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Tesi sul tema "Documentary"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 25 luglio 2025

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1

Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

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2

Akoglu, Ozge. "Mock-documentary: Questioning Of Factual Discourse Of Documentary." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612982/index.pdf.

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Abstract (sommario):

This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquo<br>s claim of representing reality. Within this respect, documentary has its own particular codes and conventions to construct its factual discourse. Mock-documentary, simulates these codes and conventions to create a fictional world. In this study, mock-documentary and its relationship with the most popular modes of documentary is examined. Within this study the earliest examples of mock-documentary and recent examples of the form are com

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3

Barry, Barbara A. (Barbara Ann) 1967. "Mindful documentary." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32497.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.<br>Includes bibliographical references (leaves 86-92).<br>In the practice of documentary creation, a videographer performs an elaborate balancing act between observing the world, deciding what to record, and understanding the implications of the recorded material, all with respect to her primary goal of story construction. This thesis presents mindful documentary, a model of a videographer's cyclical process of thinking and constructing during a documentary pro

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4

Furnham, David. "Documentary practice." Thesis, Middlesex University, 1999. http://eprints.mdx.ac.uk/10701/.

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The thesis is a development of the making of the documentary tape L'Artiste. Le Fermier et Le Paysag. The central argument is to propose a way of looking at documentary based on the possibility of making and examining documentary material which combines narrative and non-narrative techniques and on the value of comparing non-actor contributions to improvised performance processes and outcomes. The purpose of this approach is to produce an effect upon the viewer where the viewer engages in working out what is happening within an array of possible meanings contained within the audio-visual patte

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5

Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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6

Clausen, Barbara. "Staging the documentary." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172646.

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Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte's first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte's various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the complexit

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7

McAndrew, David. "Orwell and documentary." Thesis, University of York, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293938.

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8

Rughani, Pratap. "Towards intercultural documentary." Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7082/.

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‘Towards Intercultural Documentary’ is a PhD by Published Work that is comprised of four documentary films, an exhibition catalogue essay and an academic book chapter to form a collective body of work in film and text focused on what Rughani proposes as ‘intercultural documentary practice’. This body of work configures ‘intercultural documentary practice’ as a space or arena in which people of radically different perspectives encounter the other.1 Intercultural documentary aspires to create pluralised spaces of exchange by engaging difference within and between communities. In this work, voice

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9

Lange, Shara K. "Documentary Film Engagement." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3651.

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10

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.

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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 m

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11

Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings." Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.

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12

Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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13

Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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Abstract (sommario):

According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, an

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14

Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories

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15

Bell, Leah Helanie. "Documentary Film: Access Denied." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.

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Abstract (sommario):

Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal wi

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16

Burk, Chelsea D. "Poetics of the document and documentary poetics : documentary poetry by women, 1938-2015." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6711.

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This project reconceives the methods critics use to define and analyze the critical field of documentary poetry. Although scholarship on documentary in the visual arts abounds, literary criticism that explores poetry through a documentary lens is sparse. Documentary poetics criticism focuses almost exclusively on socioeconomic class within the poems and on defining the genre. Critics have not attended to the ways that the category “document” inflects this poetic arena. I argue that documentary poetics includes engagement with specific documents and with the power they hold within a given histo

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17

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.

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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 con

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18

Abrahams, Johann. "Fairness in subjective documentary storytelling : A reflective essay supporting the documentary film 'Coming Home'." Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12717.

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Abstract (sommario):

Includes bibliographical references.<br>Ever since filmmakers started making non-fiction films, they have been plagued by the question of objectivity. Is it true, is it accurate, and is it fair? Today television consumers have become sophisticated and media savvy. They know that with any documentary, a number of editorial and creative decisions are being made often by a number of people working in a team. The question in this study is how a film can still be truthful, fair and relevant for viewers despite a clear bias on the part of the filmmaker. Michael Rabiger, Stella Bruzzi, and Sheila Ber

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19

Largent, Julia E. "Documentary Dialogues: Establishing a Conceptual Framework for Analyzing Documentary Fandom-Filmmaker Social Media Interaction." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1497547704340843.

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20

Hearing, Trevor. "The documentary imagination : an investigation into the performative application of documentary film in scholarship." Thesis, Bournemouth University, 2015. http://eprints.bournemouth.ac.uk/22423/.

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The aim of the research has been to discover new ways in which documentary film might be developed as a performative academic research tool. In reviewing the literature I have acknowledged the well-established use of observational documentary film making in ethnography and visual anthropology underpinned by a positivist epistemology, but I suggest there are forms of reportage in literary and dramatic traditions as well as film that are more relevant to the possibility of an auto-ethnographic approach which applies documentary film in an evocative context. I have examined the newly emerging fie

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21

Gaudenzi, Sandra. "The living documentary : from representing reality to co-creating reality in digital interactive documentary." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7997/.

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This thesis concentrates on the emerging field of interactive documentaries. Digital interactive and networked media offer so many new possibilities to document reality that it is necessary to define what an interactive documentary is and whether there is any continuity with the linear documentary form. This research therefore proposes a definition of interactive documentaries and a taxonomy of the genre based on the idea of modes of interaction – where types of interactions are seen as the fundamental differentiator between interactive documentaries. Interactivity gives an agency to the user

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22

Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.

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Abstract (sommario):

A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of fr

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23

Mueller, Denis. "John Dewey and Documentary Narrative." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1195476626.

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24

Mendoza, Darwin Y. "Theorizing on Honduran Social Documentary." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1268429222.

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25

Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.

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26

Hong, Jiachun. "DOCUMENTARY PRODUCTION AS A SITE OF STRUGGLE: STATE, CAPITAL, AND PRECARITY IN THE CONTEMPORARY CHINESE DOCUMENTARY." OpenSIUC, 2018. https://opensiuc.lib.siu.edu/dissertations/1627.

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Abstract (sommario):

Documentary filmmakers have been considered artists, authors, or intellectuals, but rarely as labor. This study investigates how the nature of work as well as life is changing for those who work in the expanding area of TV documentary in China, in the midst of China’s shift towards a market-based economy. How do documentary makers reconcile their passion for documentary making with the increasingly precarious conditions of work? And, how do they cope with and resist the pressures of neoliberalism to survive in increasingly competitive local and global markets? Based on data gathered through t

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27

Stewart, Michelle Robin. "Sovereign visions : native North American documentary /." Diss., ON-CAMPUS Access For University of Minnesota, Twin Cities Click on "Connect to Digital Dissertations", 2001. http://www.lib.umn.edu/articles/proquest.phtml.

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28

Pine, Lila. "My Aunt Lila, a mad documentary." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0016/MQ59195.pdf.

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29

Spooner, Joseph. "Homeric and documentary papyri from Oxyrhynchos." Thesis, University College London (University of London), 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242055.

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30

MARTINS, INDIA MARA. "ANIMATED DOCUMENTARY: EXPERIMENTATION, TECHNOLOGY AND DESIGN." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2009. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=13765@1.

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Abstract (sommario):

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO<br>O objetivo desta tese é refletir sobre o documentário animado. Um produto audiovisual que mistura documentário e animação e está redefinindo o papel do design na produção das novas mídias. Mostramos também que o documentário animado reacende uma série de debates e reflexões relativas à teoria do documentário e da animação em relação às concepções de realismo. A nossa principal premissa é que o documentário sempre se ap

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31

Agajanian, Rowana. "Telling stories : the Vietnam War documentary." Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/9621/.

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Abstract (sommario):

This is an original piece of research that addresses a much neglected area in documentary film. The study encompasses 26 documentaries produced by 10 different countries and examines them in terms of international perspectives, documentary form and function, and political debates. The first part of the thesis explores the international political context and the various rivalries and alliances that played a part in the conflict. The second part provides a detailed examination of the 26 documentaries providing both textual and contextual analysis. The third part is devoted to film theory and cul

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32

Kostant, Steven. "The storytelling tradition and documentary moviemaking." Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75517.

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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.<br>MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.<br>Includes bibliographical references (leaf 37).<br>This thesis is concerned with the relationship between the storytelling tradition and documentary moviemaking. This relationship is evaluated in three distinct points of departure. The evolution of the storytelling process from a traditional oral form of communication, by word of mouth, to its integral incorporation into the electronic media, particularly through the dissemination of motion picture and te

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33

Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film." Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.

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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the s

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34

Penfold, Christopher. "Elizaveta Svilova and Soviet documentary film." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367302/.

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The focus of my research is Soviet documentary filmmaker, Elizaveta Svilova (1900-75), most commonly remembered, if at all, as the wife and collaborator of acclaimed Soviet film pioneer, Dziga Vertov (1896-1954). Having worked with her husband for many years, Svilova continued her career as an independent director-editor after Vertov fell out of favour with the Central Committee. Employed at the Central Studio for Documentary Film, a state-initiated studio, Svilova’s films were vehicles of rhetoric, mobilised to inform, educate and persuade the masses. She draws on visual symbols familiar to a

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35

Caldwell, David. "German documentary prose of the 1970s /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266691095606.

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36

Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.

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No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to

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37

Dinc, Nefin. "Documentary Film: I Named Her Angel." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.

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Abstract (sommario):

Recent political developments in the world show us that different cultures need to know and understand each other better. Even though technological developments like the Internet, satellites, cable television and conglomeration of big media entities have made mass communication more effective and faster, we cannot easily say that these developments help to bring world cultures together. As a result, mass audiences are not very much able to see what few productions do speak to these issues in a constructive manner. The main aim of this documentary film project is to serve as a small step toward

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38

Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.

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Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United State

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39

Adams, Jeff. "Documentary graphic novels and social realism." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.

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40

Lakpassa, Komlan Daholega Levin Ben. "Gods, have Merced! a documentary film /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9763.

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41

Rogers, Shannon. "Ken Burns' Baseball: Argument in documentary." CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1759.

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42

Fergusson, Annie. "Modes of engagement in theatrical documentary." Thesis, Queensland University of Technology, 2006. https://eprints.qut.edu.au/16415/1/Annie_Ferguson_Thesis.pdf.

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Abstract (sommario):

This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exp

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43

Fergusson, Annie. "Modes of engagement in theatrical documentary." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16415/.

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Abstract (sommario):

This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exp

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44

Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/26975/1/Patrick_Tarrant_Thesis.pdf.

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Abstract (sommario):

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and p

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45

Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.

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Abstract (sommario):

Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself. This Ph.D. explores the interface between documentary practice and p

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46

Hart, Phoebe. "Orchids : intersex and identity in documentary." Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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47

Hart, Phoebe. "Orchids : intersex and identity in documentary." Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.

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Abstract (sommario):

Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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48

Robertson, Robert Philip. "Ghostwriting Hong Kong : post-colonial documentary and the western tradition /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20007450.

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49

Stange, Luke Li. "Shooting Activists! An embodied philosophy of activism in documentary praxis: An essay on the documentary, Noble Bohemia." Thesis, Stange, Luke Li (2001) Shooting Activists! An embodied philosophy of activism in documentary praxis: An essay on the documentary, Noble Bohemia. Masters by Coursework thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/32668/.

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This paper offers a discussion of the role activism plays in shaping our relationship to the world. Activism is considered here as a way of being, acting and engaging with the world that assumes a degree of agency in effecting social change. Activism is often defined in negative terms as a position born out of an opposition to the world. And indeed activism implies a stand against apathy, resignation, cynicism and blatant pessimism. Yet the whole point of this project is to take a positive look at what is. We need to get beyond placards and megaphones if we are going to look at activism se

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Hardie, Harold Robert (Bob). "The documentary mind: In the subject of a practitioner’s perspective on changes in documentary concept and production." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1924.

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This autoethnographic study examines the influences of recent digital technology upon the practice and philosophy of documentary filmmaking. To assess the impact of new digital methodology on the film production process, The Musicians, a wholly-digital, 55-minute documentary film, was produced as an example. This music-based subject was chosen to specifically demonstrate the potential advantages of lightweight digital equipment and its extended recording capacity in orchestral documentation. The capability of non-linear digital editing to process large amounts of imagery, together with its abi

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