Gotowe bibliografie tematyczne / Digital documentary

Gotowa bibliografia na temat „Digital documentary”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Digital documentary"

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Lachman, Richard. "Emergent Principles for Digital Documentary". Non-fiction Transmedia 5, nr 10 (31.12.2016): 97. http://dx.doi.org/10.18146/2213-0969.2016.jethc115.

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Digital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models. As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential. This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on treating digital docs as experiences, with an expanded range of designable moments, as well as a strategic approach to designing interactions for their unique set of challenges. The discussion is not intended to fully define digital documentary design factors, but rather, defines a useful subset of methods that can lead emerging practitioners to new innovations in their approach.
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Hight, Craig. "The field of digital documentary: a challenge to documentary theorists". Studies in Documentary Film 2, nr 1 (28.03.2008): 3–7. http://dx.doi.org/10.1386/sdf.2.1.3_2.

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Mahanta, Manaswinee. "Community Documentary Move Towards Digital Inclusion". Indian Journal of Mass Communication and Journalism 1, nr 3 (30.03.2022): 8–14. http://dx.doi.org/10.54105/ijmcj.c1009.031322.

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This research paper looks at the dynamics of digital divide and the potential of community documentaries to challenge them. Researcher critically reviewed the literatures on community media initiatives and result of such media exposures. This research work considers the Community video works as Cinẻma Pur and put forward some theoretical understanding to define the term documentary from the basic idea of visual documentation, with an attempt to establish any kind of community visual documentation as documentary work and thus provides a theoretical reference to such documentation as Community Documentary, nullifying the much used alternative expression of Community Video. Influences of such Community Documentaries and their making process on the women are further elaborated from gender perspective. Researcher looks at the potential of these documentary making procedures taken up for, of and by the community women, with and without technical supports from outside agencies, as a step forward to bridge the digital divide. Ensuring the access and skill to use the Information and Communication Technologies (ICT), making process of community documentaries enabled the community women to participate and get benefited from growing knowledge and information society. All the three aspects of digital inequalities, better known as digital divides: 1.Economic divide or infrastructural inequality 2.Usability divide or inequality in digital literacy 3.Empowerment divide or participation inequality, are stressed while examining whether community documentaries can serve as a type of digital inclusion. Theoretical base of the model is being scrutinized by three case studies taken up in the Indian state of Gujrat and Andhra Pradesh: 1.’Gender Sensitive Governance through ICT’ by Mahila Swaraj Manch, Shihore-a project base for ‘Making Women’s Voice and Votes Count’ –a multi-site project funded by UN Women, 2. ‘Ek Poltun Bheek Nu’ by the community women of Narmadapura, Baroda and 3.‘When Women Unites’ by the community women of Nellore.
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Ginsburg, Faye D. "Rethinking Documentary in the Digital Age". Cinema Journal 46, nr 1 (2006): 128–33. http://dx.doi.org/10.1353/cj.2007.0001.

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Pierazzo, E. "A rationale of digital documentary editions". Literary and Linguistic Computing 26, nr 4 (28.07.2011): 463–77. http://dx.doi.org/10.1093/llc/fqr033.

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David, Bryan, i Sarah Keyes. "Public History: Podcast, Documentary, Digital Resources". California History 99, nr 4 (2022): 98–100. http://dx.doi.org/10.1525/ch.2022.99.4.98.

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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking". Preservation, Digital Technology & Culture 51, nr 4 (1.12.2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Navarro, Vinicius. "Time, Digital Environments, and the Documentary Experience". JCMS: Journal of Cinema and Media Studies 60, nr 1 (2020): 92–110. http://dx.doi.org/10.1353/cj.2020.0064.

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Baron, Jaimie. "Dying in Full Detail: Mortality and Digital Documentary". Canadian Journal of Film Studies 26, nr 2 (październik 2017): 134–37. http://dx.doi.org/10.3138/cjfs.26.2.br1.

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UTTERSON, ANDREW. "Destination Digital: Documentary Representation and the Virtual Travelogue". Quarterly Review of Film and Video 20, nr 3 (styczeń 2003): 193–202. http://dx.doi.org/10.1080/10509200390210576.

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Rozprawy doktorskie na temat "Digital documentary"

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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 – 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.
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Landesman, Ohad. "Reality Bytes| Reclaiming the Real in Digital Documentary". Thesis, New York University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557010.

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This dissertation offers a preliminary survey of different documentary practices in the digital age. I recognize and discuss several recent modes of filmmaking where documentary and fictional spaces collide and coalesce, modes which existed long before the arrival of the digital, but have been rejuvenated and made more prominent in the digital age. I point to how such a collapse of boundaries is celebrated rhetorically via digital technology to produce a contingent documentary argument made of ontological, epistemological and aesthetic contradictions. The impact of digital technology on the development of such current documentary rhetoric is explored by placing it within the historical context of earlier technological assimilations in documentary (particularly 16mm film and video cameras). By countering dominant arguments about epistemological doubt in the age of digital manipulability, I show how new digital technologies are currently refining the documentary aesthetically and sharpening its argumentative rhetoric.

I begin by challenging the dominant scholarly tendency that regards the introduction of digital technology into documentary practices through a binary, sensationalist prism. Thus, in chapter one I propose to treat digital technology not as a radical novelty in film with either utopian or dystopian results, but as a transition that forms a complex network of continuities and hybridities with previous technological assimilations and earlier documentary traditions. Chapters two through four illustrate this by describing how the digital refines or extends earlier documentary practices and traditions, whether these are observational, participatory, reflexive, performative or hybrid. Chapter two focuses on the emerging form of the doc-fiction hybrid, and focuses on how digital cameras have contributed to the formulation of a challenging interplay between fiction and documentary for almost two decades. In chapter three, I explore the meeting point between the digital and the essay film tradition, arguing that the former revitalizes essayistic tendencies which have existed in cinema for years, and which were instigated time and again with the arrival of different technological innovations. In the fourth I turn the focus from the photographically-indexical digital image to the computer-generated animated image by discussing the long-lasting tradition of the animated documentary.

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Nime, Nicole Marie. "The impact of digital technology on documentary distribution". Thesis, University of London, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.589008.

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The Internet and digital technologies have created an opportunity for documentaries to find new audiences; however, documentary's capacity to overcome the challenges that the online market presents and achieve sustainability is not yet understood. This study brings together research in the areas of new media and documentary in order to comprehend and assess the significance of the growing overlap between the two. Focusing on documentary distribution post-2000, in the United States and the United Kingdom, the thesis examines how the online market has influenced both the culture of documentary and the economic structure of the methods used to distribute documentary films. This involves an exploration of the rise of digital media in relation to its impact upon the film industry and a historical review of the changes that have occurred within the documentary marketplace. The core analysis takes the form of a case study approach that sets out to identify trends in documentary distribution and generate insights into the new models that both documentary platforms and filmmakers have employed. What this research suggests is that documentary distribution via the Web requires a new framework for thinking about how films reach audiences and generate revenues. In particular, it indicates how audience engagement from the onset of production can help documentaries overcome challenges in the online market. In line with participatory media trends, the research confirms that distribution has become more than just a mechanism for content dissemination and that, in the digital age, distribution has developed as a social phenomenon, which expands through ongoing public . involvement and innovation. However, the research also indicates that alternative distribution strategies that rely upon leveraging communities must be uniquely adapted to each project and its particular core audiences. This means that there is no singular, overarching theory or replicable model that characterises the online distribution process for documentary films. Thus, the thesis adds to our knowledge of the diverse ways in which documentary has inhabited the social space offered by new media while ancho~ing existing theories of 'social media' within specific contexts. 3
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Sniadecki, John Paul. "Digital Jianghu: Independent Documentary in a Beijing Art Village". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:10971.

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My ethnography explores the independent documentary film community in Songzhuang, an artist village in Beijing's Tongzhou District. Through participant-observation, interviews, participation in festivals, and my own filmmaking practice, I describe filmmakers and festival organizers as cultural producers endeavoring to work outside the confines of both the government and the mainstream cinema industry. To offer an analysis of the social, political, economic, and ethical conditions of this independent film community, my study also focuses on concrete practices of filmmakers and film supporters; privately-owned centers and social networks that enable the production, exhibition, and distribution of films; and the relationship between this community and government regulation. I argue that the independent documentary community constitutes a jianghu (literally, “rivers and lakes”), which, drawing from Chinese literature, I delimit as a social world of marginality and resistance against the status quo. Further, jianghu refers not only to independent filmmakers, but also to millions of “migrants” within the Chinese population who, even as they provide labor that fuels development, nonetheless subsist on the margins. This study also considers the efforts of filmmakers and scholars to elucidate a Chinese visual aesthetic, which has been called xianchang (“on the spot”) and, most recently, jingguan dianying (“quiet observational cinema”). These indigenous framings counter eurocentric notions of documentary and prevail among the majority of independent directors as an aesthetic wellsuited to represent the “cruelty of the social,” a term I introduce to describe social suffering born not only of China’s modern history of pain but also its contemporary turbulent era. I draw together the issues of distribution, social impact, and economic stability for independent documentary, as well as document the role of the state in quelling, censoring, and co-opting independent film. I conclude by exploring xianchang and my own filmmaking practice as advancing a form of knowledge that, owing to its experiential quality and its refusal to simplify and reduce phenomena into cultural data, is well-suited to represent the inherent complexity of Chinese society. Finally, a coda documents recent government oppression and festival cancellations to argue that the current moment is one of grave uncertainty for Chinese independent film.
Anthropology
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Meiklejohn, Donna M. "Documentary pitching, pre-sales and funding: Succeeding in a transforming digital landscape". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/114129/2/Donna%20Meiklejohn%20Thesis_Part_A.pdf.

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This practice-led DCI thesis identifies and examines a series of contemporary funding models, including conventions and industry expectations, and the pitching processes being employed by practitioners in a dynamic and uncertain documentary filmmaking marketplace. In the context of digital disruption, the proliferation of TV channels and online broadcast platforms and increasingly limited funding sources, practitioners must be more innovative at the business end of the production chain. In response, a key output of the research project is an informed and informative handbook for practitioners entitled A Documentary Filmmaker's Guide to Pitching.
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Nelson, Jodi. "Digital technologies, social media and emerging, alternative documentary production methodologies". Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54595/.

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My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.
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Mamblona, Agüera Ricard. "Las nuevas subjetividades en el cine documental contemporáneo. Análisis de los factores influyentes en la expansión del cine de lo real en la era digital". Doctoral thesis, Universitat Internacional de Catalunya, 2012. http://hdl.handle.net/10803/83917.

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L’objecte d’estudi d’aquesta investigació és el nou cinema documental que sorgeix a partir de la digitalització i, en particular, els factors que han influenciat en el desenvolupament i expansió del gènere a les últimes dècades. De la mateixa manera, el treball estudia les formes en les quals l’autor intervé dins l’obra i, més concretament, en les noves subjectivitats que sorgeixen a partir d’aquesta fenomenologia. La digitalització ha obert el camí a noves aproximacions i reflexions entre la imatge i el real. Les fronteres entre ficció, documental i experimental es dilueixen cada vegada més, i es barregen creant noves formes híbrides. La televisió, la institució museística i altres plataformes de difusió, com les derivades de la interactivitat o la hipertextualitat, beuen de la influencia del documental, arribant inclús a la creació i establiment de nous subgèneres. Finalment, aquest estudi aporta una classificació i analitza una mostra de les diferents formes d’intervenció de l’autor en el documental, que van des de la pròpia aparició física fins a les formes més assagístiques en les que el “jo” es manifesta dins l’obra.
El objeto de estudio de esta investigación es el nuevo cine documental que surge a partir de la digitalización y, en particular, los factores que han influido en el desarrollo y expansión del género en las últimas décadas. Del mismo modo, el trabajo estudia las formas en las que el autor interviene en la obra y, más concretamente, en las nuevas subjetividades que surgen a partir de esta fenomenología. La digitalización ha abierto camino a nuevas aproximaciones y reflexiones entre la imagen y lo real. Las fronteras entre ficción, documental y experimental se diluyen cada vez más y se entremezclan creando nuevas formas híbridas. La televisión, la institución museística y otras plataformas de difusión, como las derivadas de la interactividad o la hipertextualidad, beben de la influencia del documental, llegando incluso a la creación y establecimiento de nuevos subgéneros. Finalmente, este estudio aporta una clasificación y analiza una muestra de las diferentes formas de intervención del autor en el documental, que van desde la mera aparición física hasta las formas más ensayísticas en las que el “yo” se manifiesta en la obra.
The purpose of this research is the new documentary cinema that emerges from digitalization and, particularly, the factors that have influenced the development and expansion of the genre in recent decades. Moreover, the paper examines the ways in which the author intervenes in the film and, more specifically, the new subjectivities that emerge from this phenomenology. Digitalization has opened up new approaches and insights between image and reality. The boundaries between fiction, documentary and the experimental are becoming increasingly diluted and mixed creating new hybrid forms. Television, the museum institution and other distribution and exhibition platforms, such as those arising from interactivity or hypertext, are fed by the influence of the documentary, even creating and establishing new subgenres. Finally, this research project provides a classification and analysis of a sample of the different forms of intervention of the author in documentary, from the mere physical appearance to those essayistic forms in which the "I" is manifested within the film.
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Kohle, Friedrich Herman. "Whose Documentary is it anyway? : encounters with the global digital family on social media and the rise of a participant-centric mode of documentary filmmaking". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31426.

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This study examines the way social media changes the way documentaries are developed, produced and distributed. I want investigate how web 2.0 technologies disrupt the documentary sector and the way producers navigate the social media ecology. Research exposed an industry in transformation. New roles, like the Producer for Marketing and Distribution (PMD), the Impact Producer (IP) and a participant-centric mode of documentary filmmaking are revealed. The way users connect via social media has changed the way people interact with each other at work. A balanced real- and virtual world network approach makes a strong and highly central network position for a documentary project possible. Emotional contagion and an authentic online presence create value for a films social media campaign. Both are crucial factors to the mobile multi-device audience expecting a credible social media experience. Research suggests that users accept the risks associated with the way their data is exploited by social networks as long as the user's social media experience is not diminished. The concept of the Global Digital Family is revealed when reappraising social media. I suggest further research into the problem of online authenticity. Kozinets' ideas on Gemeinschafts-type engagement (Kozinets, 2015) shed light on the phenomenon. But exactly when something is perceived as authentic online is still not entirely clear and should be investigated further. I also recommend that the PMD is formally accredited to encourage industry recognition.
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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 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.
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Elkington, Ruari B. "The education market for documentary film: Digital shifts in an age of content abundance". Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/98494/4/Ruari_Elkington_Thesis.pdf.

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This research examines the education market for documentary film at a time of digitally mediated content abundance. How can an expanded acknowledgment of cineliteracy within the education market for screen content contribute to sustainability of the Australian documentary sector through improved distribution and educational outreach practices? Engaging with international case studies of film festivals, foundations and charities both in the UK and US allows for observations around best practice to be considered for a local context.
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Książki na temat "Digital documentary"

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Miles, Adrian, red. Digital Media and Documentary. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1.

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Documentary in the digital age. Oxford: Focal Press, 2006.

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Baker, Maxine. Documentary in the Digital Age. San Diego: Elsevier Science & Technology, 2010.

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D, Nilsson John, red. Digital evidence in the courtroom. Hauppauge, N.Y: Nova Science Publishers, 2009.

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1955-, Fontcuberta Joan, red. Truths & fictions: A journey from documentary to digital photography. New York, N.Y: Aperture, 1995.

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Meyer, Pedro. Truths & fictions: A journey from documentary to digital photography. New York: Aperture, 1995.

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Meyer, Pedro. Verdades y ficciones: Un viaje de la fotografía documental a la digital. [México]: Casa de la Imágenes, 1995.

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Dewan, Vijay Kumar. Dewan's proof of documents: Civil & criminal : including digital signature and electronic records. New Delhi: India Law House, 2010.

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Dewan, Vijay Kumar. Dewan's proof of documents: Civil & criminal : including digital signature and electronic records. New Delhi: India Law House, 2010.

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Cyber crime and digital evidence: Materials and cases. New Providence, NJ: LexisNexis, 2011.

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Części książek na temat "Digital documentary"

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Roe, Annabelle Honess. "Digital Realities". W Animated Documentary, 41–73. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468_3.

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Juhasz, Alexandra. "Digital AIDS Documentary". W A Companion to Contemporary Documentary Film, 314–34. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2018. http://dx.doi.org/10.1002/9781118884584.ch15.

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Sørenssen, Bjørn. "Digital Diffusion of Delusions". W New Documentary Ecologies, 201–18. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310491_14.

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Juhasz, Alexandra. "Ceding the Activist Digital Documentary". W New Documentary Ecologies, 33–49. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137310491_3.

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Robinson, Luke. "Ethics, the Body and Digital Video". W Independent Chinese Documentary, 103–29. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137271228_5.

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Keen, Seth. "The Documentary Designer: A List of Propositions for Interactive Documentary Practice Online". W Digital Media and Documentary, 49–67. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1_4.

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Miles, Adrian. "Thirteen Points of View from Afar". W Digital Media and Documentary, 1–11. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1_1.

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Brasier, Hannah. "Moments of Noticing: ‘I See You’ as a Speculative Work Towards an Essayistic List Practice for Interactive Documentary". W Digital Media and Documentary, 13–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1_2.

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Frankham, Bettina. "Documentary, Instructions, and Experiences of Place". W Digital Media and Documentary, 29–47. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1_3.

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Miles, Adrian. "Ambient Media Making, Auto-Documentary, and Affect". W Digital Media and Documentary, 69–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-68643-1_5.

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Streszczenia konferencji na temat "Digital documentary"

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Scifleet, P., i S. P. Williams. "Constructing Digital Documents: Emerging Themes in Documentary Practice". W 2011 44th Hawaii International Conference on System Sciences (HICSS 2011). IEEE, 2011. http://dx.doi.org/10.1109/hicss.2011.129.

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Atindogbe, Gratien G. "Digital Humanities for Sustainable Learning: Lessons from Documentary Linguistics". W Tenth Pan-Commonwealth Forum on Open Learning. Commonwealth of Learning, 2022. http://dx.doi.org/10.56059/pcf10.5128.

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The purpose of this paper is to demonstrate that documentary linguistics (DL), through its objectives (safeguard endogen knowledge), tools (digital technologies), methods (collaborative research), and results (digital archiving of data for posterity), constitutes a stable base onto which African education systems must reform. Admitting that a young Africa rich in natural and human resources but living in abject poverty is a paradox that can only be broken through education (Nana Akufo-Ado, pc), then, there is need to invent new ways to “do education” on the continent, in other to achieve sustainable development. Remote working and online education imposed on the world by the Covid-19 pandemic has come to exacerbate Africa's digital divide (DD). Despite the reality that close to 90% of students in Sub-Saharan Africa do not have access to learning tools like computers at home, and 82% lack access to the internet (Sikiti Da Silva, 2020), I argue that DL, as an academic discipline of the digital humanities (DHs), is a palpable means to contribute to closing the DD. Indeed, DL permits to increase computer literacy, enhance digital learning, and build academic resilience in Africa.
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Meschini, Alessandra, Daniele Rossi i Ramona Feriozzi. "Disclosing Documentary Archives: AR interfaces to recall missing urban scenery". W 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6744783.

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Vickers, Richard, i James Field. "Convergence media and the digital vernacular - towards the auto-documentary". W Proceeding of the 16th International Academic MindTrek Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2393132.2393142.

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Brodovsky, Alexander, Ekaterina Zaytseva i Yury Zaslavsky. "VAK documentary digital archive: Results and issues of quadrennial activities". W Information technologies, computer systems and publications for libraries. Russian National Public Library for Science and Technology, 2019. http://dx.doi.org/10.33186/978-5-85638-221-0-2019-7-11.

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Armand, Cecile. "The patrimonialization process of advertising: From scorn and mistrust to documentary heritage, archive, and history". W 2013 Digital Heritage International Congress (DigitalHeritage). IEEE, 2013. http://dx.doi.org/10.1109/digitalheritage.2013.6743814.

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Hiarnovich, T. "Digital technologies in modern historical and archival research and education". W Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1843.978-5-317-06529-4/420-427.

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The article discusses the main vectors of the application of digital technologies in the archival field. It is noted that the digitization of documents and the development of open access technologies have created favorable conditions for the use and preservation of archival documents. The creation of popular science projects contributes to the expansion of the audience of archive users and forms a respectful attitude towards documentary heritage in society. The main trend in the application of digital technologies in scientific research remains the improvement of methods for creating digital editions.
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Vann, Robert. "Best Practices for Information Architecture, Organization, and Retrieval in Digital Language Archives within University Institutional Repositories". W International Workshop on Digital Language Archives. University of North Texas, 2021. http://dx.doi.org/10.12794/langarc1851184.

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This report presents a case study about building a working digital language archive in a hosted university institutional repository. Best practices in language documentation regarding information architecture, organization, and retrieval are considered in relation to university library commitments to resource acquisition/preservation and online cataloging/delivery systems. Despite challenges, findings suggest that constructing digital language archives in university institutional repositories may offer viable collaborative solutions for researchers unable to find suitable, pre-existing archives in which to deposit their language documentary materials. The report concludes that, in such situations, the ability to satisfy best practices may respond to the strengths/weaknesses of particular software implementations as much as it reflects the design team’s vision, as theory and method in language documentation increasingly become matters of library and information science.
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Vann, Robert. "Best Practices for Information Architecture, Organization, and Retrieval in Digital Language Archives within University Institutional Repositories". W International Workshop on Digital Language Archives. University of North Texas, 2021. http://dx.doi.org/10.12794/langarc1851184.

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This report presents a case study about building a working digital language archive in a hosted university institutional repository. Best practices in language documentation regarding information architecture, organization, and retrieval are considered in relation to university library commitments to resource acquisition/preservation and online cataloging/delivery systems. Despite challenges, findings suggest that constructing digital language archives in university institutional repositories may offer viable collaborative solutions for researchers unable to find suitable, pre-existing archives in which to deposit their language documentary materials. The report concludes that, in such situations, the ability to satisfy best practices may respond to the strengths/weaknesses of particular software implementations as much as it reflects the design team’s vision, as theory and method in language documentation increasingly become matters of library and information science.
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Bobrova, E. "Portals to archive spaces". W Historical research in the context of data science: Information resources, analytical methods and digital technologies. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1836.978-5-317-06529-4/378-384.

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The article analyzes the problem of searching through the Internet for information about archives and the documentary heritage stored in them. The history and role of the portal Archives of Russia is considered, and a technological analysis of the existing archival portals of the constituent entities of the Russian Federation is given.
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Raporty organizacyjne na temat "Digital documentary"

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Arm, Margus, Karina Egipt, Risto Hansen, Olav Harjo, Marily Hendrikson, Liia Hänni, Raul Kaidro i in. e-Estonia: la e-gobernanza en la práctica. Inter-American Development Bank, luty 2022. http://dx.doi.org/10.18235/0003956.

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En los últimos 25 años, la transformación digital ha ido ocupando un espacio creciente en las agendas políticas de gran parte de los países del mundo. Estonia es un reconocido ejemplo de ello. Ocupa lugares destacados en los rankings internacionales sobre la materia y tiene un Gobierno digital al servicio de los ciudadanos que les permite realizar trámites con el gobierno las 24 horas del día y los 7 días de la semana a través de internet. En esta publicación elaborada por el e-Governance Academy y traducida al español con la colaboración del BID se documentan las principales herramientas sobre las que se ha apoyado la transformación digital de Estonia, lo que el país ha aprendido en el proceso y los logros que ha generado el esfuerzo realizado. Las lecciones aprendidas y las orientaciones contenidas en este documento serán de gran valor para los todos los países que quieren aprovechar las tecnologías digitales para mejorar la eficiencia y la transparencia del sector público y las relaciones entre las instituciones públicas y los ciudadanos.
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