina. "Hong Kong Independent Filmmaking". Afterimage 14, n.º 10 (1 de mayo de 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.

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Marchetti, Gina. "Hong Kong Independent Filmmaking". Afterimage 14, n.º 10 (1 de mayo de 1987): 16–17. http://dx.doi.org/10.1525/aft.1987.14.10.16.

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19

Zemits, Birut. "Filmmaking for Ecological Sustainability". International Journal of Environmental, Cultural, Economic, and Social Sustainability: Annual Review 3, n.º 1 (2007): 109–14. http://dx.doi.org/10.18848/1832-2077/cgp/v03i01/54318.

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20

Askari, Muhammad Hasan. "Building Pakistan and Filmmaking". BioScope: South Asian Screen Studies 5, n.º 2 (julio de 2014): 175–81. http://dx.doi.org/10.1177/0974927614550749.

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21

Klopper, Abigail. "Filmmaking in the family". Nature Physics 14, n.º 4 (abril de 2018): 328. http://dx.doi.org/10.1038/s41567-018-0119-7.

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22

Burres, Bruni y Heather Harding. "Human rights filmmaking today". Visual Anthropology 9, n.º 3-4 (febrero de 1997): 329–33. http://dx.doi.org/10.1080/08949468.1997.9966710.

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23

Franco, Bridget. "¡Accion! Filmmaking in Spanish". Hispanófila 177, n.º 1 (2016): 316–24. http://dx.doi.org/10.1353/hsf.2016.0051.

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24

Goldsmith, Ben. "Review: John Huston's Filmmaking". Media International Australia 90, n.º 1 (febrero de 1999): 168–70. http://dx.doi.org/10.1177/1329878x9909000117.

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25

Robinson, Rebecca y Emiel Martens. "Filmmaking in the Caribbean". Caribbean Quarterly 69, n.º 1 (2 de enero de 2023): 92–103. http://dx.doi.org/10.1080/00086495.2023.2194210.

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26

Strootman, Corné. "Filmmaking as architectural carpentry". Sophia Journal 8, n.º 1 (31 de diciembre de 2023): 155–74. http://dx.doi.org/10.24840/2183-8976_2023-0008_0001_12.

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Food production is the largest cause of global environmental change. The debate on sustainable agriculture focuses largely on the implementation of new agricultural techniques. The impact of these techniques on agricultural landscapes is not often considered. With the film ‘Tussen de kassen’, I attempt to shift the current debate in a direction that allows consideration of the aesthetic and systemic consequences of the implementation of agricultural techniques on specific landscapes. ‘Tussen de kassen’ examines an innovative and sustainable landscape of greenhouse horticulture. More than a tool to communicate research or annotate site visits, film and filmmaking functioned as architectural carpentry. Meaning that the complete process of filmmaking (including preliminary site visits, editing, etc.) functioned as an unconventional method of knowledge production for an architectural research project. Using ‘Tussen de Kassen’, I illustrate three ways in which filmmaking as architectural carpentry benefits the work of landscape architects whilst examining modern landscapes of food production; As a tool to explore and examine the atmospheres of agricultural landscapes (1) Film is able to convey synaesthetic properties of a landscape. These are properties that belong to multiple sensory fields at once and play a part in generating ‘atmosphere’, the meaning a person assigns unconsciously and almost instantaneously to a space. Film allows viewers to explore the synaesthetic properties behind this initial atmosphere and (re-) examine their subconsciously assigned meanings to space. As a method to explore unexpected entanglements in food production landscapes (2) The (architectural) medium used to analyse a site determines the understanding of that site. Filmmaking demands close engagement with a site, making the filmmaker a participant of the landscape. This results in unexpected discoveries of entanglements between agricultural techniques and other site aspects. As a form of eidetic storytelling for landscapes of the Anthropocene (3) Narrating the functioning and conception of Anthropocenic landscapes in a causal, linear manner is problematic as it leads to ‘undecidability’ and inaction. Film, as an eidetic storytelling tool, combines different types of information (i.e. visual, acoustic, quantifiable, metaphoric, etc.) to mediate multivalent, openended and non-linear narratives for Anthropocenic landscapes. Cover image: Stills from ‘Tussen de Kassen’

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27

Shevchuk, Yuri. "Filmmaking as Cultural Aggression". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, n.º 43 (20 de octubre de 2023): 29–48. http://dx.doi.org/10.14746/i.2023.34.43.2.

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The article discusses cinematic depopulation, the strategy of appropriation of the colonized by the colonizer widely used in the Soviet and post-Soviet cinema made in Ukraine and Russia and, until now, never analyzed in academic literature. The cinematic depopulation is a mode of filmic representation whereby a given ethnoscape (Ukraine) is cleansed of its national community (Ukrainians) and instead is populated by the colonizer (Russians) as if it were an integral part of his historical territory. As a form of cultural imperialism, this strategy has, until quite recently, been widely used in both Soviet and post-Soviet Russian and Ukrainian filmmaking to promote the idea of Ukraine conceivable outside of and without the Ukrainian language, culture, and other attributes of Ukrainian identity.

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28

Baumann, Sara E., Pema Lhaki y Jessica G. Burke. "Collaborative Filmmaking: A Participatory, Visual Research Method". Qualitative Health Research 30, n.º 14 (31 de julio de 2020): 2248–64. http://dx.doi.org/10.1177/1049732320941826.

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Filmmaking is a visual method that provides a unique opportunity for generating knowledge, but few studies have applied filmmaking in public health research. In this article, we introduce Collaborative Filmmaking as a public health research method, including a description of the six steps for implementation and an illustrative example from Nepal. Collaborative Filmmaking is an embodied, participatory, and visual research method in which participants are trained to create, analyze, and screen films to answer a research question. The method is useful for exploring sensitive health topics and providing nuanced insight into practices, relationships, and spaces that are difficult to capture using existing methods; however, its use requires close attention to ethical considerations. Building upon the trajectory of other visual and community-based research methods, Collaborative Filmmaking is valuable for gathering granular details and sensory data, co-analyzing data in partnership with participants, and producing participant-generated films that serve as powerful and authentic advocacy tools.

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29

Jazdon, Mikołaj. "To film an inconceivable reality: the manifesto of the young Kieślowski". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, n.º 33 (25 de marzo de 2019): 155–66. http://dx.doi.org/10.14746/i.2018.33.13.

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In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.

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Abbasian, Kaveh. "Illuminationist cinema: How Islamic mysticism inspired Morteza Avini’s Sacred Defence documentaries of the Iran–Iraq War and his attempt at constructing a film theory". Alphaville: journal of film and screen media, n.º 25 (30 de agosto de 2023): 5–23. http://dx.doi.org/10.33178/alpha.25.01.

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"‘Sacred Defence cinema’ is the official title given to Iranian pro-establishment war films concerning mainly the Iran-Iraq War [1980-1988]. The most prominent figure of this filmmaking movement who both made films and wrote about them was the documentary filmmaker, Morteza Avini [1947-1993]. In his search for a new Islamic inspired cinematic language, Avini argued that Islamic mysticism could inspire a mode of filmmaking which he called ‘illuminationist cinema’. He used this term mainly in order to reflect on the filmmaking techniques he developed and used during the making of his own documentaries, but also proposed it as a filmmaking method to be adopted by other Islamic filmmakers. Avini’s early death in 1993 put a stop to his theorisation of ‘illuminationist cinema’; however, his films and his writings continue to inspire new generations of Iranian propaganda filmmakers. In this paper, by analysing Avini’s films and writings, I lay out a definition of his ‘illuminationist cinema’ and explain what aspects of Islamic mysticism inspired which filmmaking techniques developed and theorised by him. "

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31

Kalbarczyk, Kamil. "Atelier, czyli tam i z powrotem. Ewolucja filmu studyjnego od czasów kina niemego do ery cyfrowej". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 31, n.º 40 (17 de enero de 2023): 161–76. http://dx.doi.org/10.14746/i.2022.40.10.

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The article explores the concept of studio filmmaking in the context of early Hollywood and a new incarnation of studio filmmaking in the age of digital visual effects. The author analyses the old studio era in terms of shaping the cinematic image (primarily compositing) and the meaning of the studio, understood as an atelier. Kalbarczyk argues that originally the final look of the film used to be achieved by blending all the shot elements in the physical space of the studio, while nowadays the final form is most often created in a virtual space, deepening the decentralization of the filmmaking process. The author argues that more than the atelier space, the new studio filmmaking concept would refer to the holistic way of thinking about cinema as a heterogeneous structure, not so much attained integrally through filming, but carefully constructed. Various dimensions of studio filmmaking are discussed using the following films: Sunrise: A Song of Two Humans (1927), Citizen Kane (1941), Everest (2015) and Avengers: Endgame (2019).

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Yang, Wei, Hyemin Lee, Ronghui Wu, Ru Zhang y Younghwan Pan. "Using an Artificial-Intelligence-Generated Program for Positive Efficiency in Filmmaking Education: Insights from Experts and Students". Electronics 12, n.º 23 (28 de noviembre de 2023): 4813. http://dx.doi.org/10.3390/electronics12234813.

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In recent years, despite the widespread success of artificial intelligence (AI) across various domains, its full potential in the field of education, particularly in filmmaking education, remains largely untapped. The purpose of this study is to explore the application of AI-generated programs in filmmaking education to address existing shortcomings in curriculum design. We employed a comprehensive approach, starting with an extensive review of existing filmmaking courses and AI-recommended courses. Subsequently, two rounds of in-depth interviews were conducted, involving both experts and students, to gain profound insights. We utilized user journey maps to visualize the participants’ experiences and feedback, complemented by a mixed-methods analysis approach for a comprehensive data assessment. The study revealed that both the experts and the students derived positive benefits from AI-recommended courses. This research not only provides a fresh perspective on the practical applications of AI in filmmaking education but also offers insights for innovation in the field of education. Theoretically, this study establishes a new foundation for the application of AI in education. In practice, it opens up new possibilities for filmmaking education and promotes the development of cutting-edge teaching methods. Despite limitations in sample size and geographical scope, this study underscores the immense potential of AI in filmmaking education. It provides directions for future research to deepen our understanding of AI’s impact on education.

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Coates, Jennifer. "Blurred Boundaries: Ethnofiction and Its Impact on Postwar Japanese Cinema". Arts 8, n.º 1 (2 de febrero de 2019): 20. http://dx.doi.org/10.3390/arts8010020.

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This article explores the use of ethnofiction, a technique emerging from the field of visual anthropology, which blends documentary and fiction filmmaking for ethnographic purposes. From Imamura Shōhei’s A Man Vanishes (Ningen jōhatsu, 1967) to Hou Hsiao Hsien’s Cafe Lumieré (Kōhi jikō, 2003), Japanese cinema, including Japan-set and Japan-associated cinema, has employed ethnofiction filmmaking techniques to alternately exploit and circumvent the structural barriers to filmmaking found in everyday life. Yet the dominant understanding in Japanese visual ethnography positions ethnofiction as an imported genre, reaching Japan through Jean Rouch and French cinema-verité. Blending visual analysis of Imamura and Hou’s ethnofiction films with an auto-ethnographic account of my own experience of four years of visual anthropology in Kansai, I interrogate the organizational barriers constructed around geographical perception and genre definition to argue for ethnofiction as a filmmaking technique that simultaneously emerged in French cinema-verité and Japanese feature filmmaking of the 1960s. Blurring the boundaries between Japanese, French, and East Asian co-production films, and between documentary and fiction genres, allows us to understand ethnofiction as a truly global innovation, with certain regional specificities.

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Ban, Seonghoon y Kyung Hoon Hyun. "Pixel of Matter: New Ways of Seeing with an Active Volumetric Filmmaking System". Leonardo 53, n.º 4 (julio de 2020): 434–37. http://dx.doi.org/10.1162/leon_a_01932.

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Using volumetric filmmaking as a medium for artists and designers requires the development of new methodologies and tools. We introduce an installation art project using the active volumetric filmmaking technology to investigate its possibilities in art practice. To do that, we developed a system to film volumetric video in real time, thereby allowing its users to capture large environments and objects without fixed placement or preinstallation of cameras. Active volumetric filmmaking helps us realize the digital reconstruction of physical space in real time and can be expected to ultimately facilitate the coexistence of real and virtual spaces.

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Angelone, Samer. "A New Generation of Scientists-as-Filmmakers: Experiences Gained in Switzerland". Science Communication 41, n.º 3 (3 de abril de 2019): 369–77. http://dx.doi.org/10.1177/1075547019837620.

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Film is one of the most powerful tools for communicating science to peers and the general public. Recently, there has been a boom in demand for science films. To satisfy the demand for science films, universities and scientific institutes are now increasingly teaching their scientists and students how to produce their own films via accredited science filmmaking courses, which now form part of science communication programs. These courses are producing what I define as a new generation of scientists-as-filmmakers—that is, scientists who integrate filmmaking into their academic preparation, albeit in a nonprofessional way. The aim of this article is (1) to describe the boom of this new generation of scientists-as-filmmakers and (2) to use common traits and conventions to classify and analyze the science filmmaking courses offered by Swiss universities and research institutes. This study could help promote a new generation of scientists-as-filmmakers and stimulate other countries to design specific programs for training scientists in science filmmaking.

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Schmidt, Nancy J., Victor Bachy, Rik Otten y Paulin Soumanou Vieyra. "African Filmmaking Country by Country". African Studies Review 28, n.º 1 (marzo de 1985): 111. http://dx.doi.org/10.2307/524570.

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MacDougall, David. "Observational Filmmaking: A Unique Practice". Visual Anthropology 33, n.º 5 (19 de octubre de 2020): 452–58. http://dx.doi.org/10.1080/08949468.2020.1824976.

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Demple, Bruce. "Community organizers and (bio)filmmaking". Nature Chemical Biology 4, n.º 11 (noviembre de 2008): 653–54. http://dx.doi.org/10.1038/nchembio1108-653.

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Schmidt, Nancy J. "Film and Text: Anthropological Filmmaking". Anthropology Humanism Quarterly 14, n.º 4 (diciembre de 1989): 149–50. http://dx.doi.org/10.1525/ahu.1989.14.4.149.

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Zemp, Hugo. "Ethical issues in ethnomusicological filmmaking". Visual Anthropology 3, n.º 1 (enero de 1990): 49–64. http://dx.doi.org/10.1080/08949468.1990.9966522.

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41

Nichols, Bill. ": Anthropological Filmmaking . Jack R. Rollwagen." Film Quarterly 45, n.º 3 (abril de 1992): 62–63. http://dx.doi.org/10.1525/fq.1992.45.3.04a00170.

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42

Kerrigan, Susan y Joanna Callaghan. "The impact of filmmaking research". Media Practice and Education 19, n.º 3 (2 de septiembre de 2018): 229–42. http://dx.doi.org/10.1080/25741136.2018.1472466.

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Kyungwon Min. "E-Learning for Filmmaking Class". Film Studies ll, n.º 31 (abril de 2007): 27–52. http://dx.doi.org/10.17947/kfa..31.200704.002.

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Graham, Zoe. "Three Decades of Amazonian Filmmaking". Anthropology Now 6, n.º 1 (abril de 2014): 86–91. http://dx.doi.org/10.1080/19492901.2013.11728422.

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45

Andersen, Nathan. "Filmmaking in the Philosophy Classroom". Teaching Philosophy 33, n.º 4 (2010): 375–97. http://dx.doi.org/10.5840/teachphil201033444.

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Yang, Mei. "Regional Filmmaking After Jia Zhangke". SAGE Open 5, n.º 3 (10 de julio de 2015): 215824401560310. http://dx.doi.org/10.1177/2158244015603104.

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Cox, Carole. "Filmmaking as a Composing Process". Language Arts 62, n.º 1 (1 de enero de 1985): 60–69. http://dx.doi.org/10.58680/la198525792.

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Ellis, Ashley D. "Transforming education with Black diaspora film and filmmaking practice". Journal of African Cinemas 13, n.º 1 (1 de diciembre de 2021): 29–41. http://dx.doi.org/10.1386/jac_00042_1.

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At the first Third World Filmmakers Meeting held in Algiers in 1973, participants resolved that the cinema they envisioned could conscientize audiences and continue Indigenous and African storytelling traditions. Today, there is a robust canon of Black diaspora cinema, which should be preserved, archived and analysed. Yet when coupled with filmmaking practice, it can become living history as a tool in the application of critical pedagogy. This article considers Black diaspora film and filmmaking practice as mechanisms for the radical transformation of education. It examines how oppositional cinematic representations can spark critical consciousness and how filmmaking practice can put emotional intelligence at the centre of learning.

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Fitzgerald, Angela y Magnolia Lowe. "Acknowledging Documentary Filmmaking as not Only an Output but a Research Process: A Case for Quality Research Practice". International Journal of Qualitative Methods 19 (1 de enero de 2020): 160940692095746. http://dx.doi.org/10.1177/1609406920957462.

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Documentary films play an important role in how we see and position ourselves in the world. While traditionally viewed as a creative practice, documentary filmmaking has been transitioning into the academic world as a way to undertake and engage with research practices. Some question marks remain, however, over the nature of documentary filmmaking as a research method. This paper seeks to build a case for documentary as a research practice using Guba and Lincoln’s quality criteria, which is typically employed to ensure the trustworthiness of collected data, as a frame for sense making. This case for research innovation also draws upon the first author’s previous experiences with video ethnography and the second author’s expertise as a documentary film maker. Their collaboration resulted in a longitudinal research project that foregrounded documentary practices as key to data gathering and sense making. This research project sought to understand the early career experiences of Australian graduate teachers from their perspective. Using this research project as a context, this paper unpacks how seven quality criteria can be explored and addressed using documentary filmmaking as method. This work highlights the possibilities and challenges inherent in innovating in the qualitative methodology space when considering the use of documentary filmmaking practices. It also adds meaningful and practical insights to a growing groundswell of voices that recognize documentary filmmaking as a viable and valuable research method.

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Sinha, Madhumeeta. "Witness to Violence". Indian Journal of Gender Studies 17, n.º 3 (octubre de 2010): 365–73. http://dx.doi.org/10.1177/097152151001700303.

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This article attempts to place feminist documentary filmmaking in the context of the women’s movement in India. More specifically, it seeks to examine some of the widely debated concerns and strategies that have animated feminist documentary filmmaking in India through an analysis of two important films: Deepa Dhanraj’s Something Like a War and Reena Mohan’s Skin Deep.

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