Gotowe bibliografie tematyczne / Documentary

Gotowa bibliografia na temat „Documentary”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 30 lipca 2024

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Artykuły w czasopismach na temat "Documentary"

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EKIMOVA, ANASTASIYA V. "INTERACTIVE DOCUMENTARY: DOCUMENTARY AND VIRTUALITY". Art and Science of Television 15.2 (2019): 93–106. http://dx.doi.org/10.30628/1994-9529-2019-15.2-93-106.

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GALLAGHER, KATHERINE. "Documentary". Critical Quarterly 37, nr 3 (wrzesień 1995): 101. http://dx.doi.org/10.1111/j.1467-8705.1995.tb01079.x.

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Yu, Kiki Tianqi. "Documentary". Journal of Chinese Cinemas 10, nr 1 (2.01.2016): 7–11. http://dx.doi.org/10.1080/17508061.2016.1142727.

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&NA;. "Documentary". Nurse Educator 13, nr 6 (listopad 1988): 37. http://dx.doi.org/10.1097/00006223-198811000-00007.

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Ali, Isra. "Documentary". Feminist Media Histories 4, nr 2 (2018): 67–71. http://dx.doi.org/10.1525/fmh.2018.4.2.67.

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Le Roy, Frederik, i Robrecht Vanderbeeken. "The Documentary Real: Thinking Documentary Aesthetics". Foundations of Science 23, nr 2 (29.12.2016): 197–205. http://dx.doi.org/10.1007/s10699-016-9513-8.

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형대조. "Between Documentary and Fiction, and these combination: Documentary Fiction or Fictional Documentary?" Film Studies ll, nr 67 (marzec 2016): 185–213. http://dx.doi.org/10.17947/kfa..67.201603.007.

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Townsend, Dana, i Kuldeep Niraula. "Documentary Filmmakers". International Journal of Conflict Engagement and Resolution 4, nr 1 (maj 2016): 28–40. http://dx.doi.org/10.5553/ijcer/221199652016004001003.

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Pfister, Christian, i Heinz Wanner. "Documentary Evidence". PAGES news 10, nr 3 (grudzień 2002): 2. http://dx.doi.org/10.22498/pages.10.3.2.

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Tobia, Blaise. "Undermining Documentary". Afterimage 18, nr 2 (1.09.1990): 16–17. http://dx.doi.org/10.1525/aft.1990.18.2.16.

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Rozprawy doktorskie na temat "Documentary"

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

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This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquo
s claim of representing reality. Within this respect, documentary has its own particular codes and conventions to construct its factual discourse. Mock-documentary, simulates these codes and conventions to create a fictional world. In this study, mock-documentary and its relationship with the most popular modes of documentary is examined. Within this study the earliest examples of mock-documentary and recent examples of the form are compared, and it is stated that with the recent examples of the form the critical approach of mock-documentary has been reduced.
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Barry, Barbara A. (Barbara Ann) 1967. "Mindful documentary". Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/32497.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
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.
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Furnham, David. "Documentary practice". Thesis, Middlesex University, 1999. http://eprints.mdx.ac.uk/10701/.

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The thesis is a development of the making of the documentary tape L'Artiste. Le Fermier et Le Paysag. The central argument is to propose a way of looking at documentary based on the possibility of making and examining documentary material which combines narrative and non-narrative techniques and on the value of comparing non-actor contributions to improvised performance processes and outcomes. The purpose of this approach is to produce an effect upon the viewer where the viewer engages in working out what is happening within an array of possible meanings contained within the audio-visual 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.
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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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Clausen, Barbara. "Staging the documentary". Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172646.

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Barbara Clausen thinks about the relationship between experience and knowledge in curating performance art. She will in particular explain her curatorial work on Babette Mangolte's first international solo exhibition which took place at the VOX center for contemporary art in Montreal in 2013. This exhibition and film retrospective showcased Mangolte's various practices and modes of production, as one of the key chroniclers of 1970s performance in dance, visual arts and theater, ranging from early archival works to new site specific multi-media installations. Clausen will consider the 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.
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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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Rughani, Pratap. "Towards intercultural documentary". Thesis, University of the Arts London, 2014. http://ualresearchonline.arts.ac.uk/7082/.

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‘Towards Intercultural Documentary’ is a PhD by Published Work that is comprised of four documentary films, an exhibition catalogue essay and an academic book chapter to form a collective body of work in film and text focused on what Rughani proposes as ‘intercultural documentary practice’. This body of work configures ‘intercultural documentary practice’ as a space or arena in which people of radically different perspectives encounter the other.1 Intercultural documentary aspires to create pluralised spaces of exchange by engaging difference within and between communities. In this work, 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).
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Lange, Shara K. "Documentary Film Engagement". Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3651.

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Sebire, Adam. "Documentary polyptychs: multi-screen documentary on a theme of climate change". Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10208.

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This MFA explores how the problematic phenomenology of climate change might be approached by revisiting an ancient visual art form, the Early Renaissance polyptych. I posit the polyptych as a proleptic form of installation art, providing a historical overview and analysis of multi-channel forms up to contemporary expanded cinema, before narrowing my focus to documentary film and video installations. I propose that principles of dialectical montage apply between spatialised screens and that, as a richly affective form, the relationship between screens coexisting within a single field of view 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?
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Książki na temat "Documentary"

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1968-, Kim Tong-man, red. Tak'yu Cheju: Documentery [i.e Documentary] Jeju. Cheju-do: Kak, 2008.

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Saunders, Dave. Documentary. New York, NY: Routledge, 2010.

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(Tokyo), BLD Gallery, red. Documentary. Tokyo: Akio Nagasawa Publishing, 2011.

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Keener, LuAnn. Color documentary. Corvallis, Or: Calyx Books, 1994.

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Mickwitz, Nina. Documentary Comics. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137493323.

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Roe, Annabelle Honess. Animated Documentary. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137017468.

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Scott, John. Documentary Research. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2006. http://dx.doi.org/10.4135/9781446261422.

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Fox, Broderick. Documentary Media. 2nd edition. | New York, NY : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315559438.

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Services, National Westminster Bank International Trade. Documentary credits. London: Nat West Bank, 1990.

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Ryan, Kathleen M., i David Staton. Interactive Documentary. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174509.

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Części książek na temat "Documentary"

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Chanan, Michael. "Music, Documentary, Music Documentary". W The Documentary Film Book, 337–44. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_38.

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Corner, John, Glen Creeber, Stella Bruzzi, K. J. Donnelly i Brett Mills. "Documentary". W The Television Genre Book, 145–58. London: British Film Institute, 2015. http://dx.doi.org/10.1007/978-1-84457-898-6_7.

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Hueth, Alan C. "Documentary". W Scriptwriting for Film, Television, and New Media, 311–39. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-12.

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Bruzzi, Stella. "Documentary". W The Routledge Handbook of Reenactment Studies, 49–52. First edition. | New York: Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445637-10.

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Hole, Kristin Lené, i Dijana Jelača. "Documentary". W Film Feminisms, 175–221. London ; New York : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-6.

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Rosenstone, Robert A. "Documentary". W History on Film/Film on History, 62–77. Third edition. | Abingdon, Oxon ; New York : Routledge, 2017. | Series: History: concepts, theories and practice: Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-5.

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Barnas, Frank, i Marie Barnas. "Documentary". W Scripting Media, 77–87. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003274766-9.

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Rosenstone, Robert A. "Documentary". W History on Film/Film on History, 81–100. Wyd. 4. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003377467-5.

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Mitchelhill, Alan. "Documentary credits". W Bills of Lading, 56–60. Boston, MA: Springer US, 1990. http://dx.doi.org/10.1007/978-1-4899-7236-1_12.

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Buisseret, David. "Documentary evidence". W General History of the Caribbean, 46–62. New York: Palgrave Macmillan US, 2003. http://dx.doi.org/10.1007/978-1-349-73776-5_4.

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Streszczenia konferencji na temat "Documentary"

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Leigh, Jason, Andrew Johnson, Luc Renambot, Lance Long, Dan Sandin, Jonas Talandis, Alessandro Febretti i Arthur Nishimoto. "CAVE2 documentary". W 2014 IEEE Virtual Reality (VR). IEEE, 2014. http://dx.doi.org/10.1109/vr.2014.6802097.

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Bhimani, Janak, Annisa Mahdia, Ali Almahr, Daisuke Shirai i Naohisa Ohta. "Growing documentary". W ACM SIGGRAPH 2012 Posters. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2343045.2343062.

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Brinson, Peter, i Kurosh ValaNejad. "Subjective documentary". W the International Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2282338.2282387.

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Duygulu, Pinar, Jia-Yu Pan i David A. Forsyth. "Towards auto-documentary". W the 12th annual ACM international conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1027527.1027719.

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Elsden, Chris, Abigail C. Durrant, David Chatting i David S. Kirk. "Designing Documentary Informatics". W DIS '17: Designing Interactive Systems Conference 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3064663.3064714.

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Azqiya, Azkal, Irwan Sarbeni, Nenden Suryamanah Annisa, Dendy Kanaya i Nela Aulia Nurliani. "“Lentera Asa” Documentary Film". W 4th International Conference on Arts and Design Education (ICADE 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220601.012.

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Hmimida, Manel, i Manel Ankoud. "Recommendation system for documentary classification". W 2012 International Conference on Education and e-Learning Innovations (ICEELI 2012). IEEE, 2012. http://dx.doi.org/10.1109/iceeli.2012.6360654.

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Davenport, Glorianna. "Dexter and the evolving documentary". W the fourth ACM international conference. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/244130.244464.

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Huvila, Isto. "Authorship and Documentary Boundary Objects". W 2012 45th Hawaii International Conference on System Sciences (HICSS). IEEE, 2012. http://dx.doi.org/10.1109/hicss.2012.126.

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Davenport, Glorianna, i Michael Murtaugh. "ConText towards the evolving documentary". W the third ACM international conference. New York, New York, USA: ACM Press, 1995. http://dx.doi.org/10.1145/217279.215302.

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Raporty organizacyjne na temat "Documentary"

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DeVaux, Christine R. A guide to documentary standards. Gaithersburg, MD: National Institute of Standards and Technology, 2001. http://dx.doi.org/10.6028/nist.ir.6802.

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Renó, D., C. Campalans Moncada i L. Renó. Technical and documentary languages by Brazilian Eduardo Coutinho. Revista Latina de Comunicación Social, luty 2015. http://dx.doi.org/10.4185/rlcs-2015-1041en.

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Puskar, Erik. Selected impacts of documentary standards supported by NIST. Gaithersburg, MD: National Institute of Standards and Technology, 2007. http://dx.doi.org/10.6028/nist.ir.7398.

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Editors, Intersections. When Cultural Demolition is an Objective of War. Intersections, Social Science Research Council, grudzień 2023. http://dx.doi.org/10.35650/int.4015.d.2024.

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This piece describes "The Destruction of Memory" documentary as well as the book on which it was based by Robert Bevan. Both the book and documentary examine how the destruction of civilian infrastructure and cultural sites contributes to the destruction of people.
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Puskar, Erik. Selected impacts of documentary standards supported by NIST 2008 edition. Gaithersburg, MD: National Institute of Standards and Technology, 2009. http://dx.doi.org/10.6028/nist.ir.7548.

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Rioux, Nathalie, Erik Puskar i Mary Jo DiBernardo. Guidelines for NIST Staff Participating in Documentary Standards Developing Organizations’ Activities. National Institute of Standards and Technology, czerwiec 2012. http://dx.doi.org/10.6028/nist.ir.7854.

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Miller, Kathryn, David Alderman, Lisa Carnahan, Lily Chen, Jim Foti, Barbara Goldstein, Mike Hogan i in. Guidance for NIST staff on using inclusive language in documentary standards. National Institute of Standards and Technology, kwiecień 2021. http://dx.doi.org/10.6028/nist.ir.8366.

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Editors, Intersections. "Even if You Don't Arrive, You're Already a Winner": Self-Narrated Stories by Refugees in Europe. Intersections, Social Science Research Council, styczeń 2024. http://dx.doi.org/10.35650/int.4028.d.2024.

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Editors, Intersections. The Forest as the Soul of a People. Intersections, Social Science Research Council, grudzień 2023. http://dx.doi.org/10.35650/int.4011.d.2024.

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Editors, Intersections. From Gangs to Gods in Guatemala. Intersections, Social Science Research Council, kwiecień 2024. http://dx.doi.org/10.35650/int.4058.d.2024.

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