Rozprawy doktorskie: „Documentary ethics”

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Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film". Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.

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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.

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Schilt, Paige Eileen. "Fables of authority : ethics, power, and authenticity in contemporary documentary film /". Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.

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Lingwood, James R. "Dancing in the Slaughterhouse: Negotiations Between Documentary Filmmaker and Subject". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/398875.

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Through the critical and in-depth investigation of the production of my feature documentary film Father Joe and the Bangkok Slaughterhouse (2008–2019), and the short film Through the Eyes of Children (2008–2019), this exegesis explores the roles that trust, morals, and ethics play in negotiations between a documentary filmmaker and their subject in regard to the subject’s on-screen representation. It further investigates how these factors, in turn, inculcate the theme, content, and outcome of documentaries. Through the Eyes of Children, filmed in Bangkok and Australia, is a thirteen minute film commissioned by Little Dot Studios, UK, and is to be considered as one of my key creative outputs as well as a proof-of-concept film for the longer feature documentary. The film is also part of the ten-year process of filming in and around the Mercy Centre and the slums of Bangkok. The feature documentary film, Father Joe and the Bangkok Slaughterhouse, although 75% shot, has not yet been completed. The process of attempting to produce this film constitutes a significant part of my research and reflection. Other key creative outputs include rough cut video clips, trailers and promos. The script/treatment written for this project is also part of my final creative output (see Appendix 1). In my view, the ever-increasing growth and insatiable appetite for confronting and sensationalised media content has arguably resulted in an exponential rise in more ethically critical material. Therefore, I believe it is timely to reflect on how documentary filmmakers are representing this material and the subjects involved. A lack of ethical awareness on the part of a documentary filmmaker can have significant and disastrous implications, such as a subject withdrawing from the project or taking legal action following the distribution of the film. The balance of power between the filmmaker and subject is complex and, in my case, has been evolving for over ten years. This longevity has reinforced and consolidated the relationship between my subject (Father Joe Maier) and I, creating a strong creative and symbiotic bond that has eased the filmmaking process and alleviated certain anxieties. The depiction of influential and iconic subjects can often lead to miscommunication, power struggles, and escalating conflict. In this exegesis, I investigate ways in which these problems can be avoided and resolved. Recognising and managing anxiety for both subject and filmmaker reduces possible situations of misunderstanding and potentially harmful consequences. Some of the questions that I reflect upon in this exegesis are: What roles do trust and friendship play in the process of establishing the filmmaker–subject relationship? How can tensions and anxieties between creative freedom and editorial control be best managed? What parameters are at a filmmaker’s disposal to avoid legal disputes? How do filmmakers reconcile moral and ethical decisions in the disclosure of confidential and sensitive information? How does the perception of power influence the creative and cultural decisions of the filmmaker? And, in my case, how do I transform from being a white ‘farang’ outsider in a Thai slum to having inner sanctum ‘insider’ status while maintaining an objective perspective?
Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Blackall, David. "John Perceval an ethical representation of a delinquent angel /". Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20050215.154037/index.html.

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Thesis (Ph.D.)--University of Wollongong, 2004.
Typescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.

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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins". Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.

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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience. Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism. The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.

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Melzer, Kym M. "Impact and Documentary Filmmaking: Ethical Reflections On A Practice Based Study". Thesis, Griffith University, 2019. http://hdl.handle.net/10072/387285.

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In this exegesis I examine my creative project, a series of seven short documentary films entitled The Ripple Effect of PTSD (Melzer 2016a), and its impact on community, on the film participants, and on me as a filmmaker. The films document the experience of caregivers and family members of veterans with Post-Traumatic Stress Disorder (PTSD). The exegesis is framed by the literature on ethics and documentary film. In the first data chapter, I detail the work of building a community for my films, engaging with impact partners and producing a series of educational videos about PTSD. Also catalogued in this chapter is the success of the films. They were selected for film festivals, elicited positive feedback from the general public and were shared multiple times online. The following chapter discusses the impact of the creative project on the participants, highlighting their agency and empowerment as well as vulnerabilities. The discussion reveals the complex and multifaceted nature of power in documentary filmmaking. From impact on participants I move to consider the impact of the filmmaking process on me as a filmmaker drawing on the notions of ‘vicarious trauma’ and ‘emotion work/emotional labour’. I demonstrate that the fraught subject matter of the films, the distress of participants, and my novice status as a filmmaker exposed me to vicarious trauma. I further explain how different aspects of the filmmaking process, such as accessing and interviewing participants, and negotiating with the military, necessitated significant emotional labour. In the concluding chapter of the exegesis I highlight the key findings of research. Of particular importance is my illumination of the emotional dimensions of film production. I argue that quality documentary production requires significant emotional labour on behalf of a filmmaker, but the implications of this emotion work are rarely acknowledged in the literature. As such, I argue for the importance of expanding documentary filmmaking and ethics research to include a focus on the emotional health and wellbeing of the filmmaker.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Hart, Phoebe. "Orchids : intersex and identity in documentary". Thesis, Queensland University of Technology, 2009. https://eprints.qut.edu.au/29712/25/Phoebe_Hart_Thesis_redacted.pdf.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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Hart, Phoebe. "Orchids : intersex and identity in documentary". Queensland University of Technology, 2009. http://eprints.qut.edu.au/29712/.

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Orchids: Intersex and Identity in Documentary explores the creative practice challenges of working with bodies with intersex in the long-form auto/biographical documentary Orchids. Just as creative practice research challenges the dominant hegemony of quantitative and qualitative research, so does my creative work position itself as a nuanced piece, pushing the boundaries of traditional cultural studies theories, documentary film practice and creative practice method, through its distinctive distillation and celebration of a new form of discursive rupturing, the intersex voice.

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Jørgensen, Christine Sander. "Ethical Issues in Documentary Filmmaking - A Case Study of DR's Generation Hollywood". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22615.

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This thesis focus on ethical issues within documentary filmmaking in the largest broadcasting institution in Denmark. It is a case study of the documentary serial Generation Hollywood, produced by Danmarks Radio (DR) in 2016. DR has produced many documentaries, using same style and format as in Generation Hollywood. But something is different with this one, and the thesis aims to find out why this one stands out, from the presumption that ethical issues are involved. It examines the participants’ motives and expectations, DR’s intentions and how ethical issues affected the final product. In the attempt to understand the complexity of ethics, a small sample of interviews are conducted and analyzed and presented together with a partial content analysis. The notions of truth, authenticity, and representation are applied as the theoretical framework to understand: not merely ethical procedures, but underlying feelings possessed by the participants.The thesis brings to light that ethical issues are not only embedded in already established procedures but also caused by unforeseen circumstances and participants’ motives in relation to the project. The research shows how ethical issues affect the final representation, especially concerning authenticity. It also shows how a discrepancy between intentions and expectations, and the understanding of truth (in its start-up phase) impacts the process. Furthermore, it concludes that entertainment demands and modern technology can affect how filmmakers treat people when representing them and it explains how the line between the modern ‘everyday life’ documentary and Reality TV is seemingly blurred.

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Ribera, Deborah. "(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production". Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.

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Pantoja, Peschard Maria Jose. "The screen as a hospitable border : analysing the ethics, aesthetics and politics of documentary films about migration and border-crossing experiences". Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10724/.

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My project aims to sketch out a theoretical framework to think about documentary films about migration and border-crossings in terms of their political potential. Thus, this work seeks to address the question of whether and how it is possible for these documentaries to give rise to political and ethical relationships that are not directly sanctioned by the nation-state and its sovereign power. In order to do this, I first draw on Jacques Derrida’s proposal of an ethics and politics of hospitality as an alternative conceptualization of political relations that, instead of being determined by membership to a nation-state and geo-political borders, are based on relations of responsibility and solidarity amongst individuals regardless of their citizenship status. Secondly, I argue that Ariella Azoulay’s triadic model of photography exemplifies Derrida’s notion of the ethics and politics of hospitality. For Azoulay, photography can give rise to political relations between the photographed, the photographer and the spectators. Since these relationships are not mediated by the nation-state and are based on partnership, solidarity and equality, I claim that they are relationships of hospitality that are able to disrupt the hierarchies of the social order. Thirdly, I argue that Azoulay’s triadic model can be transposed to the form of documentary, but that this transposition needs to acknowledge the fact that photography and documentary are two different visual media. Finally, I expand my analysis of this transposition by examining three contemporary documentaries about migration and drawing on the work of Jacques Rancière, Hito Steyerl and Trinh T. Minh-Ha. I discuss how the political and ethical bonds between filmmaker, filmed subject and spectators are shaped by the form and stylistic features of each of these documentaries. I conclude that documentaries are like borders, interstitial spaces, where the question of politics converges with questions of ethics and aesthetics.

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Thompson, Angela M. "Ethics of seeing and politics of place : FSA photography and literature of the American South /". view abstract or download file of text, 2006. http://wwwlib.umi.com/cr/uoregon/fullcit?p3211227.

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Thesis (Ph. D.)--University of Oregon, 2006.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 211-224). Also available for download via the World Wide Web; free to University of Oregon users.

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Araújo, Juliano José de 1981. "Cineastas indígenas, documentário e autoetnografia : um estudo do projeto Vídeo nas Aldeias". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285321.

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Orientador: Marcius César Soares Freire
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Criado em 1986 pelo indigenista e documentarista Vincent Carelli, o projeto Vídeo nas Aldeias (VNA) objetiva fortalecer as identidades, patrimônios culturais e territoriais dos povos indígenas através dos recursos audiovisuais. O VNA atua como uma escola de cinema para os povos indígenas brasileiros por meio de oficinas de formação em audiovisual realizadas nas aldeias e na sede do projeto, em Olinda, no estado de Pernambuco. Desempenha também um papel fundamental como entidade responsável pela captação de recursos, produção e distribuição dos documentários. Nesse contexto, esta pesquisa analisa 28 documentários da série "Cineastas indígenas" realizados entre 1999 e 2011 no âmbito do projeto VNA. Trata-se de seis curtas-metragens e 22 médias-metragens de cineastas indígenas das etnias Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará e Xavante. Essa produção audiovisual de não-ficção é considerada como uma prática de autoetnografia no documentário, à medida que ao conceder a câmera para os indígenas lhes é permitido o que dizer, quando, onde e como filmar, a partir de uma perspectiva interna, na qual eles apresentam suas aldeias, seu cotidiano, sua história, suas festas e rituais, como também os problemas sociais que enfrentam. Nesse sentido, a tese propõe a categoria de documentário autoetnográfico para o corpus analisado, tendo como questões norteadoras: Quais são os procedimentos de criação, métodos de trabalho e condições de realização dos documentários autoetnográficos do projeto VNA? E as posturas éticas, opções estéticas e técnicas neles presentes? Qual a importância desses filmes para as comunidades indígenas que deles participam? Com que finalidade eles são realizados? A partir da análise fílmica, em uma perspectiva textual e contextual, isto é, estabelecendo um diálogo entre elementos internos (imagem, som etc.) e externos dos documentários (entrevistas com realizadores indígenas, equipe do VNA, sujeitos filmados, conceitos das teorias do cinema antropológico e documentário etc.), apresenta-se o estudo do corpus enfatizando, respectivamente, as dimensões ética, estética e política da produção audiovisual de não-ficção do projeto VNA. Considera-se essas três dimensões do discurso fílmico como fundamentais para se compreender melhor a categoria de documentário autoetnográfico que, para além de um conceito dos estudos pós-coloniais, acredita-se constituir em uma tomada de posição e reflexão do campo do cinema diante dos filmes dos realizadores indígenas. A análise dos documentários autoetnográficos do projeto VNA revela: um processo de realização cinematográfica (preparação, filmagem e montagem) no qual a autoria é compartilhada, sendo a ética um elemento presente em todas as etapas; o emprego e a modulação de diferentes gestos estéticos com uma forte influência dos cinemas direto/verdade, mas também questões que emergem com força na produção audiovisual de não-ficção contemporânea, como a encenação e o uso das imagens de arquivo; o papel político desempenhado pelos documentários, tendo em vista que se direcionam aos espectadores não-indígenas, seus enunciatários, para discutir a relação entre história oficial versus história não-oficial, a identidade e cultura indígenas, ou ainda para denunciar, reivindicar e lhes dar visibilidade
Abstract: Created in 1986 by the indigenist and documentary filmmaker Vincent Carelli, the project Vídeo nas Aldeias ¿ VNA (Video in the Villages) aims at reinforcing the identities, cultural and territorial patrimonies of indigenous peoples by means of audiovisual resources. VNA works as a cinema school and provides Brazilian indigenous peoples with workshops on audiovisual production, both in the villages and at the project headquarters, located in the city of Olinda, in the state of Pernambuco. It also plays a fundamental role as the responsible entity for the fundraising, production and distribution of documentaries. In this context, this research analyzes 28 documentaries from "Indigenous Filmmakers", a series produced by VNA from 1999 to 2011. This set of documentaries includes 6 short films and 22 medium-length films by indigenous filmmakers of the ethnic groups Ashaninka, Huni Kui, Kisedje, Kuikuiro, Mbya-Guarani, Panará, and Xavante. This nonfiction audiovisual production is seen as a practice of autoethnography inside the documentary: once the Indians are provided with cameras, they are also allowed to decide what to say, when, where and how to shoot. From an inner perspective, they present their villages, their daily life, their histories, their rituals and traditional events, as well as the social problems they face. That being said, this dissertation argues that the corpus analyzed in this work fit into the category of autoethnographic documentary and presents the following questions: What are the creation procedures, working methods and realization conditions involved in the production of VNA¿s autoethnographic documentaries? And what are the ethical stances, the aesthetic and the technical options presented by them? What is the importance of these films for the indigenous communities that take part in them? For what purpose are they made? The study of the corpus is based on filmic analysis, from textual and contextual perspectives, that is, establishing a dialogue between internal (image, sound etc.) and external (interviews with indigenous filmmakers, the VNA¿s staff, the filmed subjects, concepts from the anthropological cinema and documentary film theories etc.) elements of the documentaries. It also underscores the ethical, aesthetical and political dimension of VNA¿s nonfiction audiovisual production. These three dimensions of the filmic discourse are seen as fundamental for a better comprehension of the autoethnographic documentary ¿ a category which is not only a concept from the postcolonial studies, but also a way through which cinema takes a stance and reflects on the production of indigenous filmmakers. The analysis of VNA¿s autoethnographic documentaries reveals: a filmmaking process (preparation, filmmaking and montage) in which authorship is shared and the ethics an element present in all these steps; the employment and modulation of different aesthetic gestures, a strong influence from the direct cinema/cinéma vérité, alongside issues that emerge with force in the contemporary nonfiction audiovisual production, such as the staging and the use of archival footage; the political role played by the documentaries, since they are addressed to the non-indigenous public in order to discuss the relation between official and unofficial history, indigenous identity and culture, or even to denounce, claim and give visibility to indigenous peoples
Doutorado
Multimeios
Doutor em Multimeios

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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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McKessar, Anna Meredith. "Five hours with Raja ethics and the documentary interview : an exegesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Communication Studies (MCS), 2009 /". Click here to access this resource online, 2009. http://hdl.handle.net/10292/685.

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This thesis is a study of a young woman coming to terms with her grief. It unpacks how an invitation to film an unusual and life-changing event developed into an opportunity to question the ethics of the interview. It examines how the intricacies of a trust relationship influence the very threads and textures of the resulting documentary. This paper is a partnership between a practical documentary project and a more traditional written discussion. The documentary Five Hours with Raja is weighted at eighty per cent of the final thesis and the written exegesis makes up the remaining twenty per cent. Together these two elements investigate the developing relationship between Claudia – the documentary’s key protagonist, and the filmmaker, investigating how their relationship has affected the style, method, content and even the fundamental story line of a documentary. It also discusses the consequential ethical considerations and dilemmas behind creative and practical decisions, investigating ways that a filmmaker can draw the participant into the process to allow a greater degree of ownership, a stronger voice and a more immediate sense of intimacy with the final audience.

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Dias, Verônica Ferreira. "A construção da realidade - o estudo do processo criativo de Eduardo Coutinho na elaboração do documentário Santo Forte". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-23052013-104519/.

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A tese visa a comparar e analisar o material bruto de Santo forte com o filme lançado comercialmente para - por meio do estudo do processo de realização do documentário, das seleções e articulações de imagens e depoimentos - identificar o traço autoral de Eduardo Coutinho, sua metodologia (baseada na entrevista) e sua ética (voltada tanto para o \"ator social\", no sentido de preservar a imagem da pessoa e do personagem criado, quanto para o espectador, no sentido de explicitar no próprio filme sua forma de construção). Coutinho, ao escolher os participantes de seus filmes, leva em consideração a capacidade que a pessoa tem de contar bem suas histórias - capacidade essa que lhe permitirá criar personagens interessantes para seus filmes. Se por um lado, os participantes devem \"atuar com propriedade\" para a câmera, por outro, cabe a Coutinho estimular essa atuação. Para isso, o cineasta se vale de algumas estratégias para a realização das entrevistas: começa a entrevista naturalmente, tratando de temas gerais ou partindo de assuntos que possa ter em comum com o participante; fisicamente, fica próximo de seu interlocutor; não se prende a um roteiro de perguntas e, com isso, deixa o participante falar à vontade; procura os momentos apropriados para retomar os assuntos que julga ser mais interessantes; conta com pessoas na equipe que já tiveram contato com o participante; não deixa de responder um questionamento feito pelo personagem e nem entra em confronto com ele.
The aim of this thesis is to compare and analyze the unedited material with the commercial movie Santo forte to identify - by means of studying the documentary completion process, the selections and articulations of images and testimonials - the authorial trace of Eduardo Coutinho, his methodology (interview based) and his ethics (both directed to the \"social actor\", in order to preserve a person\'s image and the image of the character created, and to the \"spectator\", in order to explain in the movie itself the way it has been constructed). When selecting the participants for his movies, Coutinho takes into account the ability one has to fairly tell their stories - ability that will allow him to create interesting characters. On the one hand, if participants should \"act fittingly\" for the camera, on the other, it is Coutinho´s responsibility to stimulate this performance. To accomplish this, the movie maker uses some strategies for the interviews: starts the interview naturally, dealing with general themes or talking about subjects that he may have in common with the participant; he stays physically close to the interlocutor, he does not follow a script of questions, thus allowing the participant to speak freely; he looks for the appropriate time to resume the issues that he thinks are most interesting; he has the support of people on the staff who have had previous contact with the participant; he does not skip a question asked by the interviewed person and does not enter into confrontation with him.

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Baggio, Eduardo Tulio. "Da teoria à experiência de realização do documentário fílmico". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4610.

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The main objective of this research is the analysis of the experience of making a documentary film, considering the fundamental traditional theories of documentary filmmaking and also the thoughts of the documentary filmmakers. The starting point of it is that a problem was verified due to the low number of studies on filmmaking, especially on making documentaries, so it reaches up to this essential question: what does the experience of making a documentary film presents the theories do not contemplate? Some complementary objectives are the delimitation of the concept of documentary film, guided by realistic expectations and the organization of a theoretical framework on the thought of documentary filmmakers. The methodology is based on a comparative literature tracing that has three main theoretical routes. First, the realistic thinking that guides the conceptual definition of documentary that I work with, especially authors such as Charles Sanders Peirce and Ivo Assad Ibri, who allow the understanding of man's relationship with the world and its realistic representations, regardless of being filmic or not. Also, the theories of André Bazin, which consider a theoretical framework of realism in cinema, in his ontology of kinetic picture. Secondly, the theories of documentary filmmaking in its transit from the phenomenological perspective, through post- structuralism and coming to cognitive- analytic perspective, as proposed by Bill Nichols, Manuela Penafria, Carl Plantinga and Fernão Ramos. Finally, the thought of the documentary filmmakers, collected and organized in this work as theoretical proposals. The ten documentary filmmakers selected, following specific criteria are: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles and Pedro Costa. Given the prevailing relativism concept presented in film studies today, both in brazilian and international film documentaries, I propose a realistic understanding of documentarism, with contribution of the predominant theoretical trends related to their ethical and formal styles of interaction with the world of documentary filmmakers and their logical consequent of representation thoughts. With this presented, I could then get to the analysis of the realization process itself. The object of analysis of this research is the realization process of the documentary Santa Teresa, which was created for this research, and at it, analyzed. The performance runs the period between mid-2011 and the end of 2013
O objetivo principal da pesquisa é a análise da experiência de realização de um filme documentário, considerando como bases as teorias tradicionais do cinema documentário e o pensamento dos documentaristas. Parte-se do problema verificado quanto ao baixo número de pesquisas sobre realização fílmica, em especial sobre realização de documentários, e chegase até a questão essencial: o que a experiência de realização de um filme documentário apresenta que as teorias não contemplam? Tornam-se objetivos complementares a delimitação de um conceito de cinema documentário norteado por perspectivas realistas e a organização de um arcabouço teórico relativo ao pensamento de cineastas documentaristas. A metodologia de trabalho está fundada em um rastreamento bibliográfico comparativo que apresenta três percursos teóricos principais. Primeiro, o pensamento realista que norteia a definição conceitual de documentário com a qual trabalho, com destaque para autores como Charles Sanders Peirce e Ivo Assad Ibri, que permitem o entendimento da relação do homem com o mundo e suas representações realistas, independente de serem fílmicas ou não. Também, as teorias de André Bazin, que tratam de um aporte teórico do realismo no cinema, em sua ontologia da imagem cinética. Em segundo lugar, as teorias do cinema documentário em seu trânsito desde o viés fenomenológico, passando pelo pós-estruturalismo e chegando ao viés cognitivo-analítico, como proposto por Bill Nichols, Manuela Penafria, Carl Plantinga e Fernão Ramos. Por fim, o pensamento dos documentaristas, coletado e organizado no trabalho como propostas teóricas. Foram selecionados, seguindo critérios específicos, dez documentaristas: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles e Pedro Costa. Diante do relativismo conceitual predominante nos estudos de cinema documentário atuais, brasileiros e internacionais, proponho um entendimento realista do documentarismo, com aporte das tendências teóricas predominantes em seus pensamentos relacionados aos estilos ético-formais de interação dos documentaristas com o mundo e suas consequentes lógicas de representação, para então chegar à análise do processo de realização propriamente dito. O corpus de análise da pesquisa é o processo de realização do documentário Santa Teresa, realizado para a pesquisa e, nela, analisado. A realização percorre o período compreendido entre a metade de 2011 e o fim de 2013

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Řádková, Kristýna. "Vývoj fotografie a význam současné reportážní a dokumentární fotografie". Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-194523.

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This Master's Thesis is focused on evolution of photography with focus on photojournalism and documentary photography and aims to prove that this genre, though it may seem that it's currently on the decline, is still important. The theoretical part contains general history and definition of photography, pointing out the relationship between photography and art and describes the most important theories of aesthetics of photography. Then the work is focused purely on photojournalism and documentary photography. It describes the relationship and the difference between these genres. Further the thesis is focused on the ethics of photography and manipulation of images. The practical section consists of analysis of technical requirements on photo equipment with regard to individual areas of photojournalism and documentary photography. The following part contains practical examples based on author's experience and the work concludes with compilation of several Czech photographers' answers to questions about photojournalism and documentary photography.

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Pereira, Dieison Marconi. "DOCUMENTÁRIO QUEER NO SUL DO BRASIL (2000 A 2014): NARRATIVAS CONTRASSEXUAIS E CONTRADISCIPLINARES NAS REPRESENTAÇÕES DAS PERSONAGENS LGBT". Universidade Federal de Santa Maria, 2015. http://repositorio.ufsm.br/handle/1/6366.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
Through a queer perspective, this study aims to investigate the representations of LGBT characters in documentaries produced in southern Brazil between 2000 and 2014. By understanding sexuality as a historical device regulation and social order, we discussed how these films appear the representations of gender, body and sexuality of "abject subject" and how to take or not a counteraesthetics and resistance to sexed and gendered norms. Representations as anchors narratives contribute to understanding the processes of imagining and recognize each other, because every film produces representations submitted to the view of a self enunciator, that is, as others see us and design in the film portraits. Postulate that horizon, the intention of this work unfolds in: (1) investigate the ethical stances of the works to articulate the film universe, leading the meanings given to LGBT characters; (2) analyze how the technical and stylistic devices used in the documentary contribute or not to the subversions of discriminatory film portraits; and (3) understand what are the representations that this movie has figured to establish (and down) his speech and queer aesthetics. The choice of the timeline is justified, first, by demarcating the post resumption of Brazilian cinema (NAGIB, 2002). Second, the emergence of a more committed national films with various representations of LGBT people (GARCIA, 2012). Third, it is from the year 2002 there is a greater heating of the national documentary production (Maruno, 2008). And fourth, the configuration of the LGBT movement in the last decade, which struggle for media spaces - including the cinema to give social existence to his speeches against hegemonic (SIMÕES, FACHINI, 2009). 19 mapped movies, analysis procedures underlie the prior literature and the analysis method filmic representation of LGBT characters that make up the filmic scenarios. In the end, it was possible to infer that, in general, the mapped films and analyzed share of an organic commitment to represent these subjects differently, developing an alternative and opposed to negative and stereotypical representations speech, humanizing the subjects that were out of a possible "humanity." Representing these oppositions and resistances to the discourses of prejudiced order, the filmic representations advance, at times, for upgrades and (re) signification of a place that would serve only to reinforce a control and exclusion strategy. However, to constantly seek to oppose the discourses of prejudiced order, some of these movies fall into the trap of reframing representations of these people characters in hegemonic terms, valuing speeches and aesthetic sanitized and aseptic rather reinvent and circumvent the very discursive regime which elects and defines how LGBT should behave to achieve a status of "viable life". While others bet on an identity reification and some open onto views of homosexuality, travestilidade, transsexuality or bisexuality as real critical land deconstruction of sex / gender, representing these subjects through ethnic and identity model. However, there are those films that are not just concerned with opposing the stereotyped portraits, to draw up a positive image of LGBT or reduce your creativity to an identity reification. In addition, betting on a resistance representation is also counterproductive contrasexual and queer.
Através de uma perspectiva queer, este estudo tem por objetivo investigar as representações das personagens LGBT nos documentários produzidos na região Sul do Brasil, entre 2000 e 2014. Ao compreender a sexualidade como um dispositivo histórico de regulação e ordem social, problematizamos como estes filmes figuram as representações de gênero, corpo e sexualidades dos sujeitos abjetos e como assumem ou não uma estética contraprodutiva e de resistência as normas sexuadas e generificadas. As representações, enquanto âncoras narrativas, contribuem para compreender os processos de imaginar e reconhecer o outro, pois todo filme produz representações submetidas ao ponto de vista de um eu enunciador, isto é, como o outro nos vê e nos projeta em retratos fílmicos. Postulado esse horizonte, a intenção desse trabalho se desdobra em: (1) investigar as posturas éticas das obras para articular o universo fílmico, conduzindo as significações dadas às personagens LGBT; (2) analisar como os dispositivos técnicos e estilísticos utilizados no documentário contribuem ou não para as subversões de retratos fílmicos discriminatórios; e (3) compreender quais são as representações que este cinema tem figurado para estabelecer (e se estabelece) seu discurso e estética queer. A escolha do espaço temporal justifica-se, primeiramente, por demarcar a pós retomada do cinema brasileiro (NAGIB, 2002). Em segundo lugar, pelo despontar de um maior número de filmes nacionais comprometidos com representações mais diversas das pessoas LGBT (GARCIA, 2012). Em terceiro lugar, é a partir do ano de 2002 que há um maior aquecimento da produção de documentários nacionais (MARUNO, 2008). E em quarto lugar, pela configuração do movimento LGBT nesta última década, o qual luta por espaços midiáticos entre eles o cinema para dar existência social aos seus discursos contra-hegemônicos (SIMÕES; FACHINI, 2009). Com 19 filmes mapeados, os procedimentos de análise perpassam pela pesquisa bibliográfica prévia e pelo método de análise fílmica da representação das personagens LGBT que compõe os enredos fílmicos. Ao final, pôde-se aferir que, de modo geral, os filmes mapeados e analisados compartilham de um comprometimento orgânico em representar esses sujeitos de maneira diversa, elaborando um discurso alternativo e de contraposição às representações negativas e estereotipadas, humanizando os sujeitos que antes estavam fora de uma humanidade possível . Ao representar estas contraposições e resistências aos discursos de ordem preconceituosa, as representações fílmicas avançam, em alguns momentos, para atualizações e (re)significações de um lugar que serviria apenas para reforçar uma estratégia de controle e exclusão. No entanto, ao buscar constantemente se opor aos discursos de ordem preconceituosa, alguns desses filmes recaem na armadilha de ressignificar as representações dessas pessoas personagens em termos hegemônicos, valorizando discursos e estéticas higienizadas e assépticas (em vez reinventar e burlar o próprio regime discursivo que elege e define como as LGBT devem se comportar para alcançarem um status de vida viável ). Já outros apostam em uma reificação identitária e pouco se abrem para visões da homossexualidade, travestilidade, transexualidade ou bissexualidade como reais terrenos críticos de desconstrução do sexo/gênero, representando estes sujeitos através de um modelo étnico e identitário. No entanto, há aqueles filmes que não estão preocupados apenas em se opor aos retratos estereotipados, em elaborar uma representação positiva das LGBT ou reduzir sua criatividade a uma reificação identitária. Para além disso, apostam em uma representação de resistência que também é contraprodutiva, contrassexual e queer.

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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.

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Lago, Tainah Morais. "Mortes possíveis : análise de manifestações da morte no cinema documentário ocidental". Universidade Federal de Sergipe, 2016. http://ri.ufs.br:8080/xmlui/handle/123456789/3196.

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This research consists of a study about the manifestations of death on four films of the western documentary cinema: Les Maîtres Fous (1954), directed by Jean Rouch; Mondo Cane e Mondo Cane 2 (1962 e 1964), directed by Gualtiero Jacopetti e Franco Prosperi; e Nick’s Film: Lightning Over Water (1981), directed by Wim Wenders e Nicholas Ray. The filmic works here selected show different angles of mortality, approaching issues that go from the death of another person, marked by cultural otherness in relation to the filmaker, to the death inserted in a familiar context to the filmakers themselves. The exam undertaken about the set of movies is based in two fundamental elements in the filed of this cinematographic genre: the first is the insertion of the work in an ethical space sanctioned by society, the second refers to the indexation of the movie content as an assertive. The visual manifestation of death documented points to space constituted of concrete social relations that build up an appropriate basis, proportioning the questioning of moral order to the acts of producing and/or watching such images. It is important to clarify that the visual representation of death is produced through two elements: violence - practiced against a living body - and the dead body. Both elements are associated to the term when used in this study. The conceptions of death act in the structuring of the livelihood and, from this notion, historical data about the iconography of death in western society are retaken, from medieval ages to the present. The course of this trajectory of men’s confrontation with their own mortality, revealed by the different means of appropriation of the death referring to specific socio-historical groups, allows the perception of today’s notions associated to the issue as a result of a historical construction instead of absolute systematizations. From the principle that anthropology perceives cinema as a cultural product, the manifestations of the intense-image of death in documentary are understood as registers of particularities of our own culture about this matter, constituting an important field for anthropological research.
Esta pesquisa consiste em um estudo sobre as manifestações da morte em quatro obras do cinema documentário ocidental: Les Maîtres Fous (1954), dirigido por Jean Rouch; Mondo Cane e Mondo Cane 2 (1962 e 1964), dirigidos por Gualtiero Jacopetti e Franco Prosperi; e Nick’s Film: Lightning Over Water (1981), dirigido por Wim Wenders e Nicholas Ray. As obras fílmicas aqui selecionadas apresentam diferentes enfoques sobre a mortalidade, abordando desde a morte do outro, marcado pela alteridade cultural em relação ao cineasta, até a morte de si, inserida em um contexto familiar aos realizadores. O exame empreendido sobre esse conjunto de filmes se alicerça sobre dois elementos fundamentais no campo desse gênero cinematográfico: o primeiro é a questão da inserção da obra em um espaço ético sancionado pela sociedade, e o segundo é referente à indexação do conteúdo fílmico como assertivo. A manifestação visual da morte documentada aponta para um espaço constituído por relações sociais concretas que constroem uma base ética própria, conferindo problematizações de ordem moral aos atos de produzir e/ou assistir tais imagens. É importante esclarecer que a manifestação visual da morte é realizada através dos seus dois correlatos: a violência - praticada contra o corpo vivo - e o cadáver, e que esses dois elementos estão associados ao termo, quando for referido neste trabalho. As concepções de morte atuam na estruturação dos meios de vida e, a partir dessa noção, são retomados dados históricos sobre a iconografia da morte na sociedade ocidental, a partir do período medieval até os dias atuais. A trajetória da confrontação do homem com sua condição de mortal, revelada através dos diferentes meios de apropriação da morte, referentes a grupos sócio-históricos específicos, possibilita a percepção das noções atuais associadas ao tema como resultado de uma construção histórica, e não como sistematizações absolutas. Partindo do princípio de que a antropologia percebe o cinema como um produto cultural, as manifestações da imagem-intensa da morte no filme documentário são entendidas como registros das particularidades da nossa cultura acerca desta temática, constituindo um campo importante para a pesquisa antropológica.

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Machado, Katia Regina. "Un regard à double égard sur la misère du monde. Analyse des effets de la forme esthétique des images photographiques de Sebastiao Salgado". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030098.

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L’œuvre photographique de Sebastião Salgado, qui focalise la condition de vie des personnes affectées par la souffrance sociale causée soit par la guerre, soit par l’exploitation et la misère, prime par la qualité de la composition esthétique, mais ses images ne sont pas produites dans le contexte de la photographie d’art. Elles s’inscrivent dans la catégorie de la photographie documentaire et leur finalité discursive est la dénonciation sociale. Une part des spécialistes de l’image et des sciences humaines et sociales estiment que ses images ne peuvent pas servir à un tel propos, car leur caractère artistique déforme la vérité de la réalité représentée. L’autre part, en revanche, considère que c’est justement de la forme esthétique qu’elles tirent leur force de communication sociopolitique. Il s’agit du vieux débat sur le rapport entre esthétique et politique réactualisé par la question contemporaine du rôle sociopolitique des représentations médiatiques de la souffrance sociale. Pour constituer notre corpus analytique nous nous sommes servis d’un échantillon d’articles des spécialistes, publiés dans la Presse, dans lesquels on trouve un discours argumenté pour ou contre l’approche photographique de Salgado. La mise en confrontation des argumentations d’opposants et de partisans a permis non seulement de faire une sorte de mise en épreuve de la pertinence des concepts théoriques évoqués en soutien, mais aussi de mettre en évidence les apriori éthiques, sociologiques et politiques qui sont à la base des jugements qui indiquent si l’on doit considérer l’approche énonciative de Salgado comme une bonne ou mauvaise façon de représenter la misère du monde
The photographic work of Sebastião Salgado focuses on the living conditions of people affected by social distress resulting from civil wars, exploitation, and misery. The pictures are characterised by the quality of their aesthetic composition but they are not primarily works of art. They are rather documentary pictures that represent a social denunciation of intolerable living conditions. Some social scientists specialised in photo interpretation think that his pictures still exhibit too many characteristics of art work and might therefore deform reality. However, others are convinced that just this aesthetic approach constitute its particular strength in sociopolitical communication. The contrasting views reflect the old debate on the relation between politics and aesthetics recently revived by the discussion on the socio-political role of the media in the presentation of social distress. This thesis is based on a representative sample of articles published in print media in which arguments for and against the photographic approach of Salgado are presented. The analytic comparison of the opposed arguments allows an evaluation of the related theoretical concepts. It also reveals an a priori basis of the related ethics, aesthetics, sociology, and politics indicating whether the denouncing character of Salgado pictures is representing an adequate approach to communicate the misery of the world

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Lichaa, Flora. "Le documentaire en Chine (1905-2017) : entre autonomie artistique et enjeux politiques". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCF024.

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Cette thèse se propose d'explorer les enjeux politiques, esthétiques et éthiques du documentaire en Chine. À partir d'une recherche historique depuis la naissance du cinéma chinois en 1905 jusqu'à la fin de l'ère maoïste en 1976, nous montrons que le documentaire est progressivement assujetti aux politiques, soutenant la construction d'une Nation moderne. Ainsi, l'esthétique ne parvient pas à s'affranchir de la politique avant les réformes économiques des années 1980. À partir de cette période, nous analysons les stratégies adoptées par les cinéastes pour se libérer de leur carcan idéologique, en nous appuyant sur des enquêtes de terrain et des analyses filmiques. Si la télévision offre d'abord un cadre propice à une réévaluation du documentaire pour favoriser sa diffusion, nous montrons que le renforcement de la censure, après les manifestations de 1989, incite certains documentaristes à créer des circuits de production et de diffusion alternatifs au secteur audiovisuel. L'analyse consacrée au mode d'organisation de ce réseau met au jour les mécanismes de reconnaissance professionnelle qui amènent les cinéastes à développer leurs activités dans le secteur privé chinois, tout en cherchant à exister sur la scène internationale. Cette autonomie structurelle leur permet de concevoir une éthique visant à garantir leur proximité avec les personnes filmées, souvent issues des couches populaires. Mais en raison de l'ingérence des autorités chinoises, leurs films sont seulement diffusés dans des festivals bénéficiant d'une faible visibilité dans l'espace public. Du fait de leur inscription dans un espace marginalisé, fréquenté essentiellement par des artistes et des intellectuels, leur visée égalitariste se heurte à l'impossibilité de renouer avec le public chinois. Ce paradoxe suggère la difficulté d'établir un dialogue constructif entre les documentaristes et le public, tant que l’État chinois n'autorisera pas la formation d'une sphère réflexive, fonctionnant indépendamment des institutions politiques, permettant de réunir cinéastes, critiques et spectateurs en une communauté concrète
This thesis proposes to explore the political, aesthetic and ethical issues of documentary in China. Based on a historical research from the birth of Chinese cinema in 1905 to the end of the Maoist era in 1976, I show that documentary was progressively subjected to politics, supporting the construction of a modern nation. Thus, aesthetics could not free itself from politics before the reform of the economic system in the 1980s. From that period onwards, I analyze the strategies adopted by filmmakers to free themselves from their ideological straitjacket, based on field surveys and film analyzes. While television has first enabled the re-evaluation of documentary to promote its diffusion, I show that the strengthening of censorship, following the student protests of 1989, has encouraged some documentary filmmakers to create production and diffusion channels independent from the audiovisual sector. The analysis of this network's organization mode reveals the mechanisms of professional recognition, that lead the filmmakers to develop their activities in the Chinese private sector, while seeking to exist on the international scene. This structural autonomy allows them to develop an ethics aimed at guaranteeing their proximity with the people filmed, who usually belong to the lower classes. However, the interference of the Chinese authorities only allows their films to be shown in festivals which have low visibility in the public space. As they are part of a marginalized space, frequented mainly by artists and intellectuals, their egalitarian aim is hampered by the impossibility of reconnecting with the Chinese audience. This paradox suggests the difficulty of establishing a constructive dialogue between documentary filmmakers and the audience, as long as the Chinese State does not allow the formation of a public sphere, functioning independently of political institutions, bringing together filmmakers, critics and audience members into a concrete community

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Noonan, Michael. "Laughing & disability : comedy, collaborative authorship and Down Under Mystery Tour". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/48647/1/Michael_Noonan_Thesis.pdf.

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This thesis is an exploration of representation, authorship and creative collaboration in disability comedy, the centre piece of which is a feature-length film starring, co-created and co-written by three intellectually-disabled people. The film, entitled Down Under Mystery Tour, aims to entertain, and be accessible to, a mainstream audience, one that would not normally care about disability or listen to disabled voices. In the past, the failure of these voices to reach audiences has been blamed on poor training, marginal timeslots and indifferent audiences. But this project seeks an alternative approach, building collaboration between disabled and non-disabled people to express voice, conceive, construct and produce a filmed narrative, and engage willing audiences who want to listen.

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Hyung, Daejo. "Case study : the ethical dilemma of autobiographical documentary - theory and practice". Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500065.

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Bender, Stuart M. "Learning the documentary lesson: Theory and practice in English". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2007. https://ro.ecu.edu.au/theses/6.

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This research investigates the problem of teaching documentary texts in the secondary English classroom in Western Australia. Historical studies of the subject indicate that it serves three functions; ethical training, aesthetic cultivation and rhetorical training. Previous research from the governmental perspective has investigated the problems associated with Literary texts, popular television drama and personal-response essay writing; it emerges that these familiar pedagogical activities are deployed in classrooms to function as opportunities to engage students in ethical training, often at the expense of the latter two functions. This research project is a post-positivist theoretical discussion supplemented by qualitative data in the form of interviews.

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Comer, Kathryn Bridget. "From Private to Public: Narrative Design in Composition Pedagogy". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1313075298.

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Archimbaud, Nicolas. "Vie quotidienne et soins des personnes âgées dépendantes en milieu hospitalier : une enquête filmique à l’hôpital Bretonneau (AP-HP, Paris 18ème)". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100169.

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La thèse porte sur le quotidien des personnes âgées soignées à l’hôpital gériatrique Bretonneau, établissement spécialisé de l’AP-HP situé dans le 18ème arrondissement de Paris. Elle a pour objet d’étudier certains modes de prise en charge de ces malades en perte d’autonomie dits « dépendants » ou « déments », en privilégiant les approches non médicamenteuses novatrices (art-thérapie, socio-esthétique, psychomotricité). L’enquête de terrain, effectuée entre 2008 et 2010, s’est appuyée sur la méthode du film d’exploration, faisant de la caméra le principal instrument de la recherche. Il en résulte trois films documentaires : Hôpital de Jour (117 min.), Court Séjour (67 min.) et Long Séjour (120 min.). Tout en éclairant par petites touches le fonctionnement général de l’institution, ces films décrivent la vie quotidienne de quelques malades et font des pensionnaires de Bretonneau les personnages centraux de la représentation cinématographique. Une partie écrite analyse les stratégies et les résultats de l’enquête de terrain. Elle met l’accent sur les enjeux éthiques soulevés par la présence de l’observateur-filmeur dans un milieu particulièrement sensible et auprès de sujets très vulnérables. Les analyses détaillées portent sur les trois fils conducteurs principaux de la description filmique : les configurations de l’espace et de l’environnement matériel, les techniques corporelles appliquées à la perte d’autonomie, les rituels d’interaction soignants-soignés
This thesis deals with the daily life of the elderly who are patients at the Bretonneau Geriatric hospital, in Paris 18th arrondissement. It studies how these dependent or mentally-ill elders are cared for, focusing on innovative drug-free therapies (art therapy, esthetic therapy, psychomotricity).The field survey took place between 2008 and 2010 and used the method of exploratory filming, making the camera the main tool for the research. Three documentary films were made : Day Hospital (117 min), Short Stay (67 min) and Long Stay (120 min). While shedding some light on the way the institution works, these documentaries show the everyday life of a few patients and make them the main characters of the films. The written part analyses the strategy and the results of the field survey. It stresses the ethical issues raised by the presence of the filmmaker-observer in a highly sensitive environment and with very vulnerable subjects. The detailed analyses deal with the three main themes of the films : configuration of space and of material environment, physical techniques helping with loss of autonomy, interaction rituals between caregivers and patients

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Makan, Amit J. "Making a feature length documentary film linked to the programme for improving mental health care (PRIME) : process and ethical challenges". Master's thesis, University of Cape Town, 2015. http://hdl.handle.net/11427/20093.

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Globally mental health is widely regarded by scholars as a neglected public health issue. Documentary film is recognised as an appropriate medium for addressing social and political issues, and mental health is both of these. Country comparative documentary films on mental health, set in low and middle-income countries, appear to be lacking. Prorgramme for Improving Mental health carE (PRIME) works in five low and middle income countries, two of which were selected for the film (Nepal and South Africa). This was motivated by across continent comparisons, financial and logistical viability within a one year timeframe, global interest and appeal and the support of PRIME colleagues and local country partners. Based on qualitative research including a literature review and 40 indepth interviews with stakeholders, this essay reports on, and critically assesses the ethical and production processes involved in making the documentary film. The essay includes several elements. Firstly, it considers the power relationship between the filmmaker and the subject. Whilst Nichols, Aufderheide and colleagues present useful ethical considerations for making a documentary film, both from the subject and audience perspectives, more care is required when making a film with persons living with mental illness. This is particularly because the subject may not have the mental capacity to consent, and if they do, participating in the media production process could potentially exacerbate their condition. Having weighed these risks up with the benefits of representing persons living with mental illness, and giving them a voice, the decision was made to give persons living with mental illness the opportunity to represent themselves. Secondly, and having made the decision to allow for representation, the various documentary modes (expository, performative, poetic, observational, reflexive, participatory) conceived by Nichols were explored, in an attempt to identify a conceptual framework for the film. The performative mode was most appropriate for telling deeply personal stories, and providing patients with an opportunity to be represented. However, this mode was ideally complemented with elements of the expository (verbal commentary of experts), poetic (use of rhythm, emotion and music), observational (footage of patients in their daily routines, and of their environment for cutaways) and participatory (through direct engagement between filmmaker and subject) modes. 2 Having identified a conceptual framework, the third element involved the institutional research ethics processes. These processes contributed to a more ethically sensitive film production. This included a check for mental health service users to ensure that they do have the capacity to consent. The process of developing a research protocol highlighted the synergistic benefits of integrating a qualitative research method in the form of in-depth interviews into the film production process (and vice versa), whilst remaining cognisant of not compromising research findings for more visually appealing footage. Following a research process for the production also contributed to a more robust discussion guide after translating communication objectives into research objectives. Finally, the process of implementing the film's production, and post-production, was assessed. A host of steps were identified, which included securing the funding for the filmmaking, establishing stakeholders support, briefing the crew on the vision and purpose of the documentary and having access to equipment and translators. During the post production process, a systematic approach to editing using a script outline was helpful in identifying main themes, and to ensure the narrative flow. Despite its typical use in fictional filmmaking, the three-act structure was fitting as a framework for the narrative. Timecoding during translation and transcription was found to be particularly expedient for inserting English sub-titles. The country comparative approach revealed similaries and differences, and developing and implementing stakeholder specific distribution strategies (including conferences, symposia, film festivals and broadcasters) was identified as critical to the public dissemination and reach of the film. Documentary film, and the performative mode complemented by other modes, has shown to be an advantageous means of representing persons living with mental illness, and their families. However, the paper calls for more evaluation research regarding the impact of the film on the main patient characters, amongst other stakeholders such as health workers and policy makers. The paper also proposes the integration of media production into a research process for researchers interested in using this medium to visually communicate their research findings, emphasising the value of systematically using the research findings to develop a narrative script in the context of a typical three act structure. A distribution strategy was also identified as necessary to maximise the research and stakeholder impact of the film.

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Andrade, Gabriel Aguiar de. "O suporte videogrÃfico entre os Ãndios Tapeba: produÃÃo e afirmaÃÃo de identidade Ãtnica". Universidade Federal do CearÃ, 2012. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=9167.

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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico
Com o advento das câmeras de vídeo, em meados da década de 70, os campos da comunicação e das ciências sociais presenciaram o nascimento de um instrumento tecnológico que alterou uma série de procedimentos teórico-metodológicos dentro da academia. Em posse de equipamentos leves e fáceis de manusear alguns antropólogos começaram a utilizar câmeras de vídeo e/ou gravadores portáteis de áudio em suas pesquisas etnográficas. Do mesmo modo, documentaristas e cineastas empregaram técnicas etnográficas no processo de realização de seus filmes, notadamente os que se davam em comunidades indígenas ou populações isoladas. Na presente dissertação analisamos dois vídeos sob o ponto de vista da utilização do suporte videográfico como instrumento de afirmação étnica e produção de uma identidade indígena Tapeba, verificadas nas ações construtivas de memória identitária que se desenvolvem dentro e a partir dessas narrativas audiovisuais, bem como através da forte presença da oralidade. Desde o início da década de 80, período que em intensificaram-se as manifestações indígenas no Ceará e em outros estados do Nordeste, várias produções audiovisuais (fotografias e documentários) fizeram parte de uma espécie de estratégia para valorização e difusão dos interesses indígenas.
With the advent of video cameras in the mid-70s, the fields of communication and social sciences witnessed the birth of a technological tool that changed a number of theoretical and methodological procedures within the academy. In possession of equipment lighter and easier to handle some anthropologists began to use video cameras and / or portable audio recorders in his ethnographic research. Similarly, documentary filmmakers and ethnographic techniques employed in the process of making their films, especially those that occurred in indigenous communities or isolated populations. In this dissertation we analyze two videos from the point of view the use of videographic support as an instrument of ethnic affirmation and production of an indigenous identity Tapeba, constructive actions observed in memory of identity that develop in and from those audiovisual narratives, and through strong presence of orality. Since the beginning of the 80s, a period of intensified manifestations in Ceará indigenous and other Northeastern states, several audiovisual (photographs and documentaries) took part in a kind of strategy use and dissemination of indigenous interests.

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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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Urniaz, Piotr. "Redigering och skuld : Ett kognitivt perspektiv på redigeringensfunktioner i ansvarsutkrävande tv-reportage". Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-66907.

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Abstract: During the past decade, media researchers have intensified the study of media scandals and the role of journalism as an institution that holds social actors responsible for malfeasance and wrongdoings. On a micro level of analysis, the main attention has beendirected towards the journalistic interview and its use to promote the impression of guilt and journalistic neutrality. However, such studies have not been able to address the editing dimension of TV journalism that transforms conversation to another type of communicativepractice – that of communication through TV-flows composed of speech sequences, pictures,and sounds. This doctoral thesis develops a theoretical framework for analysis of the functions of editing inthe process of guilt attribution by journalistic TV-flows – e.g. investigative TV reporting. The purpose is also to contribute to an understanding of the relationship between the communicative competences of viewers and the contextualization of speech acts through the composition of TV-flows. The developed perspective consists of three parts: 1) A division of viewers’ reception of TV-flows in two types of interpersonal relations (to a speaker and to the composer) that involves six levels of cognitive activities. This division is based on the Habermasian notion of communicative rationality; 2) An intent-model, that lists communicative intentions expressed by the composer when speech sequences are merged and pictures are inserted; 3) A guilt-model, that encompasses guilt as a mental structure of ontologically separated elements (e.g. deed,intention, norm) and the associative relations that the viewer uses to create a meaningful whole– a fabula of guilt. The conveyed analysis of three cases of investigative reporting illustrates how the developed framework can be applied in the study of guilt attribution. The analyses also describe several compositional strategies by which the viewer is encouraged to make certain meaning, evaluate, and judge. The strategies concern the following areas: promotion of certain understanding of speech, promotion of certain evaluation of the validity claims, and promotion of certain understanding of the speaker’s intentions. Also strategies of positioning of the reporter in constructed discourses, that enhance the impression of her performances and argumentation, are explored. Furthermore, the composer’s strategies for masking intentions to interfere with the speech acts, by increasing intent ambiguity, are described. The guilt-model is used to understand the workings of the TV-flow on an overreaching level of meaning (the fabula level). Here, the analysis explains the interplay between portrayed intentions and acts, and the different ways in which condemning norms can be activated and highlighted. Furthermore, the model explores the possible employment of categorization in theprocess of guilt attribution (e.g. when properties of an individual are transferred to a group). In sum, this thesis contributes to a new way of understanding the reception of current affairs programs and TV journalism, as relation building between composer and viewer, by means of contextualization of speech acts.

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Calixto, Salazar Juan Carlos. "Ethical hacking aplicado al sistema de gestión documental de la ONPE para evitar vulnerabilidades y acceso no autorizado a la información". Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2018. https://hdl.handle.net/20.500.12672/14583.

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El sistema de gestión documental es una herramienta informática, desarrollada por la ONPE, que utiliza la tecnología de los certificados digitales, lo que permite optimizar los procesos de gestión de documentos administrativos en la entidad que lo implemente. Kunak Consulting, empresa dedicada a realizar servicios de ethical hacking, llevó a cabo un servicio de análisis de vulnerabilidades sobre el sistema de gestión documental. Mediante este servicio se determinó el nivel de riesgo de seguridad que posee los elementos tecnológicos del sistema desde una perspectiva externa. Kunak Consulting generó recomendaciones a partir de los resultados obtenidos para corregir los problemas encontrados en el sistema de gestión documental, estas recomendaciones fueron implementadas en el sistema, para ello se utilizó una metodología que es de propia autoría de la institución, está implementada a partir de un conjunto de buenas prácticas, está basada en la metodología Proceso Unificado de Desarrollo. Finalmente, la implementación de buenas prácticas en seguridad informática al sistema de gestión documental permitió que se evite al acceso no autorizado a la información, así como prevenir ataques informáticos. Esto a su vez convierte al sistema de gestión documental en un sistema fiable y seguro.
Trabajo de suficiencia profesional

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de, León Hernández María Julia. "ENCUENTRO CON LA PRECARIEDAD: LA REAPARICIÓN DEL GITANO EN EL CINE DOCUMENTAL ESPAÑOL DE LA CRISIS DE 2008". UKnowledge, 2019. https://uknowledge.uky.edu/hisp_etds/43.

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In 2008, Spain’s financial crisis had a great impact on the primary sector on which the nation’s ‘economic miracle’ was founded: housing.Land speculation, the increase in housing construction, and easy loans had become one of the hallmarks of twenty-first-century Spanish identity. The crisis del ladrillo (“brick crisis”) plunged the national economy into chaos and condemned many Spanish citizens to job insecurity, loss of earning power, threat of eviction, and put them at high risk of social marginalization. This dissertation studies the unusual proliferation of documentary films during the years surrounding this economic downturn about the ghettoization of the Spanish Gypsy population; a marginalization that was also indebted to the earlier economic development policies of the Franco regime and continued as Spain entered more fully into the free market in the late 1950s. As a result of Spain’s global socioeconomic exclusion due to the housing crisis, however, the Spanish Gypsy emerged in documentary film as a social actor who represented a reality that was no longer exclusive to the Other, but common to all. This project consists of a detailed analysis of three documentary films: Polígono Sur: el arte de Las Tres Mil (2002), Can Tunis (2006)and Una casa para Bernarda Alba (2011), all of which attempt to reconstruct national identity in an age of financial downturnthrough a shared emphasis on the spaces of exclusion experienced by gitanos (Gypsies). Informed by spatial theory, post-colonial studies, critical discourse analysis and theories of representation of the Other in film, the purpose of this research is to unveil the dialectical negotiation that is established between neoliberal discourse, economic crisis, and the experience of its victims (both Gypsies and non-Gypsies) in spaces of shared conflict: shanty towns, slums and housing projects. The findings of this dissertation are twofold: that the appropriation of the Gypsy population’s experiences by these documentaries reflects and at times continues legacies of internal colonization while, simultaneously, these films point the way toward representational strategies that open the door to the narratives of those who have been silenced under neoliberalism.

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Brito, Ewerton William Gomes. "A documenta??o odontol?gica sob a ?tica dos cirurgi?es-dentistas de Natal-RN". Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/17087.

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Made available in DSpace on 2014-12-17T15:31:00Z (GMT). No. of bitstreams: 1 EwertonWGB.pdf: 661743 bytes, checksum: 00ecd30c8cac5a4445285f2bdf4508ad (MD5) Previous issue date: 2006-05-19
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The dental documentation or handbook is a collection of documents produced by the professional with diagnostic and therapeutical purpose where the inherent information to the buccal and general health of patients are registered. The register and proper filling of these documents, taking care of the ethical and legal requirements, provide to the dentist the possibility to contribute with justice in cases of human identification and makes of these documents an essential element of evidence in the ethical processes, administrative, civil and criminal against the dentists. Ahead of this fact, understanding such requirements and the importance of the dentist to register himself adequately, this research verified the knowledge of Natal (RN) City s dentists with relation to the elaboration of the dental handbook, investigating the concepts and the importance attributed to the handbook, identifying the documents more used and filed by these professionals, besides inquiring the legal value of filed documents and the filling time of these ones. The sample was constituted by 124 dentists, who had answered a questionnaire, after having been randomly selected ITom a list of professionals subscribed in the Dentistry Local Council/RN Section. The analysis of the results showed that majority of the participant cit?zens (52,3%) confers to the dental documentation the clinical importance, followed by the legal and forensic-dentistry importance; 59,3% of the searched professionals do not distinguish satisfactorily or they do not observe differences between the dental handbook and the clinical filing card, the X-rays, the dental certificates, the prescriptions, the directions and the receipts; between the documents of common use to cl?nical and specialist ones, the contract of rendering of services and term of ITee and cleared up consent are the documents less used by the professionals. It was still verified, that only 13,1% of the sample register the signature of the patients in the clinical filing card, making it more credibility to be presented in judgement. In the same way, copies of dental certificates and prescriptions evaluated and signed by the patients are filed respectively by only 13,5% and 9,4% ofthe searched professionals and 50% ofthe sample, keep these documents filed for an indeterminate period of time, that is, these professionals have the guard of the handbook and they do not intend to disdain it, although 85,5% of the sample does not recognize the real proprietor of the handbook. It is concluded that a great part of the dentists is unaware about the importance of the dental documentation, and neglect its elaboration, leaving themselves exposed to several kinds of penalties foreseen in the legislation
A documenta??o odontol?gica ou prontu?rio odontol?gico ? uma cole??o de documentos produzidos pelo profissional, com finalidade diagn?stica e terap?utica, onde s?o registradas as informa??es inerentes ? sa?de bucal e geral dos pacientes. O registro e arquivamento correto destes documentos, atendendo as exig?ncias ?ticas e legais, proporcionam ao cirurgi?odentista a possibilidade de contribuir com a justi?a nos casos de identifica??o humana e faz destes documentos um elemento de prova essencial nos processos ?ticos, administrativos, civis e penais contra os cirurgi?es-dentistas. Diante deste fato, entendendo tais exig?ncias e a import?ncia do cirurgi?o-dentista documentar-se adequadamente, esta pesquisa verificou o conhecimento cirurgi?es-dentistas do munic?pio de Natal- RN com rela??o ? elabora??o do prontu?rio odontol?gico, investigando os conceitos e a import?ncia atribu?da ao prontu?rio, identificando os documentos mais utilizados e arquivados por estes profissionais, al?m averiguar o valor jur?dico dos documentos arquivados e o tempo de arquivamento destes. A amostra foi constitu?da por 124 cirurgi?es-dentistas, que responderam um question?rio, ap?s terem sido alocados aleatoriamente a partir de uma lista de profissionais cadastrados no Conselho Regional de Odontologia - RN. A an?lise dos resultados mostrou que maioria dos sujeitos participantes (52,3%) confere ? documenta??o odontol?gica a import?ncia cl?nica, seguida pela import?ncia jur?dica e odontolegal; 59,3% dos profissionais pesquisados n?o distinguem satisfatoriamente ou n?o observam diferen?as entre o prontu?rio odontol?gico e a ficha cl?nica; os documentos mais utilizados s?o a ficha cl?nica, as radiografias, os atestados, as receitas, os encaminhamentos e os recibos; entre os documentos de uso comum a cl?nicos e especialistas, o contrato de presta??o de servi?os e o termo de consentimento livre e esclarecido s?o os documentos menos utilizados por estes profissionais. Verificou-se, ainda, que apenas 13,1% da amostra registra a assinatura dos pacientes na ficha cl?nica, dando-lhe mais credibilidade para ser apresentada em ju?zo. Da mesma forma, c?pias de atestados e receitas avalizadas e assinadas pelos pacientes s?o arquivadas respectivamente por apenas 13,5% e 9,4 % dos profissionais pesquisados e 50% da amostra mant?m estes documentos arquivados por um tempo indeterminado, ou seja, estes profissionais t?m a guarda do prontu?rio e n?o pretendem desprez?-Io, apesar de 85,5% da amostra desconhecer o verdadeiro propriet?rio do prontu?rio. Concluiu-se que uma grande parte dos cirurgi?esdentistas desconhece a import?ncia da documenta??o odontol?gica, e negligenciam a sua elabora??o, deixando-os predispostos as v?rias penalidades previstas na legisla??o

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Junior, João Baptista Opitz. "Erro médico em cirurgia do aparelho digestivo: contribuição para o estudo das provas técnicas, periciais e documentais e suas implicações jurídicas". Universidade de São Paulo, 2005. http://www.teses.usp.br/teses/disponiveis/5/5154/tde-04042007-080142/.

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Neste trabalho foram analisados trinta processos judiciais, que tramitam pelos Fóruns Regionais Cíveis de São Paulo, capital e interior e Instituições Periciais da Capital. Fez-se as extrações individualizadas de cada processo, objetivando definir as principais causas e documentos juntados ao mesmo e conseqüências de cada condição. Iniciou-se pela importância prática do tema para efeito de evolução médico-social. Buscou-se estudar a visão da relação médico-paciente, mesmo durante a demanda, a informação ao paciente e seus familiares dos procedimentos e limitadores do ato médico; o documental técnico jurídico juntado ao processo; o preparo técnico-jurídico do médico e, se, a propositura de ação depende da formação e especialização do profissional. Foram analisados processos judiciais de primeira instância no período de 1996 a 2002 correlacionados à cirurgias do aparelho digestivo. Usou-se como parâmetro de análise exclusivamente os documentos juntados aos autos onde buscou-se a existência clara da quebra da relação médico-paciente, a existência de consentimento informado, a verificação do documental juntado à defesa pelas partes ou solicitação judicial e a qualificação do profissional envolvido nas ações. Finalmente, analisados os resultados, chegamos a conclusão que a melhor forma para profilaxia da ação cível indenizatória por erro médico é: a boa relação médico-paciente; a manutenção de prontuário médico preenchido, legível, com carimbo e assinatura; o consentimento informado, que, deve ser elaborado, porém, por si só não é suficiente; e a condição técnico curricular do profissional não é fator atenuante para propositura da ação.
Thirty legal proceedings, which are in progress before the Regional Civil Courts both the Capital and the countryside of the State of Sao Paulo, Brazil, besides Examination Institutions in the Capital city of Sao Paulo, have been analyzed in this work Individual excerpts of each case were taken with the purpose of defining the main causes and documentation attached to them as well the consequences of each condition. The practical importance of the subject for the medical-social evolution has been addressed in the first place. The physician/patient relationship view was sought to be studied, even during the claim, as well as the information of the medical procedures and limitations to the patient and his or her family; the technical/legal documentation attached to the case; the physician technical/legal preparation and whether the filing of the action depends on the professional education and specialization. Trial court cases from 1996 to 2002 related to digestive system surgery have been analyzed. The analysis subject hereof has been based exclusively on the documents attached to the case record, where attempts have been made to evidence the clear existence of the breach of the physician/patient relationship, the existence of informed consent, the examination of the documentation attached to the defense by the parties or court request, and the qualification of the professional involved in the actions. Finally, after the results have been analyzed, a conclusion was reached that the best way of avoiding a civil action for damages due to medical malpractice includes: a good relationship between doctors and patients; keeping the patient record completed, legible, stamped, and signed; informed consent, which must be prepared but it is not sufficient on its own; and the professional technical experience and background do not constitute a mitigating circumstance for filing the action.

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Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.

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Donovan, Kay. "Tagged: a case study in documentary ethics". 2008. http://hdl.handle.net/2100/778.

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University of Technology Sydney. Faculty of Humanities and Social Sciences.
The growing concern about the role of ethics in western society has also touched documentary film-making. Yet, since the emergence in the late 1980s of the first journal articles discussing documentary ethics, the theoretical exploration of the key arguments in this field has been fitful. Debates amongst filmmakers about ethics are often immersed in topical discussions of production issues or issues relating to a few controversial films. With the exception of a few insightful works, there is little new analysis or examination devoted to exploring ethics in this discipline. This dissertation adds to the available body of work by examining in depth the ethics encountered in the production of a documentary film, Tagged, with young people, especially the ethics encoded in the aesthetic and discursive elements of the film. Theoretical discussions about ethics range from the analytical focus on the ethics of representation, through the use of subjective modes of expressivity and filmic techniques to epistemological analyses of specific issues such as privacy and the nature of consent that draw on legal and medical models. A study of relevant documentary films reveals the variety of approaches to the moral values reflected in their discourses and visual representations, and a range of authorial voices, heavily influenced by the relationship between filmmakers and subjects and by the production circumstances of each film. In Australia, broadcasters, funding bodies and production companies dominate the documentary film-making environment and their codes, editorial policies and protocols influence the whole sector of documentary filmmaking. By categorizing documentary within the broad scope of factual programming, they reflect an institutional gaze that fails to acknowledge those individuals including children and youth, who participate in its production. Through my examination of ethics in both the theory and practice, I address the relevant question of whether there should be a code of practice for documentary film-making. In focussing on my own ethical position and its translation into practice through the making of Tagged, I explore the ways in which the ethical stance that I established is pivotal to the documentary and represented both in the text and in the pragmatic choices of production. This led me to conclude that the development of an ethical position specific to a current project is an effective focus on the potential ethical conflicts in a production. From this I argue that while a broad code of conduct can provide valuable guidelines, it cannot replace the filmmakers’ investigation of their ethical practice and their establishment of an ethical statement and stance for their films thus creating a platform from which ethical conflicts can be understood and either avoided or resolved.

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Hartzell, Lea Claire. "Ethics in documentary filmmaking : an anthropological perspective". Thesis, 2003. http://hdl.handle.net/2429/14094.

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Making a documentary film that features human beings as subjects requires extensive thought about the potential impact on the actual lives of people. Similarly, the pursuit of anthropological knowledge via social science research also affects individuals and communities. Along with this awesome power that documentary filmmaking and anthropological research have to change peoples' lives, comes a heavy responsibility to use this power in an ethical way. By examining the cross-sections between documentary filmmaking and anthropological research, I have found several intersections of ethical considerations that seem pertinent to both fields. The main ethical considerations I have found to be common to both documentary filmmaking and anthropology can be classified into four major categories. They are (1) the intention of the filmmaker/researcher, (2) the filmmaker/researcher's relationship with her subjects, (3) the various responsibilities of the filmmaker/researcher, and (4) how the filmmaker/researcher presents herself, her work, and the subjects to an audience. In the first part of this thesis, I provide a review of some of the recent literature from anthropology and visual communication to establish a theoretical background based in visual anthropology. In the second part, I apply the discussed theoretical concerns to practical examples of ethical questions that specific documentary filmmakers have faced. The particular instances that I draw upon come from a recent public forum and panel debate on the topic of "Ethics in Documentary Filmmaking" held in Vancouver B.C. on March 26,2002, sponsored by the Canadian Independent Film Caucus (CIFC). The three filmmakers from the panel that I discuss are Nettie Wild, Mark Achbar, and David Paperny. In the name of reflexivity, I also include a short discussion of some ethical concerns relating to my own documentary videos. I conclude this thesis with a summary discussion of ethics in documentary filmmaking. Perhaps as long as a filmmaker or researcher thinks about the ethics of her actions while she is carrying out her project, she is acting in an ethical way. Thoughtfulness and reflection bring about conscious actions, whereas the act of following strict guidelines often leads to robotic, mindless behaviour. Ultimately, it is the filmmaker who must consider each ethical issue individually and make decisions based on the specific circumstances of her project.

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Bilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary". Thesis, 2015. https://vuir.vu.edu.au/26229/.

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The tensions between ethical practice and aesthetic freedom in documentary film are particularly magnified in auto/biographical films that involve representations of family members or participants from a different cultural background to the artist, both contexts that demand a greater awareness of self and other. In this doctoral thesis I use 'auto/biographical' in its most expansive sense to signify the blurring of autobiographical stories with biographical material - the impossibility of telling the self's story without implicating others and vice-versa. Also accompanying this thesis is a booklet of poems, titles "Porous", which is held in the Victoria University Library. The related URL links to the catalogue entry for this booklet.

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Rudin, Daniel. "Negotiating documentary space". Thesis, 2012. http://hdl.handle.net/2152/ETD-UT-2012-05-5803.

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This essay attempts to propose an art practice based on an ethical and aesthetic relation of author, subject, and viewer. This relationship is productive of results that are seen as critical to a precise, useful, and ethical representation of social problems.
text

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Cherian, Antony 1974. "I give you my word : the ethics of oral history and digital video interpretation at Texas historic sites". 2012. http://hdl.handle.net/2152/19539.

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This dissertation examines the process of using oral history and digital video to revise interpretation and represent more inclusive histories at three rural Texas historic sites—-Washington-on-the-Brazos State Historic Site, the Lyndon Baines Johnson State Park, and Varner-Hogg Plantation—-21st century sites that, to varying degrees, have persisted to interpret a Texas master narrative that is no longer socially tolerable in its silencing of marginalized Texas voices. In particular, the dissertation focuses on complicated and rarely discussed ethical issues that surfaced during my work from 2001 to 2006 shooting, editing, and situating interpretive documentary videos at the each of the three sites. Historic sites in Texas, like others across the United States and worldwide, have been receiving increasing pressure from scholars and community groups to represent women, racial minorities, and other marginalized groups more prominently in the narratives they interpret. Oral history and digital media have played key roles in this ongoing movement. Oral history has widely been touted as a tool to democratize history, and advocates of digital video interpretation cite its affordability, relative ease of use, and its ability to “say so much in so little time.” These factors are all the more compelling for local, regional, and state-wide historic sites that are chronically under-funded, under-staffed, and that must often interpret multiple, complicated narratives with very little time or space in which to present them. However, little has been done to explore the unique and complicated ethical issues that arise from using oral history and digital video at historic sites. This dissertation takes a case study approach and uses as its intellectual framework ideas of reflective practice, part of the contemporary discourse among public history practitioners. Each case study introduces the site through a critical analysis of the images and texts produced by the site; presents the central historical silence at each site; describes the solution that oral history and digital video interpretation was expected to provide; and then uses the project’s process-generated video footage and records to examine key situations that led me to raise ethical questions about the individual projects and the overall enterprise.
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Houston, Natalie. "Coloured lens : a study of the socio-cultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, towards a photographic documentary". Thesis, 2012. http://hdl.handle.net/10321/761.

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Dissertation submitted in partial fulfilment of the requirements for M.Tech.: Graphic Design, Durban University of Technology, 2011.
Social issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.

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YU, TSU-YING, i 游子瑩. "How Documentary Represents Identity: Images of Self and Ethnic Group in Bauki Angaw’s Documentaries". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/a7maqy.

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碩士
慈濟大學
傳播學系碩士班
104
As unrecognized indigenous people, the Ping-Pu indigenes in Taiwan were “disapeared” ethnic groups for official institutions and most of scholoars, and the recognition movement of Ping-Pu indigenes was suppressed by state apparatuses according Martial Law. After the abolition of Martial Law at the end of 1980s, some aboriginal directors started shooting the history and present situation of their own tribes and peoples by a genre of documnetary films. Pan chaur-cherng ( family name: Bauki Angaw)is one of these documentary film makers , who has filmed over 10 documentaries about Ping-Pu indegenes in last 20 years and still practicing now. This thesis analyze three documentaries filmed by Bauki Angaw. They are “NIAO TA DAN ZI DE GA MA LAN”（鳥踏石仔的噶瑪蘭） ,“DAI ZHI DA TIAO FAN QIN YOU LAI MEI” （代誌大條——番親有來沒）and “YUAN MIN HUI ZHAN GONG CE”（原民會戰功冊）, all about identity of Ping-Pu peoples. The first one was filmed at end of 1990s and the last one was finished at 2013. As documentaries about ethnic recognition, these three ones have not only echoed the history of reconition movement of Taiwan plains indigenes, they were also the expression of Bauki Angaw’s points of view. This thesis uses the method of theme analysis exploring the meanings implied in the subject titles of films and trying to sum up research-related significance within chaotic materials in appearance.The main theme of “NIAO TA DAN ZI DE GA MA LAN” is awaking of personal identification. It recorded the awaking process of ethnic consciusness of Bauki Angaw himself by linking the family story and history of Kavalan, an ethnic group of Ping-Pu indigenes. The main theme of “DAI ZHI DA TIAO FAN QIN YOU LAI MEI” （代誌大條——番親有來沒）is the collective identification and its dilemma. It recorded hard situations that a Syraya tribe, another unrecognized Ping-Pu people, faced in the struggle for ethnic identity. The main theme of “YUAN MIN HUI ZHAN GONG CE”（原民會戰功冊）is struggle for recognition. This films is about how state apparatuses suppress the calling-for of recognition by Ping-Pu peoples. There is one axle running through three documentaries , that is recognition. For Bauki Angaw, the documentary is a tool for praxis. And here it is a tool for the struggle of recognition of Ping-Pu people

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Chen, Yi-Zong, i 陳義宗. "Showing Up and Speaking Out—Indigenous Documentary Filmmakers’ Life Course, Ethnic Identity, and Film Making". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/6aa7zg.

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碩士
國立臺灣大學
新聞研究所
102
Indigenous documentary filmmakers use video camera to shoot their own ethnic group and convey indigenous identity and ideology which they are aware of. Documentary films made by these filmmakers not only conserve the aboriginal traditional culture, but also establish the counter-discourse to resist against hegemony from mainstream society and put indigenous subjectivity into practice. This study applies life course analysis to explore indigenous filmmakers’ life experiences which are intertwined with their ethnic identity and broader social context factors. This study finds that tribal life experience is the key factor in shaping the indigenous identity and awareness of these filmmakers. The relationship between filmmakers’ tribal experience and their indigenous identity can be identified as two groups including “conflict-type” and “harmony-type”. This study also reveals that indigenous documentary filmmakers pursue “self-realization” and take social action through filmmaking. Their struggles to pursue indigenous subjectivity reflect and consistent with the development of indigenous rights in Taiwan.

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Nevanti, Kirsi. "In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilm". Doctoral thesis, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-262.

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Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.

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Stenne, Raphaëlle. "Phénomène de biohype dans des articles scientifiques rapportant des résultats issus de recherches cliniques en nutrigénétique/nutrigénomique : caractérisation et perception des chercheurs". Thèse, 2014. http://hdl.handle.net/1866/11448.

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Le développement de la nutrigénétique/nutrigénomique (NGx) a suscité de nombreuses attentes puisque les retombées qui lui sont associées s’avèrent potentiellement bénéfiques autant pour les individus en santé que pour les individus malades. De grandes attentes avaient également été associées au Projet de décryptage du Génome Humain (PGH). Aujourd’hui, seules quelques attentes de celles envisagées se sont concrétisées. Le PGH a donc évolué dans un contexte marqué par du biohype, soit la promotion d’attentes exagérées, voir irréalistes. Étant donné l’importance des attentes associées avec le développement de la NGx et des limites méthodologiques auxquelles fait encore face la recherche clinique conduite dans ce domaine, l’objectif principal de cette thèse est de déterminer si les publications scientifiques rapportant des résultats de recherches cliniques effectuées en NGx contribuent à l’émergence d’un phénomène de biohype. Plus spécifiquement, il s’agira également de documenter la perception des chercheurs oeuvrant dans le domaine de la NGx du phénomène de biohype, d’identifier certains facteurs qui pourraient expliquer son émergence dans la littérature scientifique propre à ce domaine et de proposer des pistes d’actions pour limiter les risques associés à ce phénomène. Nous avons tout d’abord procédé à une analyse documentaire d’articles scientifiques rapportant des résultats issus de recherches cliniques en NGx. Celle-ci nous a révélé que plusieurs bénéfices étaient promus dans cette littérature alors même que les limites méthodologiques n’étaient pas d’emblée présentées et discutées. Cette observation nous portait à croire que ces bénéfices étant potentiellement prématurés. Nous avons ensuite voulu valider notre constat auprès des chercheurs œuvrant principalement dans le domaine de la NGx. Cette enquête nous a permis de constater que les chercheurs étaient généralement en accord avec les bénéfices que nous avons recensés dans les articles scientifiques. Toutefois, ils n’envisageaient pas leur concrétisation à moyen terme. Par ailleurs, cette enquête nous a également révélé que les limitations méthodologiques actuellement rencontrées dans la conduite de recherches cliniques soulevaient des doutes quant à la faisabilité des bénéfices promut dans les articles scientifiques. Ces données viennent confirmer notre observation à savoir qu’un phénomène de biohype serait réellement en émergence dans les articles scientifiques rapportant des résultats de recherches cliniques en NGx. Outre des informations concernant les publics ciblés par les chercheurs et les éléments que doivent contenir un article scientifique, cette enquête nous a également aidés à mieux comprendre les avantages associés à la promotion de bénéfices. Selon la majorité des chercheurs interrogés, la promotion de bénéfices dans un article scientifique augmenterait les chances d’un manuscrit d’être publié et favoriserait la continuité du financement du domaine de recherche. Cette activité étant caractérisée par un environnement compétitif, la promotion de bénéfices semble être une avenue à envisager pour se démarquer. Quoique la promotion de bénéfices prématurés ou exagérés ne soit pas considérée comme de l’inconduite scientifique, elle peut causer entre autres un affaiblissement du sentiment de confiance entre le public et les chercheurs et ultimement, contrevenir à la continuité d’une saine activité de recherche. À la lumière de ces données, nous croyons qu’une des stratégies qui permettrait de prévenir l’apparition des risques associés au phénomène de biohype serait de sensibiliser les chercheurs et les éditeurs de journaux scientifiques à ces derniers. Plus particulièrement, nous encourageons l’intégration de lignes directrices portant sur la gestion du biohype dans les codes de conduites qui ont été mis en place pour favoriser les bonnes pratiques en recherche.
The development of the nutrigenetics/nutrigenomics (NGx) has generated many expectations since the associated benefits are potentially beneficial for everyone, that is to say, both for healthy and sick individuals. High expectations were also associated with the Human Genome Project (HGP), but as of today only a few have been realized. The HGP thus evolved in a context marked by biohype, i.e., the promotion of exaggerated or unrealistic benefits. Given the importance of expectations associated with the development of NGx and the methodological limitations faced by clinical research conducted in this area, the main objective of this thesis is to determine whether scientific publications reporting results from clinical research conducted in Ngx contribute to the emergence of a biohype phenomenon. More specifically, it will also document the perception of researchers working in this area concerning this phenomenon, try to identify factors that could explain its emergence in scientific literature specific to NGx and suggest ways of actions to mitigate the risks associated with this phenomenon. We first conducted a document analysis of scientific articles reporting results from clinical research in NGx. This revealed that many benefits were promoted in the literature even though the methodological limitations were not necessarily presented or discussed. This observation led us to believe that the promoted benefits were potentially premature. We then sought to validate our findings among researchers working mainly in the field of NGx. Our survey revealed that researchers were generally in agreement with the benefits that we identified in the scientific articles. However, they did not consider that their realization was feasible in the medium term. This survey also revealed that the methodological limitations currently encountered in the conduct of clinical research raised doubts about the realistic outcome of the benefits promoted in scientific articles. These data confirm our observation that a biohype phenomenon is actually emerging in scientific articles reporting results of clinical research in NGx. Besides information about the audiences targeted by researchers and the elements that need to be included in a scientific article, the survey also helped us better understand the advantages associated with the promotion of benefits. The majority of researchers interviewed found that the promotion of benefits in a scientific article would increase the chances of a manuscript being accepted for publication and also foster continuing funding of the research area. In a competitive environment such as biomedical research, the promotion of benefits seems to be an avenue taken to stand out from the field. Although promoting premature or exaggerated benefits are not considered as being scientific misconduct, biohype can cause a weakening of the trust between the public and researchers. Ultimately, it can hinder the continuity of sound scientific research. Based on these findings, one of the strategies that could be use to prevent or mitigate the occurrence of the risks associated with biohype would be to increase awareness of the issue amongst researchers and scientific journal editors. Specifically, we encourage the integration of guidelines on the management of biohype within the codes of conduct that have been put in place to promote good practices in research.

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