Artykuły w czasopismach na temat „Documentary Director”
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Besschastnaya, A. M., i V. E. Gorshkova. "Documentary Film-Investigation: Manipulation or Impartiality?" Vestnik NSU. Series: History and Philology 18, nr 6 (2019): 92–103. http://dx.doi.org/10.25205/1818-7919-2019-18-6-92-103.
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Purpose. The television film “Ukraine. Revolution masks” (directed by Paul Moreira, France, 2016), which main genre characteristics are comparable to journalistic investigation, is analyzed as a part of a documentary film as a whole. Results. Various points of view on objectivity / subjectivity of documentaries authors are covered. Ambiguous critics and audience’s reaction to the designated film investigation is explained by the interpretation distinction of the last. Conclusion. The Dogme film objectivity principles in terms of the Danish director Lars von Trier being assumed as basic, it is proved that the aspiration to follow these principles doesn’t rid the director of some plugola manifested in the use of a number of manipulative strategies and also of the psychological bluff, which are common in mass media.
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Sturgis, Meshell, i Victoria Thomas. "Brownson, Laura (Director). The Rachel Divide [Documentary]." Women's Studies in Communication 43, nr 3 (2.07.2020): 318–20. http://dx.doi.org/10.1080/07491409.2020.1803652.
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Hill, Annette. "Documentary imaginary: Production and audience research of The Act of Killing and The Look of Silence". European Journal of Cultural Studies 24, nr 4 (sierpień 2021): 801–15. http://dx.doi.org/10.1177/13675494211033291.
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Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting the ways we imagine ourselves, the ways we know ourselves’. This research analyses the documentary films The Act of Killing (Director Oppenheimer, co-directors Christine Cynn and anonymous 2012) and The Look of Silence (director Oppenheimer 2014), and the documentary imaginary. The research combines normally separate sites of analysis in production and audience studies in order to understand the power of documentary and the spectrum of social stories we inhabit. The article asks: how do the films document and imagine fear and impunity in memories of the genocide, and how do audiences engage with this documentary imaginary? Particular focus is paid towards the endings of the two documentary films and how audiences in this study reflect on the absence of justice for the victims of the genocide. Through the empirical research, we take a journey with the director and his film making process, understanding the lengthy and complex filming for the two documentaries in Indonesia. The films signal Oppenheimer’s political and ethical commitment towards victim recognition, the possibility and impossibility of forgiveness, and the challenge of reconciliation between victims and perpetrators. The filmmaker’s journey is intertwined with the enactments of the genocide by the perpetrators in their own surreal ways of imagining themselves, and the experience of victims seeking recognition. Audiences become intertwined in these journeys, finding along the way a critically productive space for documentary and the imaginary.
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Brucher, Katherine. "Festa. Joe Sousa, director. Documentary Educational Resources, 2006." Journal of the Society for American Music 2, nr 4 (23.10.2008): 597–99. http://dx.doi.org/10.1017/s1752196308081406.
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Mendonça, Rosiel, i Sérgio Braga. "Glauber Rocha descobre a Amazônia: discurso e representações sociais no documentário Amazonas, Amazonas". Arteriais - Revista do Programa de Pós-Gradução em Artes 6, nr 11 (27.09.2021): 121. http://dx.doi.org/10.18542/arteriais.v6i11.11028.
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ResumoO artigo faz uma análise do discurso fílmico do documentário de curta-metragem Amazonas, Amazonas, dirigido pelo cineasta baiano Glauber Rocha entre os anos de 1965 e 1966. Para isso, recorremos a fontes documentais e bibliográficas no intuito de reconstituir a experiência do diretor na região e as condições sociais de produção do filme, buscando identificar que representações ele faz do Amazonas - e da região amazônica, em sentido mais amplo.AbstractThe article makes an analysis of the filmic discourse of the short documentary Amazonas, Amazonas, directed by Glauber Rocha between the years 1965 and 1966. For this, we used documentary and bibliographical sources in order to reconstitute the experience of the director in the region and the social conditions of production of the film. We also try to identify wich representations does the film make of Amazonas and the Amazon region.
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Gao, Zeyuan, i Lifan Deng. "The American Documentary Fahrenheit 9/11 under the Vision of Structural Anthropology". World Journal of Educational Research 5, nr 3 (15.08.2018): 260. http://dx.doi.org/10.22158/wjer.v5n3p260.
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<p><em>This thesis starts from structural anthropology, combines some shooting methods of film-documentary, and conducts initial structural analysis to the documentary Fahrenheit 9/11, which was directed by Michael Moores and which won an award at Cannes International Film Festival. On the basis of confirming the effectiveness of the documentary, this thesis analyzes how the film director uses methods of shooting and organizing to criticize the series of domestic and diplomatic policies adopted after the September 11 attacks by the U.S. president G·W·Bush. </em></p>
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Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s". Journal of British Cinema and Television 18, nr 3 (lipiec 2021): 329–59. http://dx.doi.org/10.3366/jbctv.2021.0577.
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This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.
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Stonys, Audrius. "CINEMATIC SHIFT FROM THE FRONT TO THE BACKGROUND. LANDSCAPE IN A POST WORD ERA". Culture Crossroads 14 (9.11.2022): 63–69. http://dx.doi.org/10.55877/cc.vol14.91.
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With great honour to readers of “Culture Crossroads” we are offering an essay by outstanding Lithuanian documentary film director Audrius Stonys (1966), in which he shares reflections on spatial and temporal changes in documentary films within the historical context by fixating cinematic turns in elements of mise?en?scène, especially in the landscape representation. The author is looking more closely at what is happening in the front and back- ground of the documentary film “Ten Minutes Before the Flight of Icarus” (Dešimt minučių prieš Ikaro skrydį, 1990) directed by Arūnas Matelis (1961), a contempo- rary of Stonys. This particular film has been considered as a landmark which led to a shift towards a new era in Lithuanian documentary cinema.
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Lia Susanthi, Nyoman, Ni Kadek Dwiyani i I. Kadek Puriartha. "Directing Of Documentary Bilingual “Lukisan Barong Gunarsa” In Exspository Style". Mudra Jurnal Seni Budaya 33, nr 3 (27.09.2018): 345. http://dx.doi.org/10.31091/mudra.v33i3.522.
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Latha Mahosadhi Museum of ISI Denpasar is a memorial place for displaying art objects. But the function of the museum as a center of art information cannot be realized because the information provided is only verbal information and not specific. So that information media is created in museum, namely bilingual documentary film. One of the interesting a film to be researched is “Lukisan Barong Gunarsa” by Nyoman Lia Susanthi as a director. The aim of this study is to determine the process of creating a documentary film that shows the side of Gunarsa as famous person and secret element that have never been published before. Based on it, documentary bilingual can be applied to other 127 objects collection. The method used qualitative. The data were obtained through observation, interview, and literature study. The result of this study was the director observed in three roles, such as: a leader, an artist and a technical advisor. The pre-production, the director created in the form of production concept, technical concept and story line. The concept of film was expository style with television documentary format using narrator as a single speaker. The director as a leader directed the cameraperson in taking pictures. In editing, director was involved directly in the process of arranging the images. The resulting visual beauty cannot be separated from the director’s firmness that directed the taking of beauty shot. The director as a technical advisor was able to take over the role of cinematography, sound and editing.Museum Lata Mahosadhi ISI Denpasar adalah tempat pemajangan benda seni baik dari Bali maupun luar Bali. Namun fungsi museum sebagai pusat informasi seni belum bisa terwujud karena informasinya hanya berupa verbal dalam Bahasa Indonesia dan tidak spesifik. Untuk itu dilakukan penelitian terkait media informasi efektif untuk museum yaitu bilingual dokumenter menggunakan 2 bahasa (Indonesia-Inggris). Salah satu bilingual dokumenter yang menarik untuk dikaji adalah film berjudul “Lukisan Barong Gunarsa” karya Nyoman Lia Susanthi sebagai sutradara. Alasan memilih konten ini karena terdapat elemen rahasia yang belum dipublikasikan yaitu makna dan deskripsi lukisan. Dalam proses pembuatan film maestro berpulang, sehingga film ini benilai informasi tinggi. Tujuan dari penelitian adalah mengetahui penyutradaraan film dokumenter yang menunjukkan sisi intim orang terkenal yaitu Gunarsa. Dengan mengetahui penyutradaraan film ini, maka dapat juga diterapkan penciptaan bilingual dokumenter pada 127 benda koleksi museum. Metode yang digunakan untuk mengetahui manajemen produksi film adalah kualitatif. Data diperoleh melalui observasi, wawancara, dan studi pustaka. Hasil penelitian ini adalah sutradara dalam melahirkan film diamati dalam tiga peran yaitu sebagai pemimpin, seniman dan penasehat teknis. Saat pra produksi sutradara berperan besar melahirkan konsep penciptaan berupa konsep karya, teknis serta story line. Konsep karya menggunakan gaya exspository, format dokumenter televisi dengan narator sebagai penutur tunggal. Peran sutradara sebagai pemimpin yaitu mengarahkan kameramen dalam mengambil gambar sesuai tuntutan cerita. Tahapan editing sutradara terlibat dalam proses penyusunan gambar. Keindahan visual yang dihasilkan juga peran sutradara yang turut mengarahkan pengambilan beauty shot. Sutradara sebagai penasehat teknis mampu mengambil alih peran teknis dalam sinematografi, tata suara dan editing.
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Ak, Musa. "Bertolt Brecht’in Epik Tiyatrosu Üzerinden İnteraktif Belgesellere Bakmak". Etkileşim 4, nr 7 (kwiecień 2021): 170–89. http://dx.doi.org/10.32739/etkilesim.2021.7.123.
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In the 21st century, which is called the digital age, documentary cinema has undergone many changes in terms of both content and form. Apart from being a display medium, interfaces and screens have become spheres where the narrative is constructed. Thus, the production and viewing dimensions of documentary films have changed and traditional narrative documentaries have started to be replaced by interactive documentaries. In these documentaries, the director becomes the designer and the viewer becomes the participant/user. In this context, Walter Benjamin’s approach to epic theater, which he believes is compatible with new technical forms and is the culmination of technology, is the starting point of this study. Because especially since the early 1960s, Bertolt Brecht’s understanding of epic theater has influenced directors and shaped their understanding of filmmaking. The directors who wanted to make the audience feel that the images they see in a film were made with designed decorations, used Brecht's aesthetic understanding to destroy mimesis and break identification. In this context, Seven Digital Deadly Sins (2014), which is an example of an interactive documentary developed with new communication technologies and opens the door to different possibilities for the director and the audience, is evaluated through Bertolt Brecht's understanding of epic theater.
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Jeż, Aleksandra, i Dominika Narożna. "Kreowanie rzeczywistości w filmach dokumentalnych. Kazsus Leni (Helene Amalie Berthy) Riefenstahl na podstawie produkcji Triumf woli i Olympia". Świat Idei i Polityki 16, nr 1 (31.12.2017): 106–22. http://dx.doi.org/10.15804/siip201706.
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The aim of this article is to present the biography of a film director- L. Riefenstahl, with an emphasis on her propaganda documentary works by the example of two documentaries: “Triumph of the Will” and “Olympia”. The thesis stated by the authors of this article is about creating reality by L. Riefenstahl. The authors present the propaganda techniques used by the director in her documentaries. The authors base this work on the analysis of audiovisual productions, historical method and finally- deduction. L. Riefenstahl was the artist with a great experience. As the director, not only was she innovative and unconventional, but also she was able to use and transfer her experience gained on other fields of her own life onto audiovisual productions. Therefore, the critics value Riefenstahl’s works due to their innovatory character and technical nuances. Although L. Riefenstahl is one of the most talented documentary directors, still, vast majority of her films were vile propaganda at the service of the 3rd Reich. Worshipping Hitler, love of symbols and faith in NSDAP is highly visible in Riefenstahl’s works.
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Bozheyeva, Aibarsha Muratbekovna, i Baubek Bauyrzhanuly Nogerbek. "Director’s Methods in the Kazakhstan Auteur Documentary Filmmaking". American Journal of Applied Sciences 13, nr 6 (1.06.2016): 804–13. http://dx.doi.org/10.3844/ajassp.2016.804.813.
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Birkholc, Robert. "Notatki filmowe Federica Felliniego. "Notatnik reżysera" jako manifest poetyki twórcy". Załącznik Kulturoznawczy, nr 9 (2022): 303–22. http://dx.doi.org/10.21697/zk.2022.9.16.
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The article is devoted to a little-known film Fellini: A Director’s Notebook (1969), which is included by the author in the so-called film “notes” – essayistic, selfreferential films depicting the directors’ work on fictional movies. As the author argues, Notebook … can be viewed as a kind of manifesto of the poetics (and even “semiotics”) of the artist’s films, which expresses its attitude to issues such as relations: director-actor, author-work, and film-reality through an essayistic form. Fellini plays with his image (appearing personally on the screen) and fictionalizes the non-fictional genre, creating a kind of “fake-documentary”. The subject and the quasi-documentary form of the “notes” allow the director to demonstrate an individual approach to the relationship between the film and reality. As the author argues, Notebook… was for Fellini a kind of transitional film, developing new artistic ideas – from then on, Fellini’s fictional works will be more and more essayistic, artificial, heterogeneous, and fragmentary.
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Krobb, Florian. "Resistant Culture, African Travel". Transfers 6, nr 3 (1.12.2016): 142–45. http://dx.doi.org/10.3167/trans.2016.060313.
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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE". Northern Archives and Expeditions 5, nr 2 (30.06.2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.
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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.
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Nas, L. "The ‘unreel’ in Woody Allen’s Zelig". Literator 13, nr 3 (6.05.1992): 93–100. http://dx.doi.org/10.4102/lit.v13i3.775.
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By presenting Zelig (1983) in the form of a historical documentary using archival film footage, film - director Woody Allen breaks down the conventional distinction between documentary and fiction film. Through metacinematic self-consciousness Zelig hybridly 'chameleonizes’ recorded historical 'truth' exposing this truth to be ‘unreal’: it explodes the notion of the cinematic ‘real’, turning it into the ‘unreel’.
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Worrall, Matt. "College to feature in flagship science documentary". Bulletin of the Royal College of Surgeons of England 90, nr 2 (1.02.2008): 59. http://dx.doi.org/10.1308/147363508x276468.
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The College is to feature in a documentary being produced for the latest series of BBC science programme, Horizon, focusing on the medical use of cadavers. The programme looks at the growth in the use of human tissue in training and surgery, and explores the practicalities involved in the supply of bodies. The film will feature footage of a course in our new Wolfson surgical skills centre and an interview with Dick Rainsbury, director of education, explaining why bodies are so important for surgical training.
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Ben-Zvi, Linda. "Staging the Other Israel: The Documentary Theatre of Nola Chilton". TDR/The Drama Review 50, nr 3 (wrzesień 2006): 42–55. http://dx.doi.org/10.1162/dram.2006.50.3.42.
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Since 1970, the American-born Israeli director and acting teacher Nola Chilton has used documentary theatre to critique Israeli myths and to provide a space where groups generally excluded from the Israeli stage—Arabs, women, the poor, the elderly—can be seen and heard. Chilton's pioneering “theatre of testimony” bears a striking resemblance to recent documentary theatre practices proliferating in the U.S. and Europe.
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Story, Brett, Michelle Brown i Eamonn Carrabine. "The Prison in Twelve Landscapes: An interview with film producer and director Brett Story". Crime, Media, Culture: An International Journal 13, nr 1 (26.09.2016): 107–13. http://dx.doi.org/10.1177/1741659016669192.
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Goryachok, K. L. "Dziga Vertov and Walt Whitman: Poetic Image in Documentary Films". Discourse 8, nr 1 (25.02.2022): 51–63. http://dx.doi.org/10.32603/2412-8562-2022-8-1-51-63.
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Introduction. The article is devoted to the little-studied issue of the influence of the American poet Walt Whitman on the work of the Soviet film director Dziga Vertov. The creative world of films and literary experiences of the documentary filmmaker is largely inspired by the images of American poet.Methodology and sources. On the basis of Vertov`s scripts, poems and archival documents, author analyzes the phenomenon of the director`s dialogue with Whitman and his poetry. In a comparative analysis of the aesthetics of the two artists, revealed that the philosophical ideas and imaginative system of the American poet were objects of artistic reflection on Vertov`s documentary films.Results and discussion. The article analyzes the leitmotifs of the work of Dziga Vertov, which, according to the author, were born under the great influence of the poetry of Walt Whitman. The imagery and ideas of the American poet`s works emerged in the director`s texts in the early 1920s. In his first manifestos Vertov introduced the image of an “electric man”, which in many ways correlates with the analogous one in Whitman`s lyrics. The author also points out that the Old Testament Adam appears in the texts and verses of Vertov under the direct influence of the American. The article examines the model of state and society in the works of Vertov and Whitman. The author finds similarities between the two artists in relation to the individual, the desire for equality and emancipation, the search for a spiritual principle in collectivism. The images of Lenin and Lincoln are analyzed separately. The semantic parallels between them in the poetics of the Vertov and Whitman are revealed and shows their direct comparisons in the genre, imagery and approaches.Conclusion. Analysis and comparison of images and motives of the work of Dziga Vertov and Walt Whitman allows to reveal new facets of the artistic world of the Soviet film director. The author notes that the ideological basis of his paintings often hid genuine creative intensions to search for intertextuality, to reveal the poetic image in documentary film.
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Cass, Philip. "REVIEW: Noted: Documentary exposes dark side of Tongan diaspora". Pacific Journalism Review : Te Koakoa 25, nr 1&2 (31.07.2019): 314. http://dx.doi.org/10.24135/pjr.v25i1and2.497.
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Gangsters in Paradise—The Deportees of Tonga. Documentary. 2019. Director: Ursula Williams. Vice/Zealandia.‘IT’S LIKE crabs being stuck in a bucket scratching each other to get out.’‘It’s like rubbish dumping.’Those are two views about the crisis facing Tonga as countries like the United States, Australia and New Zealand deport criminals to the kingdom.
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Demidko, Olha. "The phenomenon of documentary theater and its influence on the theater culture of Ukraine". Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 11, nr 22 (2021): 45–51. http://dx.doi.org/10.34079/2226-2830-2021-11-22-45-51.
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In scientific work it is determined that modern theatrical art needs new forms and directions. It is proved that documentary theater meets the challenges of today. Both the history of documentary theater and its main theoretical principles are analyzed. The relevance of documentary performances for Ukrainian society is substantiated. The main features of documentary performances in Ukraine, their subject matter and orientation are revealed. The performances raised the topics of bullying, school problems, war, attitude to the older generation and the political situation in the country. It is established that in the documentary theater there is no place for fiction and interpretation, because the director has a task to show the world around him real, based only on specific events and remarks of their eyewitnesses. Documentary theater is a constant search in the field of art, ethical and aesthetic, form, social and political contexts. In such a theater, everything depends on the project, the specific work. There is, of course, the director's idea that the playwright works for, but in the last few years, the playwright has often worked on an equal footing with the director, choreographer, and composer - horizontal connections, communication and discussion of ideas from which the play is born. This type of art is characterized by political and social orientation. Documentary theater is characterized by discussions after the performance, during which the audience and actors exchange personal observations and impressions of what they saw on stage. Such interactivity allows completely different people to talk to each other and jointly comprehend their identity. The use of ready-made documentary performances during the study of culturological disciplines is offered. It is concluded that documentary theater has gained popularity at the turn of XX-XXI centuries. Today it is on the border of art and social projects. Thanks to such performances, it is possible to raise topical issues and touch the most painful points
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Etchells, Tim. "Instructions for Forgetting". TDR/The Drama Review 50, nr 3 (wrzesień 2006): 108–30. http://dx.doi.org/10.1162/dram.2006.50.3.108.
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The director of Forced Entertainment discusses a particular strand of documentary performance work by his Shefffield-based ensemble. The performance text of Instructions for Forgetting is a collection and collage of text material by Etchells himself and letters, stories, and videos sent to him by friends. This experimental documentary is a performance essay on the topic of stories and their importance to the making and understanding of the world.
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Zylberman, Lior. "The Missing Picture - Film Review, Director: Rithy Panh, Documentary Cambodia/France, 2013". Genocide Studies and Prevention 8, nr 3 (październik 2014): 103–5. http://dx.doi.org/10.5038/1911-9933.8.3.10.
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Stezhko, N. G. "The history of television documentary drama genesis, its ontological characteristics". Proceedings of the National Academy of Sciences of Belarus, Humanitarian Series 63, nr 4 (31.10.2018): 482–89. http://dx.doi.org/10.29235/2524-2369-2018-63-4-482-489.
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The article analyses the genesis of television documentary drama and its dual nature that causes much controversy among film theorists. The ontological characteristics of docudrama are considered, in particular its intrinsic connection with documentary theatre. Docudrama originated at the junction of feature films and documentary films at the time when directors raised important social and historical issues that occurred in the state. The docudrama prototype emerged long before the invention of television and is associated with the first newsreels and films of E. Curtis and R. Flaherty. This experiment had developed greatly with the advent of television, which is characterized by a combination of intimacy, focus on close-ups and the ability to tell stories based on real events. The article highlights the formation of documentary drama on BBC that explored all spheres of life with great interest - from British culture and history to social and political topics. The article traces the popularity and relevance of docudrama at the present stage and its settlement into a stable form. This allows to establish docudrama as an independent form of screen arts. The article studies also the formation and development of docudrama in Belarus that is first of all connected with the director Vladimir Bokun.
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Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”". Advances in Education, Humanities and Social Science Research 1, nr 3 (30.01.2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.
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"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology involved. This article through to the concept of pseudo documentary definition, origin and classification analysis, "The Possessed", for example, from the structure of the film the real context technique and USES the imaginary space of the narrative Angle of view to create two aspects, to illustrate how the pseudo documentary its style characteristics under the guidance of the theory of thematic to complete the actual filming and production, In this way, we will discuss what the film is worth learning and drawing lessons from and explore the innovation of the film director. Consider how domestic horror films should localize the emerging film form, how to rely on the form of "pseudo-documentary" to deepen the level of horror, so that the audience can experience the immersive film watching experience.
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Williams, Rua M. "Review of David James Savarese (Producer) & Robert Rooy (Director, Producer), Deej (2017)". Canadian Journal of Disability Studies 8, nr 3 (24.05.2019): 165–68. http://dx.doi.org/10.15353/cjds.v8i3.513.
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‘Deej’ is a documentary film which throws popular assumptions about non-speaking autistics’ capacities into sharp relief-- exposing viewers to their biases and preconceptions-- challenging audiences to reframe what they think they know about people which society has labeled 'unincludeable'.
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Rampling, Jeremy. "Waltz with Bashir (2008; director/writer: Ari Folman)". British Journal of Psychiatry 207, nr 3 (wrzesień 2015): 220. http://dx.doi.org/10.1192/bjp.bp.115.163022.
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Ari Folman's Waltz with Bashir is an animated documentary about the 1982 Lebanon War through the eyes of Israeli Defence Forces (IDF) veterans. The narrative, which follows Folman on a quest to uncover his lost memories of the War through interviews with his peers, plays out like psychotherapeutic intervention; Folman questions his own responsibilities, his hereditary scars and, ultimately, his guilt as he ‘unwillingly [takes on] the role of the Nazi’. While it would be disingenuous to call the film apolitical, it is not as political as one might expect from such evocative history. Rather, it is a treatise on memory and psychological survival through predominantly neurotic defence mechanisms.
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Tengku Sabri, Tengku Intan Maimunah. "Filming Visual Artist Biopic: Reflections on the Making of Short Documentary Dark Drawings Unpacked". International Journal of Creative Multimedia 1, nr 1 (18.05.2020): 51–64. http://dx.doi.org/10.33093/ijcm.2020.1.1.7.
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This article reflects on my experience in making the short documentary Dark Drawings Unpacked (2019). The documentary explores the life of a Malaysian artist, Tengku Sabri Tengku Ibrahim after a stroke attack. Essentially an artist biopic, the documentary traces the various implications of stroke pertaining to the artist’s life and work, including immobility and post-stroke depression. The documentary also unpacks the underlying themes of the artworks Dark Drawings as well as advances understanding on the artist’s struggles with stroke, sanity, and God. Finally, the documentary emphasizes the importance of art as an effective medium of expression for the chaotic and creative minds. This paper further attempts to reflect on the ways in which me as the director tackled challenges such as the artist’s personality representation, visualization of the artistic creation process, the relation between the style of the documentary and that of the artist portrayed, and the challenges of audio narration and editing. Finally, the article concludes that the documentary serves as a cinematic history of the artist, captures the universality of his experiences, and illustrates the many ways in which art was, and remains, a powerful medium for healing and expression
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Khor, Denise. "History before and behind the Camera: An Interview with Renee Tajima-Peña". Film Quarterly 74, nr 1 (2020): 21–29. http://dx.doi.org/10.1525/fq.2020.74.1.21.
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On the occasion of the highly anticipated PBS/WETA documentary, Asian Americans, Denise Khor offers a comprehensive career overview of Renee Tajima-Peña, executive producer of the landmark series. Tajima-Peña is best known for her work as a director on films including Who Killed Vincent Chin? (1987, with Christine Choy) and My America… or Honk if you Love Buddha (1997), but her behind-the-scenes, institutional achievements are also significant. As the co-founder of NAATA/CAAM (Center for Asian American Media) and the first paid director of Asian CineVision, Tajima-Peña developed some of the most important organizational infrastructures to support independent Asian American filmmaking. Khor's interview with the filmmaker looks back at the radical history of independent filmmaking by Asian Americans and the sorts of filmmaking practices and collaborations shaping Tajima-Peña's past and present documentary work.
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Ouyang, Yuxin. "Warm and Realistic, Romantic Yet Cruel ——On the Master of Cinema Giuseppe Tornatore". Learning & Education 10, nr 2 (16.09.2021): 114. http://dx.doi.org/10.18282/l-e.v10i2.2296.
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The famous director Giuseppe Tornatore was born in beautiful Sicily, Italy, and has a high reputation among international film directors as the inheritor of Italian neorealism. His Time Trilogy is the foundation of his position in the film industry, Cinema Paradiso, The Beautiful Legend of Sicily, and The Legend of 1900, all of which have a strong romantic style. With his warm and realistic approach, Tonatore’s romantic yet cruel stories have touched countless audiences. In a sense, every work of a writer or a director has autobiographical overtones in it. Many of his works are strongly biographical, and the documentary style in his films is his way of asserting himself. This article will take his films as an entry point to explore the artistic approach and ideological qualities of Tonatore’s cinema.
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Castelli, Elizabeth. "Interview with Adele Horne, Director of 'The Tailenders' (2006)". Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 2, nr 2-3 (14.03.2008): 316–27. http://dx.doi.org/10.1558/post.v2i2.316.
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The Tailenders is a feature-length documentary written and directed by Los Angeles-based independent filmmaker Adele Horne. The film introduces viewers to Global Recordings Network (GRN), an evangelical Christian missionary organization devoted to translating Bible stories into all of the languages of the world. Focusing on oral transmission by working with native speakers of indigenous languages, GRN makes recordings of the stories and distributes them in low-tech formats using “hand-crank” technologies. The film emphasizes the linkages between Christian missionary groups and processes of capitalist globalization, between Protestant values and the technologies of modernity.
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David, Mirela. "Hooligan Sparrow: Representation of sexual assault in Chinese cinema, feminist activism and the limits of #MeToo in China". Asian Cinema 32, nr 1 (1.04.2021): 55–73. http://dx.doi.org/10.1386/ac_00033_1.
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Hooligan Sparrow breaks with many taboos in Chinese cinema. It is the first internationally acclaimed documentary by a Chinese female director to centre upon investigating the activities of Ye Haiyan, a Chinese sex and women’s rights activist, as well as to address the politically sensitive topic of sexual assault in China. This is the first study to examine the cinematic contributions of Wang Nanfu and Ye Haiyan’s activism and feminist writings posted on Ye’s online social media accounts on Sina Weibo and Twitter. I unpack the power dynamics in this documentary as well as the interplay between the filmmaker’s subjectivity and the female rights activist’s subjectivity. This study also investigates how masculine aesthetic representations of sexual assault in Chinese cinema have blurred the issue of consent and shows how the subjectivities of female directors like Wang Nanfu and Vivian Qu bring more impactful representations of sexual violence in Chinese cinema.
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Filewod, Alan. "The Interactive Documentary in Canada: Catalyst Theatre's Its About Time". Theatre Research in Canada 6, nr 2 (styczeń 1985): 133–47. http://dx.doi.org/10.3138/tric.6.2.133.
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Catalyst Theatre's 1982 production of It's About Time, an interactive performance for prison inmates, was a major development in political theatre in English Canada. In its theatrical techniques, the play resembled the 'theatre forum' of the Brazilian director Augusto Boal, but Catalyst's form of interventionist theatre developed independently of parallel forms elsewhere. An analysis of It's About Time compares Catalyst's techniques with Boal's more well-known model of interactive political theatre.
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Lutherová, Soňa G. "“Do not use the word anthropology!”: On the struggle of artistic and scientigic selves in anthropological film-making". Human Affairs 31, nr 3 (1.07.2021): 276–89. http://dx.doi.org/10.1515/humaff-2021-0023.
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Abstract In our everyday lives, we often have to blend our different roles and various selves. Sometimes, they coexist in harmony. But there are times when they come into conflict, and we have to make a significant effort to get them back in balance. This paper focuses on my scientific/artistic practice in anthropological documentary film-making. Drawing on two films I have directed, I reflect on situations where I needed to compromise my different roles and perspectives on the film set and beyond. My actions and decisions have drawn on anthropological principles in documentary film-making. Through my autoethnographic reflection, I have come to the inevitable conclusion that in anthropological film-making, anthropology cannot be dominant nor submissive to storytelling. It should be the principle that guides the author (director) in achieving their focus and in creating the meaning of the story.
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Ostmeier, Dorothee. "The Aesthetic Hyper-Object in Experimental Short Film Practices: Lina Sieckmann and Miriam Gossing’s Art Documentaries". Konturen 12 (2022): 47–72. http://dx.doi.org/10.5399/uo/konturen.12.0.4915.
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Short experimental films by the German female director duo Lina Sieckmann und Miriam Gossing put domestic environments on cinematic display in new and challenging ways. The essay discusses the links between the films’ documentary agendas, surreal visual montages, and poetic feminine voice-overs. Selected films are placed into dialogues with Michael Renov’s concept of aesthetics in documentary film and Timothy Morton’s notion of the “hyperobject.” This theoretical framework highlights the tensions between the films’ powerful aesthetics and feminine queer desire as they decenter socially ingrained dualisms.
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Quarmby, Kevin. "“Would they not wish the feast might ever last?”: Strong Spice, Oral History and the Genesis of Globe to Globe". Multicultural Shakespeare: Translation, Appropriation and Performance 11, nr 26 (30.12.2014): 17–30. http://dx.doi.org/10.2478/mstap-2014-0003.
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The 2012 Globe to Globe Festival proved a great success. Actors, directors, musicians, dancers, designers and technicians travelled from all over the world to perform on the Globe stage. Visitors to London’s Cultural Olympiad enjoyed six jam-packed weeks of Shakespeare, presented in an array of international languages. The Globe’s Artistic Director, Dominic Dromgoole, and his Festival Director, Tom Bird, had achieved what seemed, to many, the impossible. Nonetheless, filmed interviews with Dromgoole and Bird, conducted during the festival by the American documentary-maker Steve Rowland, offer tantalizing insights into the genesis of the festival venture. These candid interviews confirm the sometimes farcical, often exhausting, but invariably serendipitous truth behind the Globe to Globe Festival’s short, intense history. Although the Globe was “flying completely blind,” it still succeeded in hosting a glorious feast of Shakespearean delights, seasoned with the strong spice of multiculturality.
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Demeshchenko, Violeta. "From Theater to Cinematography: Creative Search of Les Kurbas". Culturology Ideas, nr 18 (2'2020) (2020): 109–19. http://dx.doi.org/10.37627/2311-9489-18-2020-2.109-119.
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The article examines the artistic path and creative pursuits of Les Kurbas, the Ukrainian and soviet director, who undoubtedly remains an outstanding figure in the history of Ukrainian cultural life in the 1920s and 1930s. He was the founder of Ukrainian political theater, and later philosophical theater; also fruitfully worked in early cinematography. The article emphasizes the relevance of studying the creative work of the director, his original creative method of educating actors nowadays. In his own way, Kurbas became a standalone theatrical institute for young people, raised more than four dozen professional directors who later became theater managers and directors of Ukrainian theaters, teachers. The director created Ukrainian theater and cinema school of acting; his innovative artistic ideas still remain relevant today. He developed his own aesthetic-theatrical concept of conditional-metaphorical theater based on life itself. Being the man of art, Kurbas influenced the formation of stage constructivism in Ukrainian theatrical art. In addition to the positive memories of his contemporaries, we also encounter some legends, various testimonies and assessments of events of that time, which create a certain mythological space around the artist. Hence, today we need to carefully analyze numerous documentary evidence, facts, memoirs, literary and theatrical sources, as well as try to be objective in reconstructing events and reflecting on the fate and work of the director.
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Zlobina, O. N., i G. Yu Vorozhtsov. "DOCUMENTARY FROM TRANSLATION PERSPECTIVE (BASED ON THE TRANSLATION OF THE DOCUMENTARY “A LIFE IN JAPAN”)". Russian Journal of Multilingualism and Education 12 (25.12.2020): 126–34. http://dx.doi.org/10.35634/2500-0748-2020-12-126-134.
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The article discusses one of the problems of audiovisual translation – translation of documentary films, taking “A Life in Japan” by a Swedish director Petri Storlopare as an example. The choice of the film was determined by the presence of difficult situations from the point of view of translation, as well as by the lack of Russian translation. The paper considers typical characteristics of an operational interview which is an important constituent of the film under study. Special attention is given to the problem of synphase in voice-over translation. The topic is relevant as there are no fundamental theoretical papers devoted to translation of documentaries, both in domestic and foreign translation studies. The main goal was to consider the existing algorithms and strategies of audiovisual translation and to find the most optimal ways of translating the definite documentary film. We employed the following methods of analyzing the data: comparative analysis, lexicographic analysis, contextual analysis and communicative analysis. The conducted research allows to define the main problems of translating documentaries, they include transmitting the meaning of realia of another country’s culture and solving the “phase shift” problem when syncing the text in voice-over translation. In this paper we tried to account for our own translation solutions. The research has shown that it is possible to achieve adequacy of translation by using compression, a certain set of transformations and techniques for transferring the meaning of culturally marked lexical units.
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Zlobina, O. N., i G. Yu Vorozhtsov. "DOCUMENTARY FROM TRANSLATION PERSPECTIVE (BASED ON THE TRANSLATION OF THE DOCUMENTARY “A LIFE IN JAPAN”)". Russian Journal of Multilingualism and Education 12 (25.12.2020): 126–34. http://dx.doi.org/10.35634/2500-0748-2020-12-126-134.
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The article discusses one of the problems of audiovisual translation – translation of documentary films, taking “A Life in Japan” by a Swedish director Petri Storlopare as an example. The choice of the film was determined by the presence of difficult situations from the point of view of translation, as well as by the lack of Russian translation. The paper considers typical characteristics of an operational interview which is an important constituent of the film under study. Special attention is given to the problem of synphase in voice-over translation. The topic is relevant as there are no fundamental theoretical papers devoted to translation of documentaries, both in domestic and foreign translation studies. The main goal was to consider the existing algorithms and strategies of audiovisual translation and to find the most optimal ways of translating the definite documentary film. We employed the following methods of analyzing the data: comparative analysis, lexicographic analysis, contextual analysis and communicative analysis. The conducted research allows to define the main problems of translating documentaries, they include transmitting the meaning of realia of another country’s culture and solving the “phase shift” problem when syncing the text in voice-over translation. In this paper we tried to account for our own translation solutions. The research has shown that it is possible to achieve adequacy of translation by using compression, a certain set of transformations and techniques for transferring the meaning of culturally marked lexical units.
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Sartori, Caterina. "Film review of ‘PUSH’: A documentary by Fredrik Gertten". Radical Housing Journal 2, nr 1 (4.05.2020): 207–9. http://dx.doi.org/10.54825/cdln8892.
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Push is a film of great ambition and great skill. Director Fredrik Gertten takes on the global housing crisis, and aims to uncover and expose the systemic forces that increasingly make contemporary cities unaffordable to working and middle class residents. The concept of gentrification no longer seems useful in this quest, and Gertten is looking for a new language to speak of the phenomenon. It is notoriously difficult to make cinematic, gripping films about the inner workings of the economy, and Gertten skilfully uses every trick in the filmmakers’ hat to produce an engaging and relatable work that carries the audience along and makes a complex but digestible argument.
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Iacobuţe, Petronela-Ramona. "The “Here and Now” Theatre". Theatrical Colloquia 8, nr 2 (1.12.2018): 355–58. http://dx.doi.org/10.2478/tco-2018-0026.
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Abstract Those who work in today’s theatre are extremely connected to reality. Everything is alive, in a constant change. Many artistic themes are carefully documented from reality, because documentary theatre is, in fact, a mirror of contemporary society. At the beginning of the 21st century, a new generation of theatre directors appeared in Romania, some of them very promising. They did not wait for celebrity and recognition to come get them, but instead they tried to find answers to the Romanian theatre of the future. And, it seems that a possible response was the building of the dramAcum movement. Among the founding artists of the dramAcum movement, the most active is Gianina Cărbunariu, director and playwright. The latest show directed by Gianina Carbunariu, Work in progress, a staging on the changing working conditions well documented from real cases, premiered in 2018.
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Butrón Gardida, Ivette. "Diagnóstico en torno al proceso de evaluación en la gestión del director escolar desde la socioformación". FORHUM International Journal of Social Sciences and Humanities, nr 2 (31.01.2020): 32–52. http://dx.doi.org/10.35766/jf20224.
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The article has the purpose of evaluating the management performance of the principal of the private elementary school based on the guidelines of the Ministry of Public Education of Mexico from the socioformation. This approach is shown in a field study conducted to the preschool's principal through which the importance of the directive management for school performance is explained in the rubric application result. For this, a documentary analysis based on the organization of the documentary information in articles of indexed journals and published books was carried out. The result was the evaluation of the abilities of the school principal understood as the global actions for institutional development. These skills for management, allow the school principal with his leadership to promote the training of students, teachers and administrative staff, to link the school with the community.
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Sapija, Andrzej. "“The Intensity of Looking” at Karabasz, 2018". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, nr 33 (25.03.2019): 166–78. http://dx.doi.org/10.14746/i.2018.33.14.
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The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a thread connecting the author and the protagonist of the film, something that binds them together during work on the film, and sometimes lasts much longer. The three variants of what initiates the process of making a particular documentary film are as follows. The first is an encounter with a person who could be a character in a documentary film. The second is a thought, idea or problem that a filmmaker wants to address and discuss in a documentary by means of a certain character and story. The third is a return to a character who had been portrayed in a previous documentary film, to tell more about him or her. All three of these variants were the case in the making of Andrzej Sapija’s Intensity of Looking.
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Merewether, Janet. "Filming Non-Normative Embodiment: Power, Sexuality and Genetic Difference inJabe Babe – A Heightened Life, a Documentary about a Dominatrix with Marfan Syndrome". Somatechnics 1, nr 2 (wrzesień 2011): 334–56. http://dx.doi.org/10.3366/soma.2011.0023.
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This article will examine the ethical and directorial challenges faced by the documentary filmmaker when collaborating with a central subject who lives with a potentially fatal genetic condition, whilst pursuing a career as a professional dominatrix. What modes of representation and collaboration are open to the director, when artificial boundaries and television genre categorisations such as ‘the science documentary’, ‘the biography’ and the fetish or ‘porno film’ seem limiting? Jabe Babe – A Heightened Life ( Merewether 2005 ) seeks to collapse and merge these conventionally distinct practices by developing a hybrid mode of representation, provoking questions about society's desire for sexual, visual, and genetic conformity.
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Boonpromkul, Phacharawan. "Of Grizzlies and Man: Watching Werner Herzog’s Grizzly Man Through an Ecocritical Lens". MANUSYA 18, nr 2 (2015): 28–43. http://dx.doi.org/10.1163/26659077-01802002.
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The documentary film Grizzly Man (2005), directed by Werner Herzog, is of special interest among ecocritics and environmental advocates because it deals directly with the topic of wildlife depiction, conservationism and, above all the interspecies relationship between grizzlies and man. This article investigates five problematic elements of Grizzly Man as an ecological film: the wildlife documentary as a genre, the highly controversial figure of Timothy Treadwell who produced the original footage, the grizzlies in the background, the voice and hand of the director Herzog in this film, and the film’s ending. The analysis of these five areas may deepen the audiences’ understanding of both the film and the ecocritical approach to literature. Apart from highlighting certain contradictions in the film’s ecological message and its representation of wild animal, the article tries, in its conclusion, to examine the film’s potential to generate environmentally positive responses and create a better understanding of both wildlife and the key human figure in this film.
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Gott, Michael. "“Everything Happens Fast”". Transfers 5, nr 1 (1.03.2015): 131–34. http://dx.doi.org/10.3167/trans.2015.050113.
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Il sorpasso, Italy, 1962; Mario Cecchi Gori (producer); Dino Risi (director), Dino Risi, Ettore Scola, and Ruggero Maccari (screenplay); starring Vittorio Gassman and Jean-Louis Trintignant. 2014 DVD release by the Criterion Collection includes new English subtitle translation, interviews, essays, excerpts of a documentary, and an introduction by filmmaker Alexander Payne.
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VICARI, JUSTIN. "Dog Days (Hundstage)". Film Quarterly 60, nr 1 (2006): 40–45. http://dx.doi.org/10.1525/fq.2006.60.1.40.
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ABSTRACT In Dog Days, graphic sex and violence are presented as the only elements in life that are not banal, prepackaged ““factoids.”” Observing his documentary-like tapestry of characters in various stages of coupling and uncoupling, director Ulrich Seidl suggests that sadomasochism could almost be considered an inevitable, universal condition.
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Kirillova, Natalia B. "“Provincial” Cinema on Global Orbits". Journal of Flm Arts and Film Studies 8, nr 4 (15.12.2016): 84–96. http://dx.doi.org/10.17816/vgik8484-96.
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The author explores important aspects in the development of Russian post-Soviet film art, basing on the Ural school of cinema, which sprang into being in 1943 with the start of Sverdlovsk Film Studios. The "golden age" of Ural cinema unfolded in the 1960s-1980s - the span when the Ural cinema traditions were shaped; when this flourishing manifested itself in all cinema genres and trends: fiction, documentary and educational cinema, as well as in animation. Both film professionals and viewers were very much familiar with the names of such directors as: Ya. Lapshin, O. Nikolayevsky, V. Khotinenko; documentary directors A. Litvinov, B. Galanter, L. Rymarenko and V. Volyanskaya, A. Baluyev, S. Miroshnichenko, I. Persidsky and others. Ural school of animation achieved global relevance with the works of such artists as A. Karayev, V. Petkevich, A. Petrov, O. Cherkasova, etc. After facing economic and creative crisis on the cusp of the 20th and 21st centuries, and even passing a stage of "clinical death", Ural cinema had not only survived, but achieved a new avant-garde position within the cinema world and expanded internationally. During this period Sverdlovsk Film Studios lost its monopoly within Ural cinema production with the new studios appearing on the regional cinema map: A-Film, Ural-Film, February 29, Snega, Kinokhronika OOO, Ethnographicheskoye Byuro and others. Post-Soviet cinema arena of Ural ushered in the new names of film professionals, who were the part and parcel of contemporary cinema avant-garde: Alexey Fedorchenko (director and producer), Vasily Sigarev (playwright, film director and producer), animators Sergey Aynutdinov, Nina Bisyarina, Oksana Cherkasova and others.
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Bezerra, Cláudio, i Arline Lins. "The documentary as a democratic practice: an interview with the canadian director Katerina Cizek". DOC online - Revista Digital de Cinema Documentário, nr 23 (30.03.2018): 256–61. http://dx.doi.org/10.20287/doc.d23.en01.
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