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1
Berigny, Wall Caitilin de. "Documentary transforms into video installation via the processes of intertextuality and detournement /". Canberra : University of Canberra, 2006. http://erl.canberra.edu.au/public/adt-AUC20070723.103335/index.html.
Testo completoAbstract (sommario):
Thesis (PhD) -- University of Canberra, 2007.Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy at the University of Canberra, May 2007. Includes filmography (leaves 124-126) and bibliography (leaves 130-136). Also available online.
2
Magallanes-Blanco, Claudia, University of Western Sydney, of Arts Education and Social Sciences College e School of Humanities. "Video, a revolutionary medium for consciousness-raising in Mexico : a dialogic analysis of independent video makers on the Zapatistas". THESIS_CAESS_HUM_Magallanes-Blanco_C.xml, 2004. http://handle.uws.edu.au:8081/1959.7/658.
Testo completoAbstract (sommario):
This thesis examines the use of video technology as an alternative communication medium within a dialogic framework. It explores multiple dialogic encounters and different meanings of dialogue. It analyses dialogues within and around video technology and dialogues with contemporary events in Mexican history. The author argues that these dialogic encounters are contributing to an ongoing process of transformation in Mexican consciousness. The thesis’s theoretical framework draws on Mikhail Bakhtin’s theory of dialogism and employs a dialogic method that emphasises diversity. The author conducts an in-depth analysis of multiple series of dialogues between key people, events and discourses. The author examines the lives and work of a sample of the most significant independent video-makers producing work on the indigenous Zapatista rebellion that began in Chiapas, Mexico, on 1 January 1994.The author focuses on the discourses of independent video-makers looking at the indigenous Zapatista rebels and considers the indigenous uprising to be both a ‘political catalytic event’ and a ‘multi-catalytic event.’ The different dialogues looked at throughout the thesis reveal various processes of consciousness-raising which act in diverse, unexpected and unprecedented ways. The author argues that these dialogues have contributed to a crisis of legitimacy for the hegemonic power in Mexico and have also influenced the way the mainstream media operate, and their power within Mexican society.Doctor of Philosophy (PhD)
3
Magallanes-Blanco, Claudia. "Video, a revolutionary medium for consciousness-raising in Mexico : a dialogic analysis of independent video makers on the Zapatistas". Thesis, View thesis, 2004. http://handle.uws.edu.au:8081/1959.7/658.
Testo completoAbstract (sommario):
This thesis examines the use of video technology as an alternative communication medium within a dialogic framework. It explores multiple dialogic encounters and different meanings of dialogue. It analyses dialogues within and around video technology and dialogues with contemporary events in Mexican history. The author argues that these dialogic encounters are contributing to an ongoing process of transformation in Mexican consciousness. The thesis’s theoretical framework draws on Mikhail Bakhtin’s theory of dialogism and employs a dialogic method that emphasises diversity. The author conducts an in-depth analysis of multiple series of dialogues between key people, events and discourses. The author examines the lives and work of a sample of the most significant independent video-makers producing work on the indigenous Zapatista rebellion that began in Chiapas, Mexico, on 1 January 1994.The author focuses on the discourses of independent video-makers looking at the indigenous Zapatista rebels and considers the indigenous uprising to be both a ‘political catalytic event’ and a ‘multi-catalytic event.’ The different dialogues looked at throughout the thesis reveal various processes of consciousness-raising which act in diverse, unexpected and unprecedented ways. The author argues that these dialogues have contributed to a crisis of legitimacy for the hegemonic power in Mexico and have also influenced the way the mainstream media operate, and their power within Mexican society.
4
Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze". University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
Testo completoAbstract (sommario):
Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
5
Magallanes-Blanco, Claudia. "Video, a revolutionary medium for consciousness-raising in Mexico a dialogic analysis of independent video makers on the Zapatistas /". View thesis, 2004. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050622.151734/index.html.
Testo completoAbstract (sommario):
Thesis (Ph.D.) -- University of Western Sydney, 2004.Thesis submitted for the degree of Doctor of Philosophy, School of Humanities, Centre for Cultural Research, University of Western Sydney. Includes bibliography.
6
Matheson, Kelly Ann. "Never wash away". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/matheson/MathesonK0809.pdf.
Testo completoAbstract (sommario):
Thesis (MFA)--Montana State University--Bozeman, 2009.Typescript. Chairperson, Graduate Committee: Dennis Aig. Never Wash Away is DVD accompanying the thesis. Includes bibliographical references (leaves 50-53).
7
Ruiz, Coraci Bartman. "Documentario-dispositivo e video-cartas : aproximações". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284016.
Testo completoAbstract (sommario):
Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-14T19:30:41Z (GMT). No. of bitstreams: 1 Ruiz_CoraciBartman_M.pdf: 8474327 bytes, checksum: beb9e4e01cfb3c2062731be8dcccd886 (MD5) Previous issue date: 2009
Resumo: Esta dissertação investiga as linhas de aproximação entre o conceito de documentário-dispositivo e algumas experiências com vídeo-cartas. Em outras palavras, busca compreender como a troca de mensagens videográficas entre pessoas - transformadas em personagens no e pelo filme, considerando que o documentarista também pode se tornar um deles - pode se configurar como estratégia de realização de documentários. O vídeo "Outra Cidade" é parte da pesquisa, a um só tempo fruto das investigações e objeto de reflexão. Mais do que a obra em si, interessa como matéria de estudo seu processo de realização, que, totalmente imbricado com o percurso do curso de Mestrado em Artes, passou por diversas transformações ao longo de seus dois anos e meio de duração e produção. Estas transformações tornam-se a problemática que une o texto e o vídeo. Os conceitos de dinâmica fabuladora e cinema indireto são as bases para a construção da idéia de um cinema documental que não se relaciona com um real dado nem com identidades estagnadas, que não busca a verdade e que não tem certezas. Este cinema deseja falar de processos e transformações, de encontros e relações. O conceito de documentário-dispositivo trata de um documentário criado a partir de artifícios, jogos, delimitações e brincadeiras, que engendram, para os atores envolvidos (documentarista, equipe, personagens) novas relações, situações inéditas e deslocamentos de posições: uma realidade fílmica que não existe antes do filme e que deixa de existir depois que ele acaba.
Abstract: This dissertation investigates the similarities between the concept of "devicedocumentary" and some experiences with "video-letters"; in other words, it seeks to understand the process in which the exchange of videographic messages between people - transformed into characters by and in the film (considering that the documentarist can become one of them) - may become a strategy to make documentaries. The vídeo "Another City" is part of the research, at one time a result of the investigations and the object for reflection. More than the work itself, the point of interest for study has been the process film making, which, completely entwined with the course of Master Degree in Arts, has gone through several transformations along the two and a half years of this production. These transformations became the problematics that links together text and film. The concepts of "fable dynamic" and "indirect cinema" are the basis for the construction of an idea of a documental cinema that does not relate to the real, neither to frozen identities; a cinema that does not seek the truth and has no certainties. This cinema wants to talk about processes and transformations, encounters and relations. The concept of "device-documentary" is about a documentary that is made from artificials, games, delimitations and plays that give rise to new relations, situations, changing of positions among the actors (documentarist, team, characters). A filmic reality that does not exist before the film, and that ceases to exist once it is finished.
Mestrado
Artes
Mestre em Artes
8
Sebire, Adam. "Documentary polyptychs: multi-screen documentary on a theme of climate change". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10208.
Testo completoAbstract (sommario):
This MFA explores how the problematic phenomenology of climate change might be approached by revisiting an ancient visual art form, the Early Renaissance polyptych. I posit the polyptych as a proleptic form of installation art, providing a historical overview and analysis of multi-channel forms up to contemporary expanded cinema, before narrowing my focus to documentary film and video installations. I propose that principles of dialectical montage apply between spatialised screens and that, as a richly affective form, the relationship between screens coexisting within a single field of view might productively be considered using Deleuze’s notion of the time-image crystal. Furthermore that the visitor, in becoming an ‘editor’ via bodily movement, might be positioned in a lineage to Vertov’s kino-eye, thus becoming a kinaesthetic eye. I use Mark Boulos’ All That is Solid Melts Into Air (2008) and Isaac Julien’s Ten Thousand Waves (2010), two- & nine-channel works respectively, to discuss these ideas. The ‘unseen’ nature of anthropogenic climate change poses particular challenges both for a culture that emphasises ‘seeing is believing’ and for documentary forms traditionally reliant on visible evidence. My creative work focuses on the phenomenon of sea level rise, and is presented in the form of a documentary polyptych with which the viewer physically engages. Without delivering a climate change polemic, the work explores crucial dissociations — of cause from effect, of today’s action from tomorrow’s result, of behaviour here from outcome there — through an open, affective form that replaces documentary’s traditionally temporal strategies with spatialised montage. More generally I position the form amidst both the veritable renaissance of multi-channel video art and the proliferation of multiple screen devices in contemporary society. How might documentary’s potential for creating meaning — and perhaps inspiring agency — change when it moves to multiple screens?
9
Weisz, Talia M. "Voices from Israel/Palestine: A Documentary Video Exhibition". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274903253.
Testo completo
10
Alkarimeh, Baker. "L'usager et le documentaire interactif : étude expérimentale de l'engagement de l'usager dans un documentaire interactif". Thesis, Toulon, 2019. http://www.theses.fr/2019TOUL0001/document.
Testo completoAbstract (sommario):
Au cours des dernières années, le domaine du documentaire interactif s’est progressivement développé en raison des changements survenus dans le monde de l’Internet et d’études académiques croissantes sur le sujet. Pourtant, on sait relativement peu de choses sur la relation entre l’usager et le documentaire interactif. L’objet de cette étude est précisément de mesurer les attitudes et les interactions de l’usager exposé à un documentaire interactif décliné en différentes versions, disposant chacune d’un degré d’interactivité plus ou moins développé. L’étude de l’attitude des usagers nous a conduit à approfondir les notions d’engagement narratif, d’interactivité perçue, d’engagement perçu et d’attitude à l’égard du site Web documentaire interactif. Un autre objectif de cette étude est d’examiner la relation entre interactions réelles et perceptions des usagers. L’étude a cherché à comparer l’interactivité et la linéarité en terme d’engagement narratif et d’engagement perçu. Un travail de terrain a été conduit auprès de 360 étudiants jordaniens. L’échantillon a été divisé en trois groupes, chaque groupe visualisant un des 3 documentaires interactif et répondant au questionnaire relatif. L’étude a également utilisé deux logiciels pour tracer le comportement réel de l’usager. Les résultats de cette étude mettent à jour une relation significative entre d’une part le haut niveau d’interactivité réelle et d’autre part l’interactivité perçue et l’attitude à l’égard du site Web documentaire interactif. D’autre part, les résultats ont révélé une corrélation positive entre d’une part l’interactivité perçue et de l’autre l’engagement perçu et l’attitude à l’égard du site Web documentaire interactif. Cependant, l’étude n’a pas trouvé de corrélation entre l’interactivité perçue et l’engagement narratif. De plus, les résultats ont montré que l’interaction réelle des participants est positivement corrélée à leurs perceptions. Enfin, les participants qui ont regardé le documentaire linéaire sont significativement plus engagés dans la narration documentaire que les autres groupes. Cette étude présente enfin les résultats, les discute et envisage des perspectives futuresIn recent years, interactive documentary field has been gradually growing because of great changes in the world of Internet, promising interactive documentary projects, and the increase in academic studies within the field. Nevertheless, relatively little is known about the relationship between user and interactive documentary. The aim of this study was to measure users’ attitudes and actual interaction toward different levels of interactivity manipulated in two designed interactive documentaries. The users’ attitudes were categorized in this study as: narrative engagement, perceived interactivity, perceived involvement, and attitude toward the interactive documentary website. Another purpose of this study was to examine the relationship between users’ actual interaction and their perceptions. To fully understand interactive documentary, the study, therefore, sought to compare interactivity with linearity in terms of narrative engagement and perceived involvement. A sample of 360 participants was randomly divided into three groups and assigned to view three designed documentaries, and to answer the related questionnaire. The study also used software packages to measure and monitor users’ actual behaviors. The findings of this study indicated that there was a significant relationship between the high level of actual interactivity and both perceived interactivity, and attitude toward the interactive documentary website. On the other hand, the findings revealed that there was a positive correlation between perceived interactivity and both perceived involvement and attitude toward the interactive documentary website. However, the study did not find a correlation between perceived interactivity and narrative engagement. Moreover, the findings showed that the participants’ actual interaction was positively correlated with their perceptions, and the participants who viewed the linear documentary were significantly involved with the documentary narrative more than other groups. Discussion, limitation, and future studies were presented in this study
11
Said, Mahfouz Mohamed. "User-generated video as a new genre of documentary". Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/b4ce3451-f22c-0875-20c3-820ffb7d3a87/8/.
Testo completoAbstract (sommario):
This study analyses the behavior of Internet users interested in producing their own documentary videos and assesses the characteristics and techniques that govern the production of such videos. The development and global diffusion of Internet 2.0 technologies have facilitated a rapid proliferation of user-generated video, of varying quality and aesthetic seriousness, on the Internet in recent years. These videos are produced by amateur Internet users, and express the dominant social, cultural, and political trends of their respective milieux while also reflecting the new availability of affordable mobile cameras and editing software. These new tools are helping thousands of ordinary people to explore their political and artistic concerns in an unprecedented, public way. User-generated video is increasingly considered a valid source of information by mainstream media networks, to the point that it is even coming to occupy a central role in some forms of news broadcasting. This study raises an essential question: Can we view user-generated amateur video as a new form of documentary? From this question there derive other important questions about the various forms that these new videos take, the ways that they are produced, the expertise of the people who make them, the distinctive characteristics, if any, of their content, and the extent to which their makers comply with the ethical standards of professional documentary-making. The theoretical part of this study explains the concept of the professional documentary, its formal characteristics, modes, and ethical requirements, as well as highlighting the differences between documentary, news and reality TV. A working definition of user-generated video will then be proposed in light of developments in media studies and new media theory. The practical part of the study centres on an e-workshop for non-professional documentary-makers in Egypt called egdoc. The workshop is set up in such a way as to allow the behavior of amateur users of the site to be analysed and ultimately compared with the behavior of professional documentary-makers. The launching of the egdoc website coincided with the aftermath of the revolution which began in Egypt on 25 January 2011. This dramatic context, and the unprecedented quantity of amateur video documenting revolutionary events, generated a healthy level of interest in the egdoc project and soon gave rise to an adequate sample of amateur video. The egdoc study also serves, in its own right, as a valuable snapshot of Egyptian public opinion in the historic period that it covers. The most important lesson gleaned from the egdoc experience was that the distinction between professional and user-generated amateur documentary is fast becoming blurred. Some of the users of egdoc can hardly be described as amateurs when you compare their final product with a professional production in terms of either content or form. In addition, the egdoc experience suggests that political and social circumstances may contribute to the development of new forms of non-professional documentary in the future.
12
Massey, Hugh Richard. "Gestalt Work For the Actor: A Documentary Video Production". Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2516/.
Testo completoAbstract (sommario):
Gestalt Work for the Actor is a documentary about Dr. Renee Vincent's Gestalt acting exercise. Students are trained to recall powerful emotions and then employ the conjured passions into performance. This documentary examines the Gestalt acting exercise and what benefits it affords actors.
The accompanying production book explains the production processes: preproduction, production, and postproduction, as well as the theoretical approaches used in the documentary.
13
Modonezi, Eneida Baccaro. "O video como instrumento de pesquisa para aluno da 5a serie : um estudo exploratorio". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/251861.
Testo completoAbstract (sommario):
Orientador: Afira Vianna RipperDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-11T16:02:21Z (GMT). No. of bitstreams: 1 Modonezi_EneidaBaccaro_M.pdf: 4932022 bytes, checksum: a74bd2e3332c42c1577b68373eda9289 (MD5) Previous issue date: 2008
Resumo: Este estudo teve por objetivo investigar a documentação em vídeo como fonte de dados de pesquisa para alunos de 5ª. Série do ensino fundamental, a partir de um tema que tratava da sua realidade. Os sujeitos foram 60 alunos de uma escola pública municipal da cidade de Campinas/SP com idades entre 12 e 15 anos, escolhidos por critério de conveniência. Após serem capacitados a utilizar a câmera filmadora, os alunos foram a campo coletar dados através de imagens, em seguida analisaram as gravações e levantaram informações acerca do tema investigado por meio de um relatório escrito. Todas as atividades foram gravadas também pela pesquisadora e os dados retirados destas imagens foram analisados. Pode-se notar, entre outros aspectos, que os alunos utilizaram as suas referências adquiridas por meio da televisão e que construíram um novo olhar a partir da máquina, oportunizando-os a construir seus próprios conhecimentos
Abstract: This study sought to investigate the documentation on video as a research source for 5ª grade elementary school children, from a theme about its reality. The Subjects were 60 students of a local public school in the city of Campinas/SP aged between 12 and 15 years old, selected by convenience criterion. After being trained to use the camcorder camera, they went to field to collect data through images, afterwards analyzed the records and raised information about the investigated topic by written report. All activities were also recorded by the researcher and the data from these images were analyzed. It may be noted, among other things, that students used their references acquired from television and that built a new look through the machine, let them the opportunity to build their own knowledge
Mestrado
Psicologia Educacional
Mestre em Educação
14
Schoen, Steven W. "The Rhetoric of Evidence in Recent Documentary Film and Video". Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4399.
Testo completoAbstract (sommario):
Documentary is a genre of film that portrays "real" events using depictions that connote the objectivity and facticity implied by the processes of photorealism. Many contemporary documentary theorists and critics observe a constitutive problem in this ethos: despite the apparent constructions and agendas of documentary filmmaking, the framing and assumption of documentary as a window on the world tend to naturalize its own constructions as "real." Critics who engage documentary trace the multitude of ways this problem plays out in particular films. These projects yield many important insights, but they most often approach documentary as a form of inherently deficient representation fraught with ethical questions-- questions created by the frame and ethos of objectivity it fails to achieve. Are events portrayed truthfully? Are people depicted fairly? Are filmmakers misrepresenting?
In this study I seek to show that a rhetorical approach to documentary shifts the critical focus to instead examine how documentary constructions and images work as evidence in the claims and rhetorical agendas of documentary. I study recent film texts (2000-2012) that explicitly and primarily structure their documentary materials as evidence for the truth of an argument or interpretation, and I argue that documentaries, when they work as documentary, establish and verify their depictions as evidence by drawing on the elements of their "scene." I use Kenneth Burke's dramatistic approach to observe that the "real world" as depicted in documentary is at once experienced as representation of the world outside the documentary, but also constructed as the scene of a dramatization. Understanding the dramatism of documentary helps me to characterize what I call a "rhetoric of evidence" that may be particular to documentary expression. In the films I study documentary "scene" interacts at key moments and particular ways to locate the events of films in the "real world," not just as evidence that something is real, but also as meaningful for particular arguments and rhetorical moves.
This study reveals the often extremely subtle ways that documentaries wield the influence of "truth," and also offers filmmakers an understanding of how evidence might be deployed more deliberately to present a social world that is open for transformation.
15
Daruich, Camacho Guillermo, e Almanza Alfonso Ortiz. "Video Documental "Motocross Mx vida y estilo"". Thesis, Universidad de las Américas Puebla, 2013. http://catarina.udlap.mx/u_dl_a/tales/documentos/lco/daruich_c_g/.
Testo completoAbstract (sommario):
El presente proyecto tiene por finalidad dar a conocer al público espectador del video documental "Motocross Mx vida y estilo" las principales características sustanciales del deporte y subcultura del deporte extremo del motocross en la sociedad mexicana de la zona del Ajusco en el Distrito Federal. Esta tesis se sustenta en argumentos del marco teórico como son subcultura y su relación en la sociedad, el video documental y sus diferentes estilos y enfoques, y por último el tema del motocross y su historia. Seguido de una metodología y explicando del uso de herramientas cualitativas en esta investigación para recopilar información como por ejemplo las entrevistas a profundidad, entrevistas a personajes claves y material audiovisual obtenido de observaciones participantes y no participantes para lograr concluir con un producto audiovisual en el cual se pretende proyectar la interpretación de significados característicos del motocross en nuestra sociedad logrando apoyo y difusión a este deporte en expansión en nuestra actualidad.
16
Dowmunt, Tony. "A whited sepulchre : autobiography and video diaries in 'post-documentary' culture". Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/11053/.
Testo completoAbstract (sommario):
This is a PhD project partly about my class and ethnic background and consciousness: how I have lived them as a white man and a documentary filmmaker, and how they are connected to the ghost of my great-grandfather, who was a soldier in the British Army in Sierra Leone in the 1880s. But it is also a project about autobiographical documentary filmmaking, and is submitted for examination in two main components: the first a video-diary based film (A Whited Sepulchre) in which I investigated the form/genre of the video diary by making one myself - filmmaking as a research method; the second, a text which has an independent relationship to the film - not one of ‘illustration, description or explication’ but hopefully of ‘expansive enrichment’ (Trinh T. Minh-Ha quoted in McLaughlin & Pearce (eds) 2007: 107). A Whited Sepulchre is a video which draws on the stories of two journeys: my great-grandfather’s account of his posting to Sierra Leone, and my own ‘video diary’ of a trip that I made in December/January 2004-5, following in his footsteps but seeking a different understanding of Africa and of myself as a white ‘Englishman’. The (written) textual component maps the intellectual and creative terrain that the project as a whole explores. It includes a survey of first-person and autobiographical film and video making in the context of contemporary media, but also makes a case for writing autobiographically, ranging across my family history before focusing on my own formation both as a white man from a particular class, and as a filmmaker and video-diarist. The text concludes with an argument - at odds with some postmodern orthodoxies - advocating the cultural and political importance of a ‘sincere’ and direct mode of autobiographical address.
17
Smith, Heather L. "Motion graphics documentary video of Deaf artists of the 21st century /". Online version of thesis, 2008. http://hdl.handle.net/1850/8043.
Testo completo
18
de, Berigny Wall (onacloV) Caitilin, e n/a. "Documentary Transforms into Video Installation via the Processes of Intertextuality and Detournement". University of Canberra. Creative Communication, 2006. http://erl.canberra.edu.au./public/adt-AUC20071017.094719.
Testo completoAbstract (sommario):
My argument is that documentary texts can be transformed into artworks via the
processes of intertextuality and detournement, when they are exhibited as video
installations. I argue that early 1920s modernist avant-garde painter-filmmakers
shared with contemporary documentary video installation painter-filmmakers
particular tendencies, characteristics and interests. The bodies of work in each period
explore the generic properties of documentary through (primarily) abstract visual
associations, rather than through a conventional linear space.
Important 1920s modernist avant-garde films by Dziga Vertov, Luis Bunuel, Salvador
Dali, Joris Ivens, Man Ray and others will be considered in highlighting the
relationship between documentary and avant-garde cinema. I use this discussion as a
basis for examining my own work: for the creative component of this thesis, I filmed
and edited a three screen video installation. I interviewed 67 Australian Muslims and
used these interviews to explore the use of documentary in video installation.
The theoretical framework I used is based on the following: Julia Kristeva?s notion of
intertextuality, derived from Mikhail Bahktin?s work on dialogism, to interpret how
documentary texts take on conventions appropriate to other genres; Guy Debord?s
concept of d鴯urnement to provide a theory for the reuse of pre-existing artistic
elements found in documentary film; genre theory to interpret interactions between
documentary texts; Ludwig Wittgenstein?s notion of ?family resemblance? to explore
the indistinct boundaries of documentary; and Pascal Beausse?s analysis of how artists
have hijacked documentary. I also draw on Bill Nichols?s analytical framework of
documentary modes (poetic, expository, observational, participatory, performative,
reflexive) to explore documentary in cinema and installation art.
The documentary genre is not habitually discussed outside film, television,
photography or the web. My research demonstrates that the genre has found its place
in other areas of artistic practice and can also apply to medium of video installation.
19
Noel, Christopher M. "Watch and learn| A documentary exploring the effects of video-based pedagogy". Thesis, Illinois State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589832.
Testo completoAbstract (sommario):
This 20 minute film explores the use of hybrid lesson plans, those consisting of traditional in-class teaching and interactive video outside of the classroom. Using six voluntary Graduate Teaching Assistants as participants, the documentary follows the participants as they give their ideologies on teaching, perform either a traditional lesson plan or the hybrid lesson plan, and participate in a focus group to give their opinion on the perceived benefits or drawbacks of having hybrid lesson plans in the classroom.
20
Heffley, David P. "A video documentary on selected Pennsylvania one-room schools past and present /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1992. http://www.kutztown.edu/library/services/remote_access.asp.
Testo completoAbstract (sommario):
Thesis (M.S.)--Kutztown University of Pennsylvania, 1992.Source: Masters Abstracts International, Volume: 45-06, page: 2783. Abstract precedes thesis as 3 preliminary leaves. Typescript. Includes bibliographical references (leaves).
21
Goldson, Annie. "A claim to truth: documentary, politics, production". Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.
Testo completoAbstract (sommario):
The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.Whole document restricted, but available by request, use the feedback form to request access.
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Dessì, Giulia. "Voice-over e forme ibride di YouTube: proposta di adattamento del documentario e video essay "The Hobbit Duology"". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20389/.
Testo completoAbstract (sommario):
Il presente elaborato è costituito dall'analisi di una proposta di adattamento in voice-over dall'inglese all'italiano di The Hobbit Duology, una serie di tre video pubblicati su YouTube che costituiscono un esempio dell'ibridazione dei generi in atto sulla piattaforma: si tratta infatti di un ibrido tra documentario e video essay, un genere diffuso su YouTube che unisce intrattenimento e critica cinematografica. Il progetto ha avuto un duplice scopo: sperimentare il voice-over, una modalità legata in Italia e in Europa Occidentale al documentario e al non-fiction in generale, su uno dei nuovi tipi di prodotti non-fiction di Internet, e analizzare la percezione degli elementi culturospecifici presenti da parte di un pubblico della cultura d'arrivo che grazie a Internet potrebbe avere avuto maggiori contatti sia con prodotti audiovisivi americani che con la cultura del Web, ancora prevalentemente anglofona.
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Whitworth, Gale Guthrie. "A documentary video investigation of the resettlement of an Afghan refugee in Lancaster County, Pennsylvania". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
Testo completoAbstract (sommario):
Thesis (M.A.)--Kutztown University of Pennsylvania, 2003.Source: Masters Abstracts International, Volume: 45-06, page: 2724. Typescript. Abstract precedes thesis as preliminary leaves iii-iv. Includes bibliographical references (leaves 112-113).
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Peixoto, Hugo Cardoso Brandão. "Webdocumentário: a representação da ótica documental no ciberespaço". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5021.
Testo completoAbstract (sommario):
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research has the intention to discuss documentary language expansion and its ramifications in cyberspace, focusing on webdocumentaries, analyzing the relationship between documentary traditions and new media narrative processes. In order to contextualize the new possibilities of documentary point of view representations, based on the multiple forms of contemporary audiovisual production, which, marked by continuous development of digital technologies, production and manipulation of images, form the broader context of new media. Founded on the creative freedom afforded by new media, documentary cinema widened, and with the tools of digital technologies, its creative process and its experimental possibilities have expanded. Generating new narrative patterns, which are powered at all times by new productions, resulting in the documentary field, a constant modification and development of its language.
Esta pesquisa tem como intuito, discutir a expansão da linguagem documental e suas ramificações no ciberespaço, com o foco nos webdocumentários, analisando a relação entre as tradições documentais e os novos processos narrativos midiáticos. Visando contextualizar as novas possibilidades de representação da ótica documental, com base nas múltiplas formas de produção audiovisual contemporâneas, que, marcadas pelo desenvolvimento contínuo das tecnologias digitais, de produção e manipulação das imagens, agregam o contexto abrangente das novas mídias. Em função da liberdade criativa proporcionada pelas novas mídias, o cinema documentário se ampliou, e com as ferramentas das tecnologias digitais, seu processo criativo e suas possibilidades de experimentação se expandiram. Gerando novos padrões narrativos, que são alimentados a todo instante pelas novas produções, provocando no campo documental, uma constante modificação e desenvolvimento de sua linguagem.
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Nye, Bobbi Jean. "What procedures must an independent producer complete when producing a pilot to market a video documentary?" Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1997. http://www.kutztown.edu/library/services/remote_access.asp.
Testo completoAbstract (sommario):
Thesis (M.S.)--Kutztown University of Pennsylvania, 1997.Source: Masters Abstracts International, Volume: 45-06, page: 2717. Typescript. Abstract precedes thesis as preliminary leaves [1-2]. Includes bibliographical references (leaves 76-80).
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.
Testo completoAbstract (sommario):
My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.Anthropology
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Chou, Wei-Tung. "The Soul of it: A Video Documentary on Texas Sculptor John Thomas Campbell". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935815/.
Testo completoAbstract (sommario):
This thesis includes a video and a production report . The video documents a Denton artist, John Thomas Campbell who was working on a project for the Texas State Fair during the filming period. This documentary follows Campbell through his production on sculptures, using a biographical style to explore his life and his art work. The accompanying paper reports on the production background, pre-production process, and includes discussion of the problems encountered from production through post production stages.
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Monteiro, Ticiano Pereira 1982. "Chão de estrelas : modos de subjetivação produzidos em uma investigação artística sobre os videokês em Fortaleza". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284479.
Testo completoAbstract (sommario):
Orientador: Francisco Elinaldo TeixeiraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente investigação parte de um processo de criação artística videográfica experimental, na qual foram filmados cantores de videokê da cidade de Fortaleza, capital do Ceará. Das inúmeras apresentações gravadas, algumas se destacavam, trazendo o problema: o que faz essas imagens mais intensas que outras? Como alguns poucos sujeitos conseguem, com o corpo, provocar sensações tão intensas no tempo de suas encenações? Do conjunto das gravações, oito foram escolhidas para compor o objeto deste estudo. A análise dessas imagens levanta como principais conceitos as ideias de dispositivo e processos de subjetivação, teorizadas principalmente por Michel Foucault e Gilles Deleuze, e a proposição da câmera como ferramenta de relação, defendida por Jean-Louis Comolli. Os conceitos são aprofundados e colocados em diálogo com outros autores, assim como com as imagens das quais emergiram. São destacados dois dispositivos essenciais às análises dos modos de subjetivação em jogo nas imagens: a câmera e o videokê. A partir daí evidenciam-se: as linhas de sedimentação, ligadas ao aspecto molar do dispositivo, presentes nas performances como reproduções dos espetáculos da cultura de massa; e as linhas de fratura, ligadas às apropriações criativas do dispositivo. Nelas são revelados como certos indivíduos realizam apropriações dos dispositivos e dos espetáculos midiáticos para produzir um conhecimento de si, sobre as formas como o corpo se põe em cena e produz momentos de intensidade na tomada. Conclui-se que são os processos de subjetivação como autoafecção que são capazes de produzir as imagens intensas. Por fim, como resultado deste processo, que transita entre a prática artística e a teoria, é realizada uma instalação audiovisual
Abstract: This research is based on an videographic experimental artistic process, in which footage of videoke's singers were made, in the city of Fortaleza, Ceara state's capital. Among the numerous recorded performances, some stood out, raising the problem: what makes these images more intense than others? How can a few individuals provoque, with their bodies, such intense sensations in their performances? Eight recordings were selected, from the entire set, to compose this study's object. From the analysis of these images emerges, as most important concepts, the ideas of device and process of subjectivation, mainly theorized by Michel Foucault and Gilles Deleuze, and the proposition of the camera as a tool for relationship, defended by Jean-Lous Comolli. Those concepts are examined in depth and put into dialogue with other authors, as well as with the images from which they emerged. Two devices are highlighted as essential to the analysis: the camera and the videoke. Based upon that, becomes evident: the lines of sedimentation, related to the devices' molar aspects, visible in performances as a reproduction of mass culture's spectacles; and the lines of fracture, linked to creative appropriation of the devices. Those cases reveals how certain individuals are appropriating the devices and midiatic spectacles in order to produce a knowledge about themselves, on the manners to impose the body on the scene and produce such intense performances. In conclusion, it is the processes of subjectivation as selfaffection that are capable of producing the intense images. Finally, as a result of this process, which, from the beginning, is both theoretical and artistic practical, an audiovisual installation is assembled
Mestrado
Multimeios
Mestre em Multimeios
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Watson, Ryan Grant. "Re-claiming the radical: documentary and video advocacy in the age of new media". Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/5677.
Testo completoAbstract (sommario):
This project interrogates the status of documentary film as an oppositional force and conduit for radical social and political change. The first two chapters examine the interconnected transnational history of the radical or "committed" documentary. This historical inquiry leads me to construct a set of parameters for how the radical documentary was defined and codified between 1926 and 1990. My investigation is particularly attuned to how documentary filmmakers in this tradition moved away from a didactic mode of address that sought to educate a state sanctioned "citizen subject." Instead, I argue that the radical documentary tradition grew out of the modernist avant-garde movement and activated a "revolutionary subject" in opposition to the state. To date, there have only been a handful of accounts locating post-1990s documentary practices within the domain of radical political concerns and the possibilities presented by the intersection of documentary and new media technology. The second part of the dissertation examines how such practices extend and challenge the aforementioned historical definitions while intervening in a diverse range of contexts. The final three chapters focus on an eclectic corpus of films and videos that include the work of the video advocacy organizations WITNESS and B'Tselem, student documentaries made in Iraq, and interactive documentary projects by new media artists Zohar Kfir and Sharon Daniel. I argue that these groups and artists create an "activist subject" that intervenes within specific social and political situations during wars, occupations, and cases of human rights abuses. Ultimately, I conclude that the radical power of documentary film lies not in and of itself as singular object of art or evidence, but in the discourses it engenders and within the discourses and contexts in which it is placed. In the increasingly post-digital age of new media, the study and practice of radical documentary demands a multi-faceted approach as well as an openness to expanding definitional boundaries of what a documentary is, how it functions, how it circulates, and how its impact is measured.
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Manganello, Vincent M. "DVD featuring visual commentary, which melds the director's commentary with the production documentary using the multi-angle capabilty of the DVD". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313638.
Testo completoAbstract (sommario):
This creative project consists of a short fiction film which is finished on DVD and features a full length video commentary. The video commentary is an invention of my own which utilizes an often overlooked element of DVD technology, the multi-angle ability, to effectively merge two of the most popular features of modern motion picture DVD releases: the director's commentary and the production documentary. The disk actually contains two tracks of video, each of identical length. One is the film; the other is a documentary on the making of the film, with certain sections that correspond in real time with events in the film. The user has the ability to switch between tracks at anytime for comparison. This to my knowledge has never been done before, and because of the enormous popularity of the DVD and these features, may find widespread application. This project, while only an exploration of its potential, shows that the idea has feasibility and legitimacy.Department of Telecommunications
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Alvarenga, Clarisse Maria Castro de. "Video e experimentação social : um estudo sobre o video comunitario contemporaneo no Brasil". [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284859.
Testo completoAbstract (sommario):
Orientador : Fernão Vitor de Almeida Pessoa RamosDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação apresenta uma pesquisa sobre a prática do vídeo comunitário contemporâneo no Brasil, realizada nos anos de 2003 e 2004. Investigamos a metodologia de uso do vídeo e a trajetória de dez grupos - três localizados em São Paulo, três no Rio de Janeiro, três em Belo Horizonte e um em Olinda. Paralelamente à pesquisa de campo, efetuamos uma revisão bibliográfica, tomando como parâmetros: a experiência autoral do cineasta Andrea Tonacci, ainda na década de 1970, e a experiência institucional da Associação Brasileira de Vídeo Popular (ABVP), entidade que agrupou as manifestações do movimento do vídeo popular, entre 1984 a 1995. Do ponto de vista teórico, associamos o estudo de Jean-Claude Bernardet sobre o documentário brasileiro das décadas de 1960 e 1970 com o estudo sobre cinema e antropologia, de Claudine de France. A aproximação entre os elementos citados nos sugeriu a necessidade de problematizar o conceito de vídeo comunitário e propor uma leitura para alguns daqueles vídeos que envolvem comunidades em seu processo de realização
Abstract: Cette dissertation présente une étude réalisée en 2003 et 2004 sur la pratique de la vidéo communautaire contemporaine au Brésil. Nous avons examiné la méthodologie d¿usage de la vidéo et la trajectoire de dix groupes ¿ trois à São Paulo, trois à Rio de Janeiro, trois à Belo Horizonte et un à Olinda. En parallèle à la recherche auprès des communautés, nous avons réalisé une révision bibliographique prennant comme paramètres l¿expérience d¿auteur du réalisateur Andrea Tonacci pendant les années 1970 et l¿expérience institutionnelle de l¿Association Brésilienne de Vidéo Populaire (ABVP), organisation qui a rassemblé la manifestation du mouvement de la vidéo populaire de 1984 à 1995. Du point de vue théorique, nous avons associé l¿étude de Jean-Claude Bernardet sur le documentaire brésilien des années 1960 et 1970 avec l¿étude sur le cinéma et l¿anthropologie de Claudine de France. Le rapprochement de ces éléments nous a suggéré la nécessité de réfléchir sur le concept de vidéo communautaire et de proposer une lecture de quelques unes de ces vidéos qui mobilisent des communautés dans leurs processus de réalisation
Mestrado
Multimeios
Mestre em Multimeios
32
Shen, Jiaxi. "Home Video and Nostalgia in Transitional China". OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1404.
Testo completoAbstract (sommario):
This paper is a theoretical and aesthetic exploration of my MFA thesis film- an autobiographical documentary. This documentary was entirely shot in China, with both high-definition footage and Super 8 film; it takes a journey in my hometown to discuss the contemporary housing problem across generations in modern China. By focusing on ordinary family life, the film attempts to reveal the tension and conflicts arising between Chinese people's need for roots and the shifting socioeconomic system. The first part of the paper addresses the highly contrasted filmic textures that establish various temporal dimensions in the film. Taking an autobiographical approach, the first person perspective is employed to connect these times and spaces. The second part of the paper will examine the subjectivity in the film and discuss how the self functions as a storyteller, an outsider and a family member at the same time. The following chapter will visit the physical familiar space. The lens searches for marks and signs left by everyday practices, in order to trace the change of the concept of home in Chinese culture after the invasion of industrialization and consumerism. Such an enormous socioeconomic transformation has eventually given birth to a wave of nostalgia in contemporary China. This nostalgia answers a cultural need that counters the irresistible process of modernization, urbanization and commercialization in the transitional China.
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Papinot, Emmanuelle. "Recherche de vidéos académiques dans les collections en ligne : approche ergonomique". Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20081.
Testo completoAbstract (sommario):
De plus en plus d’environnements en ligne dédiés à la diffusion du savoir intègrent la vidéo dans leurs corpus multimédia. Par rapport au texte ou à l’image statique ou animée, la vidéo a encore peu fait l’objet d’études scientifiques en psychologie et ergonomie cognitive. La recherche de vidéo s’inscrit dans le contexte de la recherche d’information. Le cadre théorique de cette thèse est celui de l’Information Foraging (Pirolli & Card, 1999) qui conçoit la recherche d’information dans un environnement stochastique, fondée sur une fouille construite à partir de l’information intermédiaire de l’environnement. L’objectif principal de la thèse repose sur l’apport de connaissances sur les usagers, avec pour hypothèse initiale, la coexistence d’une diversité de buts de recherche de vidéos dont une meilleure connaissance permettrait de contribuer à l’amélioration de l’environnement. Une étude exploratoire utilisant une approche multi-méthodologique a été effectuée sur une plateforme audiovisuelle dont le corpus est ancré dans l’enseignement supérieur et la recherche et un musée virtuel dédié à l’histoire de la justice des crimes et des peines qui dispose d’un corpus multimédia. Les résultats montrent que les difficultés liées à la publication et aux conditions de mise en ligne des vidéos impactent directement la recherche de l’usager et qu’il s’avère pertinent de distinguer le média du document audiovisuel. La caractéristique commune aux deux dispositifs étudiés repose sur une fréquentation majoritaire représentée par des usagers cherchant à se cultiver qui questionne directement l’intérêt et l’usage de la vidéo en tant que véhicule de connaissances pour des buts spécifiquesMore and more online environments dedicated to the dissemination of academic knowledge are integrating videos into their multimedia corpus. Compared to static or animated text or graphics, video usability has not yet been the object of scientific studies in psychology and cognitive ergonomics. Video search is part of the information seeking process. The theoretical framework of this dissertation is the Information Foraging theory (Pirolli & Card, 1999), which describes information seeking in a stochastic environment, based on a search built on intermediary information. Our main goal is to provide knowledge about users, with the initial hypothesis that a variety of video-seeking goals can coexist among users. This knowledge can help improve the usability of online environments.An exploratory study using a multi-methodological approach was carried out on the usability of an audiovisual online platform for higher education and research and on a multimedia virtual museum dedicated to the history of crime justice and punishments. The results show that: (a) the difficulties related to online video publishing directly impact video search on the user side, (b) it is relevant to distinguish the video as a media from the audiovisual document. The characteristic common to both platforms is that a majority of users use the platform as a way to educate themselves, which directly questions the interest and use of video as a vehicle of knowledge acquisition for specific purposes
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Sposto, Caroline Zarlengo. "A woman's place a video documentary on mass media messages directed towards women between 1940 - 1950 /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2005. http://www.kutztown.edu/library/services/remote_access.asp.
Testo completoAbstract (sommario):
Thesis (M.S. )--Kutztown University of Pennsylvania, 2005.Source: Masters Abstracts International, Volume: 45-06, page: 2721. Typescript. Accompanying DVD entitled: A Woman's Place: a documentary to supplement masters thesis. Abstract precedes thesis as 2 leaves (i-ii). Includes bibliographical references (leaves 59-61).
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Carvalho, Ananda. "Documentário-ensaio: a produção de um discurso audiovisual em documentários brasileiros contemporâneos". Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/5121.
Testo completoAbstract (sommario):
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Previous issue date: 2008-10-10Conselho Nacional de Desenvolvimento Científico e Tecnológico
The present research castes some elements to map the specificities of the essay-documentary. The Brazilian documentary s production has grown progressively in the last two decades, however a part of it no longer limits itself to a reproduction of the reality, characteristic traditionally associated to that type of production. In order to study those new works, this Master s Dissertation broadens the documentary concept to essay-documentary , acknowledging it as a subjective reflection about the world. That perspective is an unfolding of the concept of film essay, from Arlindo Machado, which reaches the productions that overpass the limits of the documentary and do not ties to the dichotomy between fiction and non-fiction or to the concern with a truth as a mirror of the reality. About the essay, it is adopted the concept of Theodor Adorno, which refers to the construction of an experimental and not totalitarian speech. To think the documentary as audiovisual, it gets back to Jean-Claude Bernadet, which contrasted that feature in the Brazilians contemporary documental productions. It is chosen to study the construction of that writing through the montage or the conceptual editing. To understand the montage, it returns to the concepts proposed by Serguei Eisenstein and Dziga Vertov, and followed by the video language according to Philippe Dubois and Arlindo Machado, until it arrives to the concept of metamedium and of montage as a spatial composition, proposed by Lev Manovich. At last, in order to consolidate the essay-documentary, it is chosen works which allowed establishing a dialogue between the theoretical perspectives approached. In this sense, it is presented an analysis divided in three sub themes: the montage of the visual speech, the montage of the sonorous speech and the symbolic montage. Each one of those sub themes is approached from a key-documentary, with the aim of realizing a reflection more deepen: Andarilho (Cao Guimarães), Sonoroscópio SP: polifonia da imigração (Kiko Goifman e Rachel Monteiro) and Nós que aqui estamos por vós esperamos (Marcelo Masagão). The selection tried to stand out production which was not restricted to the verbal as a speech composition strategy, but which adopted both images and soundtracks to build a symbolic documental writing
A presente pesquisa elenca alguns elementos para mapear as especificidades do documentário-ensaio. A produção brasileira de documentários cresceu progressivamente nas duas últimas décadas, entretanto uma parte dela não se limita mais a uma reprodução da realidade, característica tradicionalmente associada a esse tipo de produção. Para estudar essas novas obras, esta Dissertação de Mestrado amplia o conceito de documentário para documentário-ensaio , entendendo-o como uma reflexão subjetiva sobre o mundo. Essa perspectiva é um desdobramento do conceito de filme ensaio, de Arlindo Machado, que abrange as produções que ultrapassam os limites do documentário e não se prendem à dicotomia entre ficção e não-ficção ou à preocupação com uma verdade como espelho do real. Sobre o ensaio, adotamos o conceito de Theodor Adorno, que se refere à construção de um discurso experimental e não totalitário. Para pensar o documentário como um discurso audiovisual, retomamos Jean-Claude Bernadet, que constatou essa característica nas produções documentais brasileiras contemporâneas. Escolhemos estudar a construção dessa escrita através da montagem ou edição conceitual. Para entender a montagem, voltamo-nos para os conceitos propostos por Serguei Eisenstein e Dziga Vertov, e seguimos pela linguagem videográfica de acordo com Philippe Dubois e Arlindo Machado, até chegarmos aos conceitos de metamídia e da montagem como composição espacial, propostos por Lev Manovich. Por fim, para consolidar o conceito de documentário-ensaio, escolhemos obras que permitissem estabelecer um diálogo entre as perspectivas teóricas abordadas. Nesse sentido, apresentamos uma análise dividida em três subtemas: a montagem do discurso visual, a montagem do discurso sonoro e a montagem simbólica. Cada um desses subtemas é abordado a partir de um documentário-chave, com o intuito de realizar uma reflexão mais aprofundada: Andarilho (Cao Guimarães), Sonoroscópio SP: polifonia da imigração (Kiko Goifman e Rachel Monteiro) e Nós que aqui estamos por vós esperamos (Marcelo Masagão). A escolha procurou destacar produções que não fossem restritas ao verbal como estratégia de composição do discurso, mas que adotassem tanto imagens quanto trilhas sonoras para construir uma escrita documental simbólica
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Lopes, Amanda Areias Silveira. "Fotografia documental (conceitual): repensando fronteiras". Universidade Presbiteriana Mackenzie, 2018. http://tede.mackenzie.br/jspui/handle/tede/3702.
Testo completoAbstract (sommario):
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This study presents a descriptive report of an art based research that selects photography as a medium to investigate the theme of "displacement" and its potential visual metaphors. The process resulted in two art works, the photo-series Linha. and Is there a "there" there?. The first, Linha. (line, dot), is a conceptual documentary photography work developed in the binational region between Mexico and the United States and addresses the frontier and its symbolic derivatives. Is there a "there" there? is video installation elaborated from visual experimentation with potential perspectives and sense of direction of a subject in transit. The research uses Corinne Noordenbos' conceptual documentary photography methodology where Grounded Theory is suggested as a guide for research and aesthetic choices within a cyclical and interdisciplinary research path. During the study that is located within the line of research of Languages and Technology questions about the use of the term "conceptual" in the context of documentary photography were raised. The duality between the documentary and conceptual nature of photographic images is addressed in a historical review that suggests interpretative conditions for a hybrid and diverse contemporary documentary photography. At the end the research, including visual production and theoretical reflection, reveals a living and dynamic process that opens the way to rethink frontiers between academic research and photographic practice.
Este trabalho apresenta o memorial descritivo de um percurso prático de pesquisa em arte que elege a fotografia como meio para investigar o tema "deslocamentos" e suas possíveis metáforas visuais. O percurso resultou em dois trabalhos imagéticos, as séries fotográficas Linha. e Is there a "there" there?. O primeiro, Linha. (lê-se linha, ponto), é um trabalho fotográfico de caráter documental-conceitual desenvolvido na região binacional entre México e Estados Unidos e aborda o tema das fronteiras e seus derivados simbólicos. Is there a "there" there? é uma video instalação elaborada a partir da experimentação visual com possíveis perspectivas e senso de direção do sujeito em trânsito. A pesquisa adotou a metodologia para uma fotografia documental conceitual de Corinne Noordenbs que sugere a Teoria Fundamentada em Dados como guia para a investigação e escolhas estéticas dentro de um percurso cíclico de pesquisa interdisciplinar. Durante o estudo que está localizado dentro da linha de pesquisa de Linguagens e Tecnologia foram levantadas ainda questões acerca do uso do termo "conceitual" no contexto da fotografia documental. A dualidade entre o caráter documental e o caráter conceitual das imagens fotográficas é abordada através de uma revisão histórica que sugere condições interpretativas para uma fotografia documental contemporânea híbrida e diversa. Ao final a pesquisa, incluindo produção visual e reflexão teórica, revelou-se um processo vivo e dinâmico que abre caminho para repensar fronteiras entre a ação acadêmica de pesquisa e o ato de fotografar.
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Yang, Hongyi. "Herb and Life: A Chinese Medical Family". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3296/.
Testo completoAbstract (sommario):
This written thesis examines the process of producing Herb and Life: a Chinese Medical Family, a thirty-minute documentary video that explores the producer's family members' relationship with Traditional Chinese Medicine. This documentary uses interviews, narration, music, and observational sequences to display documentary subjects' career choices and their experiences with Traditional Chinese Medicine. This written thesis reveals the development of this documentary, from the pre-production to production and post-production stages. It also incorporates theoretical analysis and self-evaluation of this documentary video.
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Childress, Doris (Doris Elaine). "Bus Ride to Liberation: a Historical Video Documentary of the Acres Homes Transit Company in Houston, Texas". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279071/.
Testo completoAbstract (sommario):
The Acres Homes Transit Company in Houston, Texas is Texas' first African American owned and operated bus company. Some say it is the first in the South. The company was developed during the height of the civil rights period. It serves as an establishment of economic empowerment during the oppressive civil rights era. The video is a historical visual documentation of the bus company from its beginning to its end. An accompanying written profile describes the research process, the pre-production, production and post-production stages, as well as future proposals for the documentary.
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Weiss, Maria. "American Mom". Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/935.
Testo completo
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Kachtík, Petr. "Audiovizuální instalace". Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2013. http://www.nusl.cz/ntk/nusl-232389.
Testo completoAbstract (sommario):
This thesis is concerned with the relationship between sound and image, their manipulation in real time. The main topic of this work is the permeation of these two elements into a single composition. I work with documentary footage witch I try compose according to the principles of VJing.
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Toth, Ibojka Maria. "Borderland American - Hungarian video installation /". [Kent, Ohio] : Kent State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1165764619.
Testo completoAbstract (sommario):
Thesis (M.F.A)--Kent State University, 2006.Title from PDF t.p. (viewed March 27, 2008). Advisor: Martin Ball. Keywords: American - Hungarian Video Installation, 1956 Hungarian Revolution, Budapest, Hungary, Documentary - Style Production Process, Fragmented Memories of Time and Place, American - Hungarian Struggles with Personal and Cultural Identities, Discourse about Mul.
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Cox, Barth. "Asking to See the Soul: A Video Documentary Exploring the 'Coming Out' Experiences of Men Identifying with a Gay Subculture". ScholarWorks@UNO, 2003. http://scholarworks.uno.edu/td/29.
Testo completoAbstract (sommario):
This thesis details the production process of a video documentary that describes the coming out processes of gay men who identify with the Bear subculture of the gay community and some of the conflicts and consequences that they face due to this action. The aim of this production was to portray with dignity and compassion the recorded feelings and personal histories of the subjects interviewed. Chapters are devoted to the development, pre-production, production and post-production phased of this documentary. A detailed script, transcripts, shot list, and other examples and illustrations are included to give a better understanding of the entire production. This thesis also includes other necessary documentation such as a detailed budget and copies of performance releas
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Sucari, Jabbaz Gabriel Jacobo. "El Documental expandido: pantalla y espacio". Doctoral thesis, Universitat de Barcelona, 2009. http://hdl.handle.net/10803/52895.
Testo completoAbstract (sommario):
La Representación Documental Contemporánea amplía el cuadro bidimensional de la TV o el Cine en nuevos formatos, donde tanto el recorrido espacial del espectador por la sala como la multiplicidad narrativa o el acceso aleatorio a la información tienen especial incidencia a la hora de concebir y desarrollar nuevos procesos de representación documental.
El Documental expandido sugiere así nuevas fórmulas y maneras de representación que podemos englobar en un ámbito post-media que trasciende las características propias de un medio específico y las categorías que hasta entonces eran de aplicación básica a la hora de analizar sus fórmulas y estrategias comunicativas.
El ámbito del documental post-media produce de esta manera un modelo donde se aúnan el cine, el video, la fotografía, el texto, la informática, la instalación.
El Documental Expandido es en esencia un producto híbrido, una mezcla de tendencias y formulaciones definidas en los ámbitos de la tradición cinematográfica y en distintas prácticas artísticas contemporáneas."The Expanded Documentary: screen and space" Doctoral Thesis submited by Gabriel Jacobo Sucari Jabbaz. Summary: The contemporary documentary representation extends the two-dimensional picture of TV or Cinema towards new formats where both the viewer's spacial journey around the room and the multiple narrative or random access to information are taken into account as key parts of its design and development. The expanded documentary suggests new ways and means of representation that we can include in a post-media environment that transcends the characteristics of a specific medium; categories that until now have been essential to an analysis of formulas and communication strategies. The scope of post-media documentary produced in this way combines film, video, photography, text and computer installation. Expanded Documentary is essentially a hybrid, a mixture of trends and formulations drawn from different areas of cinematic tradition and contemporary artistic practices.
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Andrade, Gabriel Aguiar de. "O suporte videogrÃfico entre os Ãndios Tapeba: produÃÃo e afirmaÃÃo de identidade Ãtnica". Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9167.
Testo completoAbstract (sommario):
Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoCom o advento das câmeras de vídeo, em meados da década de 70, os campos da comunicação e das ciências sociais presenciaram o nascimento de um instrumento tecnológico que alterou uma série de procedimentos teórico-metodológicos dentro da academia. Em posse de equipamentos leves e fáceis de manusear alguns antropólogos começaram a utilizar câmeras de vídeo e/ou gravadores portáteis de áudio em suas pesquisas etnográficas. Do mesmo modo, documentaristas e cineastas empregaram técnicas etnográficas no processo de realização de seus filmes, notadamente os que se davam em comunidades indígenas ou populações isoladas. Na presente dissertação analisamos dois vídeos sob o ponto de vista da utilização do suporte videográfico como instrumento de afirmação étnica e produção de uma identidade indígena Tapeba, verificadas nas ações construtivas de memória identitária que se desenvolvem dentro e a partir dessas narrativas audiovisuais, bem como através da forte presença da oralidade. Desde o início da década de 80, período que em intensificaram-se as manifestações indígenas no Ceará e em outros estados do Nordeste, várias produções audiovisuais (fotografias e documentários) fizeram parte de uma espécie de estratégia para valorização e difusão dos interesses indígenas.
With the advent of video cameras in the mid-70s, the fields of communication and social sciences witnessed the birth of a technological tool that changed a number of theoretical and methodological procedures within the academy. In possession of equipment lighter and easier to handle some anthropologists began to use video cameras and / or portable audio recorders in his ethnographic research. Similarly, documentary filmmakers and ethnographic techniques employed in the process of making their films, especially those that occurred in indigenous communities or isolated populations. In this dissertation we analyze two videos from the point of view the use of videographic support as an instrument of ethnic affirmation and production of an indigenous identity Tapeba, constructive actions observed in memory of identity that develop in and from those audiovisual narratives, and through strong presence of orality. Since the beginning of the 80s, a period of intensified manifestations in Ceará indigenous and other Northeastern states, several audiovisual (photographs and documentaries) took part in a kind of strategy use and dissemination of indigenous interests.
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Daniel, Taunay. "A epistemologia, o documentario e o papagaio : elementos para analise de documentarios da vida selvagem". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284672.
Testo completoAbstract (sommario):
Orientador: Jacques Marie Edme VielliardAnexo 1 DVD
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese é uma reflexão sobre a possibilidade de se produzir documentários (cinema ou vídeo) perfeitamente fiéis e objetivos em relação à realidade que eles pretendem representar. O foco principal é o documentário de vida selvagem, que tem características específicas muito marcantes que o diferencia nitidamente dos demais tipos de documentários. A linha de argumentação da tese tem como base de sustentação teórica e prática quatro elementos: a) os resultados de uma pesquisa de campo realizada com o objetivo de compreender o comportamento do papagaio-de-peito-roxo Amazona vinacea em seu habitat natural para, em seguida, planejar e produzir um documentário sobre esse animal; b) uma reflexão sobre a epistemologia em geral, com ênfase na questão da possibilidade de haver objetividade no conhecimento; c) uma reflexão sobre a possibilidade de haver objetividade nas imagens registradas através dos dispositivos técnicos criados para esse fim (câmeras fotográficas e cinematográficas); d) uma análise da realização do próprio documentário. A tese defende a existência de uma "matriz do pensamento", criada e sedimentada no decurso da história do mundo ocidental, que nos faz crer que a objetividade pura é possível e desejável e que o conhecimento legítimo e aceitável é somente aquele que é independente da subjetividade do indivíduo que o produz. Procura também mostrar como essa matriz é insustentável, sobretudo em relação aos documentários audiovisuais onde a objetividade e a verdade tornam-se aspirações inadequadas.
Abstract: This paper is a reflection over the possibility to produce objective documentaries (cinema or video), strictly loyal to the reality they mean to represent. The main focus is the documentary of wild life that has specific and very remarkable characteristics, which makes it clearly different from the other kinds of documentaries. The argument line of the paper has four elements as its theoretical and practical basis of support : a) the outcome of a field research carried out with the objective of understanding the behavior of Vinaceous Parrot Amazona vinacea in its natural habitat, and then plan and produce a documentary on this animal; b) a reflection over epistemology in general, with emphasis on the possibility of having objectivity in knowledge; c) a reflection over the possibility of having objectivity in the registered images through technical devices created for this purpose (photographic and cinematographic cameras); d) an analysis of the achievement of the documentary itself. The paper defends the existence of a "matrix of the thought" created and deeply rooted throughout the history of western world, that makes us believe that sheer objectivity is possible and desirable and that authentic and acceptable knowledge is just the one that is independent of the subjectivity of the individual who produces it. It also tries to show how unsustainable this matrix is, especially towards audiovisual documentaries, where objectivity and truth become inadequate aspirations.
Doutorado
Doutor em Multimeios
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Bačíková, Alžběta. "Dokumentární přístupy v pohyblivém obraze v současné umělecké praxi". Doctoral thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2018. http://www.nusl.cz/ntk/nusl-387736.
Testo completoAbstract (sommario):
The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.
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Neves, Bráulio de Britto. "O ciberdocumentário prefigurativo dos anos 2000". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284504.
Testo completoAbstract (sommario):
Orientador: Fernão Vitor Pessoa de Almeida RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta tese propõe novos critérios para a definição de cinema documentário, tomando-o como uma classe natural da retórica da esfera publica contemporânea, a partir da extrapolação dos traços recorrentes do documentário político feito a partir, através e para a circulação na internet, na primeira década do século 21. A constatação de que o ciberdocumentário ativista recente logrou transformar o esforço de constituição de espaços de visibilidade publica autônomos em uma matéria de expressão poética peculiar conduziu a concepção de que o traço distintivo do documentário, em geral, reside no tipo especifico de relação que ele pretende constituir entre seus participantes: enunciadores, enunciatários e atores sociais. Reinterpreta-se retórico-especulativamente os conceitos da "pragmática universal" para tornar os conceitos de "interpretabilidade" e "validez" operadores analíticos apropriados para o exame da retórica dos ciberdocumentários. A peculiaridade mais decisiva desses vídeos e sua função instauradora de contrapúblicos, através da operação de plataformas telemáticas de publicação abertas. Essa inovação, trazida para a esfera publica pelo ciberativismo dos movimentos antiglobalização corporativa, e estruturada como uma política prefigurativa. Os ciberdocumentários publicados nessas plataformas são tambem prefigurativos porque visam provocar efeitos catalisadores, comemorativos e regenerativos sobre seus apreciadores, propiciando a transposição das relações de participação na enunciação para as relações nos contrapúblicos e na esfera publica ampla. A inovação da producao de conteúdo pelos públicos usuários, porém, e capturada por corporações da telemática, nas "redes sociais" e sites de "compartilhamento de vídeos", como estratégia para extrair trabalho não pago da privacidade coletiva dos usuários. Através de analises da estrutura das plataformas de publicação, de alguns ciberdocumentários e de entrevistas com seus organizadores, a tese examina dois projetos ciberativistas prefigurativos: o CMI-Brasil e o Circuitos Compartilhados. Examina-se como o propósito de constituição de contrapúblicos ativistas prefigurativos determina os demais elementos da retórica dos ciberdocumentários (situações de tomada, montagem, paratextualização nas plataformas, organização de exibições). Nos vídeos do Centro de Mídia Independente, temos uma retórica próxima do documentário direto contra-informação política, na qual o espaço urbano e audiovisual mente reconstruído de maneira agônica. A intensa imersividade dos vídeos ceemistas serve para de estabelecer uma relação de revezabilidade entre os participantes das enunciações ciberdocumentárias prefigurativas. Em Circuitos, ha proximidade com a retórica do documentário poeticoexperimental. Nessa plataforma, que tambem e uma coleção de vídeos compartilhada pelos participantes do projeto, a constituição de contrapúblicos e manifestamente explorada como práxis poética
Abstract: In the present thesis are proposed new criteria for the documentary cinema definition, as a natural class of the contemporary public sphere rhetoric, stemming from the extrapolation of the recurring features of the political documentary built upon, through and to the Internet diffusion, made in the first decade of the 21th century. The observation that the recent activist cyberdocumentary succeeded in convert the public visibility spaces' building efforts in a peculiar poetic matter of expression brought the conception that the distinctive characteristic of the documentary rhetoric lies in the specific kind of relationship it pretends to constitute between their parts - ennunciators, ennunciatees and social actors. The concepts of the "Universal Pragmatics" are undertaken in a speculative-rhetoric key, to make them suitable to the prefigurative cyberdocumentaries rhetoric scrutiny. The crucial particular feature of this videos is their role in the counterpublics institution, through the operation of open publishing on-line platforms. This innovation, brought about in the public sphere by the anti-corporate globalization movements cyberactivism, is neatly structured as a prefigurative policy. The cyberdocumentaries published in these platforms are also prefigurative because they aim to produce cathalist, commemorative and regenerative effects on their appreciators, underpinning the transposition from the relationships between the parts in the enunciation to the relationships into the counterpublics and in the public sphere at large. The innovation of the user publics content production has however been captured by the internet corporations, in the "social networks" and "video sharing" sites, as a strategy to extract unpaid work from the collective privacy of the users. Through the analysis of the publishing platforms structures, of cyberdocumentaries and of interviews, this thesis presents the main features of two prefigurative cyberactivist projects: The Brazilian Indymedia chapter (CMI-Brasil) and the "Shared Circuits" (Circuitos Compartilhados). The scrutiny focus is directed to the understanding of how the activist counterpublics building purpose determines the other layers of the ciberdocumentary rhetoric (the image take situations, the montage, the paratextual composition of the platforms, the organization of exhibitions). In the Brazilian IMC videos, we see a rethoric near to the counter-information direct documentary, where the urban space is audiovisually reconstructed in an agonic manner. The intense immersivity of IMC's videos is precursory to a relaying relationship between the documentary ennounciation participants. In Circuits, a more closeness to the poetic-experimental documentary rhetoric is seen. In that platform, which is also a video collection shared by the project participants, the counterpublic building is conspicuously explored as a poetic praxis
Doutorado
Multimeios
Doutor em Multimeios
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Žadeikytė, Asta. "Dokumentinis eksperimentinis filmas". Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100903_081950-92964.
Testo completoAbstract (sommario):
Diplominiame darbe „Eksperimentinis dokumentinis filmas“, nagrinėjama kaip dokumentinis kino žanras, perteikia realybę ekrane, kiek tiksliai ir nuosekliai dokumentiniai filmai sugeba fiksuoti realų gyvenimą. Dokumentinio žanro pakilimas, prasidėjo nuo XXI a. ir žengė koja kojon su dokumentalumo stiprėjimu šiuolaikiniame mene. Tai nurodo bendrumą tarp videomeno ir dokumentinio kino žanro. Menininkai norėdami išplėsti dokumentinio kino reprezentacijos rėmus pradėjo eksperimentuotu su dokumentinio kino raiška. Eksperimentai videomene ir dokumentiniame kine prasideda nuo bendro pagrindo – dokumentinio kino kalbos. Videomeninkai naudodami dokumentinio kino kalbas, sukuria realistinę atmosferą savo filmuose, eksperimentuodami menininkai nori pasakyti, kad ne tik standartinė dokumentinio kino raiška gali atspindėti realybę. Dokumentiniame videomene eksperimentės strategijos yra dokumentalumo sampratos laužymas ir kvestionavimas. Diplominiame darbe siekiama išanalizuoti videomeninkų eksperimentus su dokumentinio kino kalba ir kaip baigiamą rezultatą sukuti eksperimentinį dokumentinį filmą apie emigrantę iš Lietuvos.Work "Experimental documentary film", examines how the documentary film genre, record and represent the reality on the screen, as an objective documentary shots may reflect real life. Strengthening of a documentary genre that began in the twenty-first century, entered and was held in conjunction with documentary brightening discourse in contemporary art. It encourages the consideration of video art and documentary genres in close contact. While artists can‘t fit representation in documentary film frames, experiment with the documentary film resolution and try to expand. Experimental video art and documentary cinema took off from the same ground - a documentary film language, it has become a constant of real representation on the screen. Video artists taking over the documentary film strategies, wants to create a realistic atmosphere of his films, with experiments artists wants to update the definition of documentary, through an extraordinary visual material, as the documentary shots, who pretends to be a direct reflection of reality, also mediated images. My work aims to analyze video artists experiments with language and as a culminating result create documentary film about the emigration from Lithuania.
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Cox, Barth Louis. "Asking to see the soul a video documentary exploring the "coming out" experiences of men identifying with a gay subculture /". Connect to this title online, 2003. http://etd-db.uno.edu/theses/available/etd-07252003-063444/.
Testo completoAbstract (sommario):
Thesis (M.F.A.)--University of New Orleans, 2003.Title from PDF title page (viewed on Apr. 5, 2005). "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications." Vita. Includes bibliographical references (p. 72-93).
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Syniuk, Artem. "Sustainable apparel marketing and consumption : An analysis of Patagonia’s Worn Wear video marketing campaign". Thesis, Jönköping University, Internationella Handelshögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-53185.
Testo completoAbstract (sommario):
Background: The modern world struggles with an environmental crisis and many industry sectors could be considered as non-sustainable. The fashion industry is poorly performing both in ecological and social sustainability due to mass production and apparel waste caused by fast changing fashion. To reduce the negative impact on the ecological and social environment the United Nations developed the Sustainable Development Goals focussing on the economic, social, and ecological sustainability. The apparel industry influenced by the international organisations and the customers sustainability demands is forced to adjust its business strategy towards ecological and socially sustainable business and production. Purpose: The purpose of this study is to understand how the brand Patagonia, a company in the fashion industry, communicates its core values and meanings in its marketing campaign focussed on sustainable production and consumption. By analysing Patagonia`s video series of the Worn Wear marketing campaign, the underlying core values and meaning building the companies brand image on topic of sustainability could be interpreted. Method: This thesis is conducted by applying interpretive thematic analysis and visual analysis by applying the study of semiotics and documentary video analysis. The employed theories allow the researcher to discover meaning and values through conducting a visual analysis. Conclusion: The results show that Patagonia Inc., communicates a total of four major and ten secondary themes on topics of both ecological and social sustainability in the Worn Wear campaign. The themes are representing the importance of slow fashion by repairing the gear and sustainable consumption. The reciprocity between adventures and sustainable environment is being mentioned, and the social and ecological factors are expounded.