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1
Largent, Julia E. "Documentary Dialogues: Establishing a Conceptual Framework for Analyzing Documentary Fandom-Filmmaker Social Media Interaction". Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1497547704340843.
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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
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Meiser, Cory. "Documentary Film: Love's Story". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.
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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories 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.
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Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.
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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.
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Palmer, G. E. "Basil Wright : definitions of documentary". Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
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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.
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Dinc, Nefin. "Documentary Film: I Named Her Angel". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4736/.
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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.
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Zuber, Sharon Lynne. "Re-shaping documentary expectations: New Journalism and Direct Cinema". W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539623442.
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New Journalism and Direct Cinema reflect a unique conjoined moment in the evolution of nonfiction writing and filmmaking in the United States. I argue that these movements developed as a specific response to the shift from a modern to a postmodern aesthetic, a shift away from faith in a coherent reality at a historical moment, the 1960s. In an attempt to capture reality using new methods that would raise the status of nonfiction, writers and filmmakers in these movements call attention to process and "style." at first glance, these experiments with new styles appear radical; instead, New Journalism and Direct Cinema---in opposition to their "revolutionary" reputations---function to conserve traditional views of reality. Ultimately, I claim, their innovative narrative style and emphasis on process undermine their attempt to reinforce a correspondent relationship between print and film language and the "real" material world. However, the innovative methods of writers like Tom Wolfe and Truman Capote and filmmakers like Robert Drew, Albert and David Maysles, and Charlotte Zwerin sparked a discussion about genre, language, and representation that established specific expectations about nonfiction that continue to define documentary for readers and viewers into the twenty-first century.
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Holder, Elizabeth Suzanne. "No Way Out: A Historical Documentary". Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4320/.
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No Way Out: A Historical Documentary is the written companion to a forty-minute documentary film entitled "No Way Out". The film deals with a 1974 inmate standoff at a prison in Huntsville, Texas known as the Carrasco Incident. The film examines the prison takeover through the eyes of those who lived through it. Composed of five interviews, "No Way Out" is a compilation of various points of view ranging from former hostages, members of the press, and law enforcement. The written companion for this piece discusses the three phases of the production for this film. These chapters are designed to 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.
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Kilaru, Sunilrao Mohanrao M. ""Tales of My Cities"". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248487/.
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Tales of My Cities is a poetic observation of life in the cities of Hyderabad and Secunderabad, India. The documentary is an intimate first-person exploration of the culture in these cities. The viewer should find a surreal peace in the life and atmosphere of the cities where life extends from centuries old traditions to the current hi-tech pace of life.
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Masetti, Sara. "The Ocean in Between". Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500079/.
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Centered on the universal search for home, The Ocean in Between is an autobiographical documentary about my bicultural identity and sense of guilt as a first generation Italian emigrant daughter. As I embark on a journey between Italy and the United States, I attempt to reconcile my American aspirations with my Italian roots. Using observational footage, direct interviews, and narration, this film provides a poetic and intimate look at family relations, love and death, bicultural identity, and sexuality.
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Lakpassa, Komlan Daholega. "Gods, Have Merced! A Documentary Film". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9763/.
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Gods, Have Merced! chronicles the struggle of Jose Merced, a Santeria priest, with the city of Euless, Texas, where he has been residing for 17 years in an effort to overrule an ordinance that bans the most critical element of his faith: animal sacrifice. As the city officials justify the ban on the basis of public health, Merced thinks he is merely a victim of selective code enforcement aimed a restricting his freedom of religion. Local and national media covered the lawsuit he filed against the City of Euless, and Merced seems ready to take the fight over animal sacrifice to the United 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.
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Ferris, Mika. "Mama D's 2 Blocks: A Documentary Film". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3674/.
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Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.
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Li, Tingting. "An Analysis of the 4:2:1 Documentary". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500078/.
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As a Chinese filmmaker, I feel obligated to reveal a true story about Chinese international students. Through my subjects and my stories, I am planning to express the messages that both adapting to a new culture and paying the financial cost of a foreign education have never been simple, but we will never give up our dreams.
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Bussart, Anna Lynn. "The Making of the Documentary Women at Work". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9791/.
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Women have fought for their rights to equal opportunity employment for more than a millennium. Even now, in the 21st century the fight continues. Women at Work explores the experiences of three women who work in male-dominated blue-collar jobs and discuses their struggles and successes within their employment. Their career choices have required each to address their individual views on feminism and femininity, as well as views on education and family.
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Souza, Leandro Cunha de. "Cinema direto na Paraíba: a consolidação de um estilo na representação do real". Universidade Federal da Paraíba, 2017. http://tede.biblioteca.ufpb.br:8080/handle/tede/9800.
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Arquivototal.pdf: 3674897 bytes, checksum: d8194a62115dc46fb2133ad516520638 (MD5)Made available in DSpace on 2018-04-12T12:04:43Z (GMT). No. of bitstreams: 1 Arquivototal.pdf: 3674897 bytes, checksum: d8194a62115dc46fb2133ad516520638 (MD5) Previous issue date: 2017-02-17
In this research, we seek to comprehend how occurs the arrival and difusion of an approach mode of the real, the so called direct cinema, with its sound record stylistic synchronous to the image, on the documentary from Paraiba, from the late 70s. This style stood out for giving people voice so they could talk about themselves to the cinema, revealing, this way, a language sensitive to the social matters, to the political problems, to the gender and identity matters, beside the many cultural manifestations. We discussed the role of UFPB's Cinematographic Documentation Core (NUDOC) as a formation agent of new directors, from the exchange with Paris Varan Association (Ateliers Varan), promoting internships in direct cinema in João Pessoa and Paris, thus providing a technical, cultural and theorical baggage consistents to the new directors. On the scope of our research, we conceptualized, initially, the documentary against its stylistic ways and delimitations of a representation field. Right next, we discussed the direct cinema, its approaching strategies of the real and its precursors in Paraiba, the consolidation of a style (the expositive mode on the paraibano documentary), NUDOC's role on the difusion of the direct and finally the stylistic of the direct in Paraiba: from the 80s until nowadays. For this, we based our analysis on the main theories of the documentary study, on the productions study about the Super-8 mm and the direct cinema made in Paraiba, on the interviews and notes produced along the research, discussing the language, the technology, the stylistic resources used in its historical context. These productions contribute with the identity formation of the local cinema, influencing new generations of directors. Lastly, we will demonstrate our considerations about the stylistic procedures used in the direct e, this way, contribute with a new look about the study of the audio-visual narratives apllied to the making of the documentary in Paraiba.
Nesta pesquisa, buscamos compreender como se dá a chegada e difusão de um modo de abordagem do real no documentário paraibano, a partir do final dos anos 1970, o chamado Cinema Direto, com sua estilística de registro de som sincrônico à imagem. Esse estilo se destacou por dar voz às pessoas para falarem de si próprias para o cinema; revelando, desta forma, uma linguagem sensível às questões sociais, aos problemas políticos, às questões de gênero e de identidade, além das diversas manifestações culturais. Discutimos o papel do Núcleo de Documentação Cinematográfica da UFPB (NUDOC) como agente de formação de novos realizadores, a partir do intercâmbio com a Associação Varan, em Paris (Ateliers Varan), com a promoção de estágios em Cinema Direto em João Pessoa e Paris, fornecendo, assim, uma bagagem técnica, cultural e teórica consistentes aos novos realizadores. No escopo da nossa pesquisa, conceituamos, inicialmente, o documentário diante das suas maneiras estilísticas e delimitações de um campo de representação. Em seguida, discutimos o Cinema Direto, suas estratégias de abordagem do real e seus precursores na Paraíba, a consolidação de um estilo (o modo expositivo no documentário paraibano), o papel do NUDOC na difusão do Direto e, por fim, a estilística do Direto na Paraíba – dos anos 1980 aos dias atuais. Para isso, embasamos nossa análise nas principais teorias do estudo do documentário, nos estudos das produções sobre o Super-8 mm e o Cinema Direto realizado na Paraíba, nas entrevistas e anotações produzidas no decorrer da pesquisa, no debate sobre a linguagem, a tecnologia, os recursos estilísticos usados e seu contexto histórico. Estas produções colaboraram com a formação da identidade do cinema local, influenciando novas gerações de realizadores. Por fim, demonstramos nossas considerações acerca dos procedimentos estilísticos utilizados no Direto, na tentativa de contribuir com um novo olhar sobre o estudo das narrativas audiovisuais aplicadas à realização do documentário na Paraíba.
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Horst, Jennifer Lynne. "The making of the documentary film Women in Red". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9088/.
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Though the remnants of a stereotype created over two millennia ago still thrive in American popular culture today, redheaded women are enjoying a more positive role in society than they have ever seen before. Women in Red explores the experience of the redheaded woman in America today by examining how the stereotypes have affected a small group of them, how these women relate to the stereotypes, and why, given the verisimilitude of the stereotype, a non-redheaded woman would embrace such an identity with the simple act of dying her hair red. This is the story behind the experience that is Women in Red.
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Gibson, Sarah Edith. "Behind the Scenes of The Steve Taylor Story: A Documentary". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc10992/.
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Behind the Scenes of The Steve Taylor Story: A Documentary is the written companion to a 39-minute documentary film entitled, The Steve Taylor Story. The film explores the controversial career of Christian musician Steve Taylor. It also chronicles the ideology of the Christian subculture in America through the hegemony of the dominant Christian culture and Steve's actions in opposition to it.
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Chiu, Wen-Chi. "Mr. Hassell: The TV Engineer". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935652/.
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This thesis project is about a television engineer in the Department of Radio, Television and Film at the University of North Texas. This project records the engineer's activities in the Department and interviews him about his career path. An accompanying written production report describes the pre-production, production and post-production processes of this project.
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Currier, Daniel W. "Direct Address". VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/44.
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"Direct Address" is a document intended to complement a body of artwork, including photographs and digital video. The focus of this text is to discuss my process of creating documentary film. Beginning with my thesis film it traces my development as documentary filmmaker over a two-year period, highlighting shifts in my thinking and activity during that time.
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Fidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze". University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
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Music video is an intriguing genre of television due to the fact that music drives the images and ideas found in numerous and varied examples of the form. Pre-recorded pieces of pop music are visually written upon in a palimpsest manner, resulting in an immediate and entertaining synchronisation of sound and vision. Ever since the popularity of MTV in the early 1980s, music video has been a persistent fixture in academic discussion, most notably in the work of writers like E. Ann Kaplan, Simon Frith and Andrew Goodwin. What has been of major interest to such cultural scholars is the fact that music video was designed as a promotional tool in their inception, supporting album sales and increasing the stardom of the featured recording artists. Authorship in music video studies has been traditionally kept to the representation of music stars, how they incorporate post-modern references and touch upon wider cultural themes (the Marilyn Monroe pastiche for the Madonna video, Material Girl (1985) for instance). What has not been greatly discussed is the contribution of music video directors, and the reason for that is the target audience for music videos are teenagers, who respond more to the presence of the singer or the band than the unknown figure of the director, a view that is also adhered to by music television channels like MTV.
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Sposto, Caroline Zarlengo. "A woman's place a video documentary on mass media messages directed towards women between 1940 - 1950 /". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2005. http://www.kutztown.edu/library/services/remote_access.asp.
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Thesis (M.S. )--Kutztown University of Pennsylvania, 2005.Source: Masters Abstracts International, Volume: 45-06, page: 2721. Typescript. Accompanying DVD entitled: A Woman's Place: a documentary to supplement masters thesis. Abstract precedes thesis as 2 leaves (i-ii). Includes bibliographical references (leaves 59-61).
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Daggett, Liz. "Theoretical and Practical Record of the Making of the Documentary Film, A Native American Dream". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9110/.
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This textual record of the making of the social issue documentary film A Native American Dream examines theoretical and practical considerations of the filmmaker during the pre-production, production, and post-production stages. It also examines the disciplines of anthropology and ethnography in terms of modern documentary filmmaking and evaluates the film within these contexts.
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Schoenbaechler, Jessica. "Beach Drive: Public Rights and Private Property: A Documentary Film". Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5345/.
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The Texas Open Beaches Act states that the public beach extends from the water up to the line of vegetation. Once a privately-owned property is submerged, it transfers into state ownership. Because of severe erosion and the shifting nature of vegetation, the Village of Surfside has lost several rows of houses and streets and, currently, over thirty houses are located on the public beach obstructing public access in violation of the Texas Open Beaches Act. The extreme erosion in this small village on the Texas Gulf Coast puts homeowners, property owners, legislators, and beachgoers in difficult positions and many are at odds with one another. The documentary film is structured around rental property owner Russell Clinton, environmentalists Ellis Pickett and Jeff Hooton, and former State Senator A.R. "Babe" Schwartz.
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Thornburg, Barry B. ""FLAT!"". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157565/.
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FLAT! immerses us into the life and mindset of a Flat-earther who eagerly evangelizes the discoveries he and other Flat-earthers claim to have made. With his car clad in flat-earth messages, he travels around the country provoking discussions with curious bystanders and debating scientists. While he thrives in this pursuit, it is not without its costs.
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Helfield, Gillian. "Il etait une fois au cinema Quebecois : the persistence of myth and folklore in early Cinema direct documentaries: 1958-1964". Thesis, University of Warwick, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327558.
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Guevara, Flores Ernesto. "Aproximaciones a la historia y los esquemas teóricos del cine documental". Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2009. https://hdl.handle.net/20.500.12672/1293.
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En el primer capítulo se desarrolla el marco metodológico: el planteamiento y ampliación del problema, el objeto de estudio, los objetivos a seguir, la hipótesis, los antecedentes de la investigación y la metodología correspondiente.
En el segundo capítulo se desarrolla el marco teórico de la investigación: Cine como medio de comunicación, industria cinematográfica y específicamente Cine Documental, atendiendo sobre todo a la tipología del Cine documental, es decir los subgéneros o estilos de documentales que existen.
El tercer y cuarto capítulos son descriptivos y cronológicos. En el tercero se describe la obra de los documentalistas pioneros, los primeros en desarrollar corrientes propias o escuelas: los franceses, los fotógrafos de Brighton, Flaherty, el ruso Dziga Vertov, el británico Grierson y la Escuela inglesa, además de la obra temprana y única de Luis Buñuel y el documentalismo propagandista de Leni Riefenstahl.
El cuarto capítulo es el principal, porque describe y analiza el documentalismo contemporáneo, a partir de corrientes y escuelas nacionales. Se menciona en especial a un autor hoy olvidado, Joris Ivens, uno de los fundadores del documentalismo social militante; y se incide en especial en el documentalismo latinoamericano, que tuvo, desde sus orígenes, características sociales y políticas explícitas.
En el último capítulo se presenta una síntesis conceptual y una propuesta teórica, centrada en un concepto actual de cine Documental. Las conclusiones mencionan observaciones finales obtenidas por la investigación.Tesis
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Niney, François. "L'epreuve du reel a l'ecran essai sur le principe de realite documentaire". Paris 3, 1999. http://www.theses.fr/1999PA030122.
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Depuis l'invention des freres lumiere, actualites, documentaires, reportages nous convient a des visions toujours plus "immediates", plus proches, plus "vraies" de la realite "sur le vif". Que valent ces miroirs argentiques et electroniques des evenements ? que nous donnent-elles a voir et croire ces doublures auxquelles nous confions la tache paradoxale de nous demontrer le monde et d'en produire la verite ? a travers l'evolution historique des formes du documentaire, ce travail questionne nos manieres de representer et voir la realite a travers le discours des images, ainsi que les regimes de croyance que suscite la soi-disant "objectivite" des prises de vues. Croire a l'adequation de l'image au reel "tel quel", du commentaire aux "evenements" comme s'il y avait des vues sans point de vue, des faits sans interpretation - n'est-ce pas couper dans toutes les propagandes audiovisuelles qui ont en commun de promettre la verite a ciel ouvert ? en contrepoint de cette critique de fond, l'ouvrage explore les figures du langage cinematographique comme manieres de decouper, traduire, reflechir le monde, de decouvrir de nouvelles relations sujet/objet, reel/fiction, voir/savoir, ou au contraire de reproduire des cliches vraisemblables. Tableau vivant du cinema primitif, invention du montage, documentarisme social et propagandiste d'avant-guerre, nouvelle-vague de l'apres-guerre, documentaire joue a l'americaine et neo-realisme italien, cinema-verite et cinema direct, dogme de l'objectivite tv et preuve par l'image, camera subjective et machines de vision, archives, reconstitutions: telles sont les entrees dans ce parcours critique ou realite et fiction, vrai et faux jouent a cache-cache. Andre bazin ne disait-il pas que "le cadre est un cache ?".
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Cyrulnik, Natacha. "Représenter le monde et agir avec lui : La méthode du documentaire de création". Toulon, 2008. http://www.theses.fr/2008TOUL0008.
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Construire une représentation, c'est entrer en action et porter un regard sur son monde en même temps. Le documentaire de création en est une expression qui favorise à la fois compréhension et connaissance. Le cas de jeunes au sein d'une cité dans le sud de la France est un exemple significatif de médiologie de l'objet caméra dans le cadre des médiacultures. Ceux-ci passent ainsi du statut de consommateurs d'images, à celui d'imitateurs, pour finir par entrer en action dans la construction de leurs propres images. L'interaction entre celui qui filme (le réalisateur)n celui qui se place devant la caméra (l'acteur) et le récepteur de ces images (le spectateur), est le moteur qui favorise la construction d'une représentation afin de mieux comprendre le monde et de se l'approprier. Construction d'un film et construction de la personne vont de paireABuilding a representation consists in watching and acting on the word at the same time. Creative documentary film is a way of expression wich is develops both comprehension and knowledge. The case of youth living in a southern France "cité" is a meaningful example of mediology by the way of the object camera in our mediacultural world. Youth change their status by consuming pictures, imitating them, and finally building their own pictures. Interactions between who's filming (the director), who's in front of the camera (the actor), and who's receiving these pictures (the spectators), are the engine to constructe a representation. The challenge consists in giving the world a meaning and appropriating it. Making a movie and building their own identity are linked together
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Cater, Lauren. "Mineola". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822789/.
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Mineola is a poetic, observational, immersive documentary centered in the town of Mineola, Texas. The film provides an intimate, first person perspective of different locations in the town as well as underlying subversive beliefs and traditions. The film’s authoritative perspective guides the viewer not only in a direction of observation but personal connection to nostalgia of small communities.
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Bhatia, Parul. "India Vaale in the United States". Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935597/.
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This documentary reveals the thoughts and feelings of seven Indian students at the University of North Texas, Denton, Texas. It portrays that better material comforts in the U.S. condition the decision of Indian students in not returning to India even after the completion of their studies. It also shows their feelings of nostalgia for the social and cultural milieu of their home country, India. For this project 18 Indian students at the University of North Texas were interviewed and seven of them became part of the final documentary.
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Merilainen, Laura. "From Namibia with Love - the dissertation paper a reflective essay supporting the documentary film 'From Namibia with Love'. With special references from the director's and editor's perspective on making a politically sensitive documentary film". Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/12001.
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Includes abstract.Includes bibliographical references.
This dissertation paper is a reflective essay supporting the documentary film From Namibia with Love (FNWL). The aim of this essay is to examine and analyse the production challenges, ethical considerations and the reconstruction of reality in the making of the film FNWL. The essay explores these issues from the director's and editor's point of view with special references to academics literature and different documentary films.
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Manganello, Vincent M. "DVD featuring visual commentary, which melds the director's commentary with the production documentary using the multi-angle capabilty of the DVD". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1313638.
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This creative project consists of a short fiction film which is finished on DVD and features a full length video commentary. The video commentary is an invention of my own which utilizes an often overlooked element of DVD technology, the multi-angle ability, to effectively merge two of the most popular features of modern motion picture DVD releases: the director's commentary and the production documentary. The disk actually contains two tracks of video, each of identical length. One is the film; the other is a documentary on the making of the film, with certain sections that correspond in real time with events in the film. The user has the ability to switch between tracks at anytime for comparison. This to my knowledge has never been done before, and because of the enormous popularity of the DVD and these features, may find widespread application. This project, while only an exploration of its potential, shows that the idea has feasibility and legitimacy.Department of Telecommunications
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Alvarez-Salas, Sofía-Noelia. "Gardemia: documental sobre la psoriasis en el Perú". Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4649.
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"Gar Demia", es un documental que aborda el viaje de un paciente recién diagnósticado con la enfermedad de la Psoriasis, enfermedad inflamatoria y crónica de la piel, de origen autoinmune; en él se muestra desde mi perspectiva cómo voy encontrando personas en el camino que cuentan con el mismo diagnóstico, así mismo, se van presentando sus testimonios y dificultades de vivir con la enfermedad por el tiempo que lo lleven haciendo.Trabajo de suficiencia profesional
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Almendariz, Sergio E. ""Her Name Was"". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248439/.
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Her Name Was is an examination of the oppression of transgender people in a society that is built on the nominalization of cisgender people, those who gender matchers their sex assigned at birth, and how this oppression lends itself to violence. In the summer of 2015, the body of Shade Schuler, an African American transgender woman, was found in a field outside of Dallas, Texas. Ms. Shade is part of an alarming epidemic of escalating levels of targeted violence against the transgender community. This documentary pulls back the curtain as it captures the feelings and struggles of the transgender community as they attempt to navigate and survive in a cis dominating society.
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McKinney, Kelli. "The Luxury of Tears: A Secondary Survivor's Story". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2273/.
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As the written accompaniment for The Luxury of Tears, a twelve-minute documentary video exploring the emotional impact of sexual assault on male survivors and their partners, this document examines the visual texts of both the fiction and nonfiction genres. Specifically, I contend that fiction film manufactures male survivorship with regard to rape events in such manner which contributes to the thematization of social silence. Such silence perpetuates the feminization of rape as a social problem, and dissolves the development of male survivor resources. A discussion of production processes, challenges, and resolutions is included.
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Yang, Hongyi. "Herb and Life: A Chinese Medical Family". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3296/.
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This written thesis examines the process of producing Herb and Life: a Chinese Medical Family, a thirty-minute documentary video that explores the producer's family members' relationship with Traditional Chinese Medicine. This documentary uses interviews, narration, music, and observational sequences to display documentary subjects' career choices and their experiences with Traditional Chinese Medicine. This written thesis reveals the development of this documentary, from the pre-production to production and post-production stages. It also incorporates theoretical analysis and self-evaluation of this documentary video.
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Pereira, Irislane Mendes. "O realizador e a personagem: relações intersubjetivas no processo criativo do documentário". Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4296.
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Previous issue date: 2011-05-13Conselho Nacional de Desenvolvimento Científico e Tecnológico
This thesis aims at the study of the relations between the documentarian and his character. More specifically, it analyses the dialogue that is established between both parts. Underpinned by theories and concepts by Brazilian and foreign documentary genre scholars Fernão Pessoa Ramos, Jean-Claude Bernardet and Bill Nichols , this work also examines the matter of the production of the documentary s truth, as such a meeting intermediated by the camera and proposed to a spectatorial reading could guarantee it. Inseparable from this first interrogation, there is a second one that refers to the witnessing subject s freedom and to the ethics of these exchanges. The selection of the corpus privileged those films which characters seem to have their singularities preserved in the situation of interaction in which they are engaged. Parallel to that and opportunely, a brief history of the documentary in Brazil, under the influx of Italian neorealism, direct cinema and cinema vérité, which molded in it its most remarkable features, is presented. Methodologically, it is a documental and bibliographical research. As a result, it is possible to assure that the corpus analysis especially of these two important examples of this genre, Viramundo (1965), by Geraldo Sarno, and Jogo de Cena (2007), by Eduardo Coutinho has evinced different models that present actors have to convey with words
A presente dissertação tem por objetivo o estudo das relações entre o documentarista e sua personagem. Trata-se, mais especificamente, de analisar o diálogo estabelecido entre ambas as partes. Apoiando-se nas teorias e conceitos de estudiosos brasileiros e estrangeiros do gênero documentário Fernão Pessoa Ramos, Jean-Claude Bernardet e Bill Nichols , examina também a questão da produção da verdade do documentário, tal como este encontro intermediado pela câmera e proposto a uma leitura espectatorial a poderia garantir. Inseparável desta primeira interrogação, uma segunda refere-se à liberdade do sujeito depoente e à ética destas trocas. A seleção do corpus privilegiou aqueles filmes cujas personagens parecem ter suas singularidades preservadas na situação de interação em que estão engajadas. Em paralelo e por oportuno, apresenta-se também uma pequena historia do documentário no Brasil, sob os influxos do neo-realismo italiano, do cinema direto e do cinema verdade ou cinéma verité, que lhe imprimiram seus traços mais marcantes. Metodologicamente, trata-se de uma pesquisa documental e bibliográfica. Como resultado, pode-se afiançar que a análise do corpus notadamente destes importantes exemplares do gênero que são Viramundo (1965) de Geraldo Sarno e de Jogo de Cena (2007) de Eduardo Coutinho evidenciou diferentes modelos de condução da palavra pelos atores em presença
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Mak, Monica. "Racial diversity's journey to constancy : initiatives for redressing the colour imbalance in documentary filmaking at the National Film Board of Canada". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32928.
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This thesis explores the National Film Board's Cultural Diversity in Action Initiatives (1997-- ) whose aim is to redress the under-representation of filmmakers of colour in the English Program's documentary film production streams. Focusing on how these strategies and objectives have broadly tried to promote racial diversity (for instance, one way is through the goal of having one of four filmmakers be a person of colour), this thesis proposes that these initiatives represent the NFB's most prominent and socially progressive raison d'etre for the late 1990s and the new millennium.
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Schwarz, Jakob. "Legacy of Love: A Queer Dallas". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011805/.
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"Legacy of Love" follows four members of the Dallas LGBTQA+ community and shows their perspectives on the community's past, present and future, focusing on the community has accomplished so far, and the work, especially related to race, that lies ahead.
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Mendes, Marcos de Souza. "Heinz Forthmann e Darcy Ribeiro : cinema documentario no Serviço de Proteção aos Indios, SPI, 1949-1959". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285097.
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Orientadores: Fernão Vitor Pessoa de Almeida RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Résumé: Cette recherche étudie le travail conjoint réalisé entre le photographe et cinéaste Heinz Forthmann (1915-1978), Brésilien par option, et l¿anthropologue Darcy Ribeiro (1922-1997) à la Seção de Estudos, SE, du SPI. Fondée en 1942 par l¿indigéniste Cândido Mariano da Silva Rondon, la SE avait pour but, entre autres, de rechercher et de documenter ¿ au moyen de photographies, du cinéma et d¿enregistrements sonores ¿ la vie, les rites et les manifestations culturelles des peuples indigènes du Brésil. Les directives de documentation ethnographique, créés tout d¿abord par Harald Schultz, furent développées dès 1949 par Darcy Ribeiro, lequel rechercha l¿intégration entre les investigations ethnologiques et linguistiques et la réalisation cinématographique. Ce cycle de travail s¿est prolongé jusqu¿en 1959 et généra d¿importants films documentaires qui se sont aujourd¿hui dispersés, fragmentés ou perdus, dont: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, et Jawari, 1957. C¿est la mémoire de ces films, la connaissance de leur art et de leur méthode de réalisation ethnographique que ce travail tâche de récupérer
Resumo: Esta pesquisa estuda o trabalho conjunto realizado pelo fotógrafo e cineasta Heinz Forthmann (1915-1978), brasileiro por opção, e pelo antropólogo Darcy Ribeiro (1922-1997) na Seção de Estudos, SE, do SPI. Criada em 1942 pelo indigenista Cândido Mariano da Silva Rondon, a SE tinha entre seus objetivos pesquisar e documentar em fotografia, cinema e gravação sonora, a vida, os ritos e as manifestações culturais dos povos indígenas do Brasil. As diretrizes de documentação etnográfica, criadas inicialmente por Harald Schultz, foram desenvolvidas, a partir de 1949, por Darcy Ribeiro, que buscou a integração entre pesquisas etnológicas, lingüísticas e a realização cinematográfica. Este ciclo de trabalho se estendeu até 1959, e gerou importantes filmes documentários que hoje se encontram dispersos, fragmentados ou perdidos, entre os quais: Os Índios Urubus, 1950; Funeral Bororo, 1953; Txukahamãe, 1955, e Jawari, 1957. É a memória desses filmes, o conhecimento de sua arte e método de realização etnográfica que este trabalho procura recuperar
Doutorado
Multimeios
Doutor em Multimeios
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Goodman, David. "Texas Paranormalists". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822843/.
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Texas Pararnormalists mixes participatory and observational styles in an effort to portray a small community of paranormal practitioners who live and work in and around North Texas. These practitioners include psychics, ghost investigators, and other enthusiasts and seekers of the spirit world. Through the documentation of their combined perspectives, Texas Paranormalists renders a portrait of a community of outsiders with a shared belief system and an unshakeable passion for reaching out into the unknown.
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Shutt, Jason. "A New Circle". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc3031/.
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This reflexive documentary film explores the Alabama-Coushatta Indian Tribe of Texas and examines questions of cultural identity. The twenty-one minute film uses footage of cultural events, reservation landscape, photographs, and interviews to bring the viewer into the lives of the Alabama-Coushatta people. The written portion of this thesis details the entire processes of making the film, from the proposal stage to the post-production stage. This includes an examination of the film's evolution from using a proposed ethnographic approach to one less scientific and more personal.
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Choi, Ho-Kyung. "Two for One, One for Two". Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278117/.
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The film is about three young Korean-American adults who have adapted to American society while retaining certain aspects of Korean culture in their lives. To expose their intermingled behaviors and concepts, the film combines the observational format of a documentary with an information style employing family photos, home movie recordings, and interviews with the three subjects and their families. An accompanying production report describes the research process, pre-production, production, and post-production.
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Crawford, Jim D. "“Inside Story”". Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500092/.
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Inside Story explores the essence of story and attempts to connect the audience to the significance of story in their own lives. The documentary examines story and determines the elements necessary for its formation. The film investigates the psychological aspects of story, inspects the physiological processing of story that connects story to the way we think and perceive, and finally, emphasizes the functions and values of story.
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Dobson, Mark D. "What's on Tap, Texas? Homebrew to Craft Brew". Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955017/.
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Lazcano, Aguirre Libia. "Out of Date". Thesis, University of North Texas, 2009. https://digital.library.unt.edu/ark:/67531/metadc12148/.
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Out of Date chronicles the filmmaker's personal journey as she tries to untangle her mixed feelings on singlehood and romance, and turns to the older generation for advice, tales of love and stories of success or failure. The documentary links and contrasts different generations' experiences in love and dating. Also, the film deals with loneliness, commitment, gender differences, and social and cultural practices of love and dating.
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Doeren, Catherine Wallace. "Harbor: The Act of Autobiography". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2225/.
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This written thesis accompanies a sixteen-minute documentary video, Harbor, in which the filmmaker explores her relationship with her father who has suffered a stroke. Detailed accounts of the pre-production, production and post-production of the video allow the reader to understand the challenging and rewarding process of making an autobiographical documentary. Theoretical issues are also discussed, including the validity, criticisms, artistic nature and ethical concerns of autobiographical filmmaking. The filmmaker stresses the universality of her story, and how, despite the film's very personal nature, it is applicable for anyone who has dealt with the illness and/or disability of a parent.
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Mullins, Michael Bryan. "Hildegard On Rubble Mountain". Thesis, University of North Texas, 2002. https://digital.library.unt.edu/ark:/67531/metadc3328/.
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Hildegard On Rubble Mountain is a cinema verité documentary about Hildegard Modinger's childhood. She grew up in Stuttgart, Germany during World War II and immigrated to the United States at the age of nineteen. This video follows her back to her childhood neighborhood as she recalls memories of that time in her life. The accompanying production book explains the production process: preproduction, production, postproduction, theoretical approaches, style used and a self-evaluation.