Tesi sul tema "Documentary"
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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.
Testo completoAbstract (sommario):
This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquos 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 compared, and it is stated that with the recent examples of the form the critical approach of mock-documentary has been reduced.
3
Barry, Barbara A. (Barbara Ann) 1967. "Mindful documentary". Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32497.
Testo completoAbstract (sommario):
Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.Includes bibliographical references (leaves 86-92).
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 production. The purpose of this model is to better support documentary creation through systems that assist the documentary videographer in discovering new methods of observation, ways of thinking, and novel stories while recording the world. Based on the mindful documentary model, a reflective partnership is established between the videographer and a camera with commonsense reasoning abilities during capture and organization of documentary video collections. Knowledge is solicited from the videographer at the point of capture; it is used to generate narrative or contextual shot suggestions, which provide alternative recording path ideas for the videographer. Thus, the system encourages the videographer to reflect on the story possibilities of a documentary collection during real-time capture. Qualitative results of studies with a group of videographers - including novices and experts - showed a willingness to take suggestions during documentary production and, in some cases, to alter the recording path after reflection on shot possibilities presented by the system. Moreover, suggestions often had increased influence on the recording path if they were not taken as directives but as catalysts, i.e., prompts to expand thinking about the documentary subject rather than explicit shot instructions.
(cont.) Critical lessons were learned about methodology and system design for documentary production. As a documentary is built, evidence of what the videographer has learned is represented in the documentary. The model, methodology, and system presented in this thesis provide a basis for understanding how videographers think during documentary construction and how machines with commonsense reasoning resources can serve as creative storytelling partners.
by Barbara A. Barry.
Ph.D.
4
Furnham, David. "Documentary practice". Thesis, Middlesex University, 1999. http://eprints.mdx.ac.uk/10701/.
Testo completoAbstract (sommario):
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 pattern. The qualitative effect is to offer the viewer pleasure, recognition and a game of intellectual inquiry and assessment. The whole activity is termed the non-linear improvised approach to documentary. It places the maker in an ethical relationship with the participants and aims to create a democratic state of affairs for the viewer. Key areas of concern are firstly to examine the role of the participant and maker, before and during shooting. The participant develops confidence with the maker and at the time of shooting he or she is in a state of being to produce a performance which can be described as a line of energy drawn from his/her personality. Secondly, within the overall structure of the documentary attention is given to the opening, the ending and the overall patterning. Each scene produces many moments of meaning (beats) reinforcing the main theme which itself contains a cluster of meanings. Comparisons with silent cinema, the films of Jacques Tati and music hall comedians aim to illuminate the discussion. A key consequence of the non-linear improvised approach is to consider sound and image on an equal footing combining to produce a distinct style. Sound becomes a series of elements - dialogues, atmos. tracks, music and spot effects - which all have a role in the production of beats. Voice elements can be seen as much for their intrinsic poetic qualities as for their objective statements about the social world.
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.
Testo completoAbstract (sommario):
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 complexity of Mangolte's practices in light of the current processes of change that are taking hold in the visual politics of performance arts’ past and present.
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/.
Testo completoAbstract (sommario):
‘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, voices traditionally overlooked, excluded or edged to the cultural margins are re-framed to find a new centrality in a broader encounter, more accurately reflecting the diverse influences that comprise polyglot societies. In the United Kingdom (UK) context, three submitted films, broadcast to peak-time audiences on BBC 2 and Channel 4, stood in contradistinction to mainstream narratives that typically portrayed British experience as largely monocultural and homogeneous. The contribution to knowledge of this thesis is in deepening and extending the dynamics of documentary practice to embrace intercultural communication and to weld this to the ethics of documentary making. In so doing, this body of work situates ethics as central to the documentary encounter and offers new practice-based insights into navigating tensions in the process of making such work and its methodologies. ‘Towards Intercultural Documentary’ presents a case for the coherence of the body of work that makes a contribution to knowledge at the inter-disciplinary confluence of: documentary studies and practice, ethics and intercultural communication. The submission comprises: Islam and the Temple of’ ‘Ilm’ (BBC 2, 1990); One of the Family (Channel 4, 2000); Playing Model Soldiers (Channel 4, 2000); Glass Houses (British Council, 2004); the exhibition catalogue essay British Homeland in Home (British Council, 2004) and the book chapter ‘Are You a Vulture? Reflecting on the ethics and aesthetics of coverage of atrocity and its aftermath, in Peace Journalism (Peter Lang, 2010).
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.
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?
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/.
Testo completoAbstract (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, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.
14
Meiser, Cory. "Documentary Film: Love's Story". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.
Testo completoAbstract (sommario):
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 around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.
15
Bell, Leah Helanie. "Documentary Film: Access Denied". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.
Testo completoAbstract (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 with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.
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.
Testo completoAbstract (sommario):
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 historical moment. This requires attending to what I call document culture: a document’s visual and stylistic norms, in addition to the customs of its subject matter and material/medium. In addition to contributing to critical theory, this project traces documents’ shift from the twentieth century into the twenty-first from wood pulp to strings of code. I focus on representative collections of poetry that foreground the effects particular documents, like congressional hearings, dictionaries, and social media posts, have on people based on their position within the society in which they live. These documentary poems function differently than other poems that engage documents. A second category, poem-documents, interrogate the historical genre of English-language poetry in the nominally postcolonial US, with special focus on the African and Jewish diasporas, and experiences of indigenous people in the colonizing nation. These poems confront the genre’s social position and critically-imposed limitations to demonstrate poetry’s potential to act as a document that names and remembers injustices. My project emphasizes poetry by women, particularly women of color, in order to revise documentary poetics criticism’s interest in class and style to include textual resonances of race, gender, sexuality and nation. Just as the collections documentary poets offer are interdisciplinary in ethos, so is this project, with roots in documentary studies, media studies, feminist criticism, queer studies, and critical race studies in addition to literary criticism.
Each chapter of this project follows the slippage between poem-documents and documentary poems. Chapter one grounds documentary culture in Muriel Rukeyser’s The Book of the Dead (1938), widely considered to be the first American documentary poem. I juxtapose Rukeyser’s interest in document cultures and theory of poetry’s ethical possibilities in The Life of Poetry (1949) with, in Chapter two, Irena Klepfisz’s A Few Words in the Mother Tongue: Poems Selected and New 1971-1990, a collection that reframes lyric poetry as mode of documentation. Chapter three places Harryette Mullen’s critique of English-language reference texts and the accumulations of connotative meaning, Sleeping with the Dictionary (2002), in conversation with M. NourbeSe Philip’s Zong! (2008), which re-documents African women’s experiences of the trans-Atlantic slave trade. The final chapter addresses Citizen (2014), in which Claudia Rankine re-envisions the archive of anti-black racism to include speech and Conflict Resolution for Holy Beings (2015), Joy Harjo’s polyvocal and iconoclastic collection that uses poetry to redefine the archive’s temporality in a way that might counter the erasure of indigenous peoples in the Americas. The nuanced ruminations these poets offer illustrate that, as an area of study with its own investments, interests, and modes of inquiry, critical documentary poetics has just begun.
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.
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
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.
Testo completoAbstract (sommario):
Includes bibliographical references.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 Bernard gave great insight into the importance of fairness toward participants, while the P.O.V series aired on PBS in the US show how to make films from a particular point of view to stimulate debate. Based on this I will argue that it is possible for a filmmaker to hold a particular view and to still make a film that is fair and accurate.
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.
Testo completo
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/.
Testo completoAbstract (sommario):
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 field of Performative Social Science and the "new subjectivity" evident in documentary film to investigate emerging opportunities to research and disseminate scholarly knowledge employing reflective documentary film methods in place of, or alongside, text. This inquiry has prompted me to consider the history of the creation and transmission of scholarship. The research methodology I have employed has been auto-ethnographic reflective film practice. Specifically, I have drawn on images from my previous documentary films and woven them together into a research film to explore the possibility of provocative, evocative filmmaking as a “creative academic research tool”, whilst noting the value of a relevant skill-set to deliver a quality threshold in applying such a method. In this particular instance of filmic scholarship, I have questioned the notion of the ‘B’ roll to illustrate and interrogate the performative application of auto-ethnographic film production. I became interested in the idea of the performative artefact as an expression of investigation when I spent a year documenting the construction of Sir Antony Gormley’s landmark sculptures Another Place and The Angel of the North. Gormley’s statement in the film that sculpture might be thought of as “a witness to life”, has informed my own practice as a filmmaker and informs the film that has become the data for this thesis. The following year when I made a film about a fishing community, Village By The Sea, I began to develop the idea that film or video artefacts might also be viewed like sculpture, as “an inert, benign object that stands somewhat outside time, somewhat outside the span of human life, but that acts as a witness to it” (Gormley, 1998). I have incorporated what Gormley terms this “impulse” into my research by creating a hybrid ‘para-documentary’ using ‘B’ roll footage: an experiment in a performative method that I am reporting on here, and an experiment which obliges the filmmaker to engage with the ethical questions which arise when grappling with the imaginative and the documented. The outcome of the research is described as the discovery of the research experience that while I have been walking around in the world, that world has been walking about in me. Three implications are identified from this outcome. Firstly, that the concept of the Creative Academic Research Tool might be a useful systematic matrix with which to frame the specific traces of a practice-based research and from which to draw more generic outcomes. Secondly, counter-intuitively to the conventions of other media documentary forms that prioritize character and dialogue, the application of the wider angle of the ‘B’ roll filmic technique might offer a particularly powerful evocative tool in Performative Social Science. Thirdly, the documentary sensibility identified in this research, when placed performatively in the hands of the audience, might place the imagination at the heart of the scholarly documentary project.
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/.
Testo completoAbstract (sommario):
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 – the power to physically “do something”, whether that be clicking on a link, sending a video or re-mixing content - and therefore creates a series of relations that form an ecosystem in which all parts are interdependent and dynamically linked. It is argued that this human-computer system has many of the characteristics associated with living entities. It is also argued that by looking at interactive documentaries as living entities (Living Documentaries) we can see the relations that they forge and better understand the transformations they afford – on themselves and on the reality they portray. How does an interactive documentary change while it is being explored/used/co-created? To what extent do such dynamic relationships also change the user, the author, the code and all the elements that are linked through the interactive documentary? Those questions are discussed through the use of case studies chosen to illustrate the main interactive modes currently used in interactive documentaries. This thesis is a first step in exploring the multiple ways in which we participate, shape and are shaped by interactive documentaries. It argues that interactive documentaries are ways to construct and experience the real rather than to represent it.
22
Palmer, G. E. "Basil Wright : definitions of documentary". Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
Testo completoAbstract (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 freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.
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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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.
Testo completoAbstract (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 the interviews with 40 practitioners from January 2014 to August 2017 and my own experience as a director and worker in the Chinese documentary for a decade, I outline the particularity and complexity of the creative work in China. My research indicates that short-time contracts, moonlighting, low payments and long working hours, freelancing, internship, and obligatory networking have become normal working conditions for cultural workers. Without copyright over their intellectual creations, cultural workers are constrained to make a living as waged labor, compelled to sell their physical and mental labor in hours or in pieces. Self-responsibility and entrepreneurism have become the symbols of the neoliberal individual. Following the career trajectories of my interviewees, I elaborate on the mechanisms by which cultural workers are selected, socialized and eliminated. When they decide to escape from the production line, they use four types of strategies: going international, surviving in the market, switching to new media career, and sticking to journalistic ideals. This dissertation also reveals that global production has intensified exploitation by increasing working hours through a 24/7 production line that works across national borders and time zones, amplifies competition by introducing global talent, and alienates local workers by imposing the so-called “universal” aesthetics of global production. The crisis of cultural work is the outcome of the incapacity of the neoliberal imagination to imagine plausible and feasible futures for sustained creative work. It is through my research into the history of documentary production in China and conversations with cultural workers that I found explanations for the increasing precarity of work and possible forms of resistance to it in post-socialist China.
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.
Testo completo
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.
Testo completo
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.
Testo completoAbstract (sommario):
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
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 apropriou da tecnologia de forma a favorecer a experimentação e, o documentário animado, em 3D, é a sua forma de se apropriar das tecnologias digitais. Para comprovar esta hipótese mostramos como a experimentação da tecnologia se deu no documentário em diferentes épocas, mais precisamente nos períodos do primeiro cinema, das vanguardas e da escola britânica – de 1900 a 1930, os anos de 1960, e os anos de 1990 (novas mídias). O que nos interessa é investigar esta relação entre os meios de produção utilizados na realização do documentário – quer tenham esta denominação ou não – e os modos de representação e estilos resultantes da tecnologia de cada época, que pretendemos delinear brevemente. O Design está presente nos dois aspectos: nos meios de produção, por sua tradição ligada ao desenvolvimento de tecnologias e instrumentos para viabilizar a produção, e nos modos de representação, porque as referências estéticas da animação são oriundas das artes gráficas (quadrinhos, ilustrações, etc). Isto também explica, em parte, a ausência da animação na teoria do cinema, aspecto que questionamos, mostrando como a animação está contemplada na teoria Deleuziana. Para concluir, fazemos um estudo de caso de um documentário animado emblemático, por sua abordagem da tecnologia 3D. Ryan (2004), de Chris Landreth, resume o potencial do documentário animado enquanto experimentação da tecnologia, intensidade narrativa e estética não figurativa, em singular referência ao pintor Francis Bacon.
The objective of this thesis is to reflect on the animated documentary. An audiovisual product that mixes both documentary and animation and is redefining the role of the design in the production of new media. We also show that the animated documentary rekindled a series of debates and reflections related to documentary s theory and realism concepts in animation. Our main premise is that the documentary has always appropriated of technology in order to allow experimentation, and the animated documentary, in 3D, is the way to appropriate itself of digital technologies. To prove this hypothesis, we show how the trial of the technology occurred in documentary s history at different times, more precisely during the periods of the early cinema, the vanguards and the British School – from 1900 to 1930, the 1960 s and the 1990 s (new media). What concern us is to investigate this relationship between the means of production used in the making of documentary movies – having this denomination or not – and ways of representation and styles resulting from the technology of each period, which we intend to outline briefly. The Design is present in both two aspects: in the means of production – for its tradition related to the development of technologies and tools to make production viable – and in the ways of representation, since the aesthetic references of animation cinema came from the graphic arts (comics, illustration, etc.). This also explains, partially, the absence of animation in cinema s theory, an aspect that we question, showing how animation is included in Deleuze s cinema s theory. Finally, we develop a case study of an emblematic animated documentary, for its approach to the 3D technology. Chris Landreth s Ryan (2004) is a synthesis of potential of the animated documentary as technological experimentation, narrative intensity and non-figurative aesthetic, in a unique reference to the painter Francis Bacon.
Cette thèse a le but de réfléchir sur le documentaire animé. Un produit audiovisuel qui mélange documentaire et animation et qui est en train de redéfinir le rôle du design dans la production des nouveaux médias. Nous montrons que le documentaire animé rallume une série de débats et de réflexions sur la théorie du documentaire et de l animation concernant les conceptions du réalisme. Notre principale prémisse est que le documentaire s est toujours approprié de la technologie de manière à favoriser l expérimentation, et le documentaire animé en 3D est la façon dont il s approprie des technologies numériques. Pour prouver cette hypothèse, nous montrons comment s est déroulée l expérimentation de la technologie dans le documentaire dans de différentes époques, plus précisément durant les périodes du premier cinema, les avant-gardes et l école britannique −de 1900 à 1930, les années 1960 et 1990 (nouveaux médias). Ce qui nous intéresse c est d étudier la relation entre les moyens de production utilisés dans la réalisation du documentaire –que ce soit avec cette dénomination ou pas− et les manières de représentation et de styles résultant de la technologie de chaque période, que nous prétendons ébaucher brièvement. Le design est présent dans deux aspects: dans les moyens de production, par sa tradition liée au développement de technologies et d outils pour faciliter la production, et dans les manières de représentation, parce que les références esthétiques de l animation sont des arts graphiques (bandes dessinées, illustrations etc.). Ceci aussi explique, en partie, l absence de l animation dans la théorie du cinéma, un aspect que nous questionons, en montrant comment l animation est envisagée dans la théorie deleuzienne. Pour conclure, nous faisons une étude de cas d un documentaire animé emblématique, par son traitement de la technologie 3D. Ryan (2004), de Chris Landreth, résume le potentiel du documentaire animé tout en expérimentant avec la technologie, l intensité narrative et l esthétique non figurative, en singulière référence au peintre Francis Bacon.
31
Agajanian, Rowana. "Telling stories : the Vietnam War documentary". Thesis, Bucks New University, 2011. http://bucks.collections.crest.ac.uk/9621/.
Testo completoAbstract (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 cultural theory.
32
Kostant, Steven. "The storytelling tradition and documentary moviemaking". Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75517.
Testo completoAbstract (sommario):
Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaf 37).
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 television. The documentary moviemaker and the storyteller are potentially seeking the same quest as explorers of reality. They want to teach their listeners (viewers), and need "reality" as a canvas for telling stories. A personal examination of my documentary, By Word of Mouth...Storytelling in America. By actually making a documentary about storytellers at the 10th Annual Storytelling Festival, my personal understanding of the storyteller and the documentary moviemaker became a reflexive realization in better understanding these two forms of communication. This thesis consists of a text accompanied by a videocassette of By Word of Mouth Storytelling in America.
by Steven Kostant.
M.S.V.S.
33
Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film". Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.
Testo completoAbstract (sommario):
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 subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.
34
Penfold, Christopher. "Elizaveta Svilova and Soviet documentary film". Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/367302/.
Testo completoAbstract (sommario):
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 audiences and organises them according to the semiotic theories – namely techniques of dialecticism and linkage – attributed to the Soviet montage school of the 1920s. On-screen credits indicate that, during the period 1939 to 1956, Svilova was the director-editor of over 100 documentaries and newsreel episodes, yet this corpus of films has received very little critical attention. As my thesis aims to demonstrate, the reasons for the lack of attention to Svilova’s films are partly due to her husband’s eminent status – the rules whereby we construct film history have resulted in Svilova’s contribution being absorbed into Vertov’s – and this is related to the long-standing tendency within film criticism to marginalise the female artist. My thesis also touches on issues regarding curatorial and archival policies, and provides an opportunity to rethink early film history and the modes through which historiographic and filmographic knowledge are transmitted.
35
Caldwell, David. "German documentary prose of the 1970s /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487266691095606.
Testo completo
36
Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.
Testo completoAbstract (sommario):
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 share with the reader the various intricacies of documentary filmmaking. The thesis also explores theoretical issues concerning collective memory, coping behavior, and the ethics of historical documentary filmmaking.
37
Dinc, Nefin. "Documentary Film: I Named Her Angel". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.
Testo completoAbstract (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 towards helping different cultures to understand each other better. This documentary film conveys the basics of Mevlevism by following the formal gatherings of a Mevlevi den in Istanbul, Turkey. A den or tekke is a place where Islamic people gather and perform their religious activities. During these gatherings they do the sema, they pray, they listen to music, and they discuss spiritual matters. Sema is the entire ritual they perform as part of their ceremonies including listening to music, singing and chanting to attain a state of religious emotion and ecstasy or vecd. The documentary film is structured around a twelve year old girl, Elif, who is learning the basics of Mevlevism. The interviews conducted with regulars from the den explain to the audience why people are attracted to this belief system. Filming the ceremonies at the 550-year-old Mevlevi temple in Galata, Istanbul accentuates the historic background of this belief system. The Night of Reunion is the day in which Mevlevis celebrate the passing of Mevlana Celaleddin Rumi, the founder of Mevlevism and provides the climax of the film. Elif performs on that night, a very important moment in her spiritual life.
38
Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.
Testo completoAbstract (sommario):
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 States Supreme Court. He wants American justice to give his African-originated religion recognized in a city where people seem uneasy about a practice that brings back the historic fears of Voodoo and its popularly assumed malefic practices. The film explores the complex structure of Santeria, its African roots, its renaissance in the Americas and the very controversial issue of animal sacrifice in the US.
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.
Testo completo
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.
Testo completo
41
Rogers, Shannon. "Ken Burns' Baseball: Argument in documentary". CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1759.
Testo completo
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.
Testo completoAbstract (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 exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are:
'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode';
'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode';
'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode';
'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.
43
Fergusson, Annie. "Modes of engagement in theatrical documentary". Queensland University of Technology, 2006. http://eprints.qut.edu.au/16415/.
Testo completoAbstract (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 exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.
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.
Testo completoAbstract (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 participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
45
Tarrant, Patrick Anthony. "Documentary practice in a participatory culture". Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
Testo completoAbstract (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 participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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.
Testo completoAbstract (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.
47
Hart, Phoebe. "Orchids : intersex and identity in documentary". Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.
Testo completoAbstract (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.
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.
Testo completo
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/.
Testo completoAbstract (sommario):
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 seriously. One difficulty with defining 'activist practices' is that they are so diverse and cut across so many other everyday actions. Here I am more concerned with understanding what activists are about. This task demands that we appreciate what motivates these practices, how activism enriches our lives, and how we understand our purpose in life.
Activist practices are implicitly structured by an 'embodied philosophy'. It is the expression through vigorous practices of a deep visceral care for others and the world that supports them. It will be considered here as first and foremost a mode of being, an integrity of character rather than mere instances of deed. Nor is activism governed or enforced under duties, obligations or laws. As a mode of being, activism contains a practical logic that stems from our embodied and relational experience of the world.
50
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.
Testo completoAbstract (sommario):
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 ability to manage multiple image and audio streams concurrently, was also examined. This exegesis also reviews the impact of recently-emerged digital multimedia and multi-platform formats on perceptions of the more standard linear documentary format, all of which have been incorporated into a single documentary category by some researchers. For a traditional documentary such as The Musicians to be categorised with open-ended, multimedia constructions seems somewhat anomalous.