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Artykuły w czasopismach na temat „Documentary ethics”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 20 lutego 2023

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1

Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)". Academic Journal of Research and Scientific Publishing 4, nr 41 (5.09.2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.

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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.

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Nash, Kate. "Documentary-for-the-Other: Relationships, Ethics and (Observational) Documentary". Journal of Mass Media Ethics 26, nr 3 (20.07.2011): 224–39. http://dx.doi.org/10.1080/08900523.2011.581971.

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Rangan, Pooja, Brett Story i Paige Sarlin. "Humanitarian Ethics and Documentary Politics". Camera Obscura: Feminism, Culture, and Media Studies 33, nr 2 (2018): 197–207. http://dx.doi.org/10.1215/02705346-6923166.

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Frohmann, Bernd. "Documentary ethics, ontology, and politics". Archival Science 8, nr 3 (wrzesień 2008): 165–80. http://dx.doi.org/10.1007/s10502-008-9073-y.

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MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening". Music, Sound, and the Moving Image 15, nr 1 (1.07.2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-music academics in asserting the role of music within documentary, a perceived precedence of visual over auditory components, and the notion of the documentarist as an ‘artist’ all participate in defending and deflecting the ethical responsibility of music in the contemporary audio-visual documentary. Through exploring the use of music in three different documentaries, this research proposes a typology outlining music’s areas of ethical concern, including persuasion, representation, and emotional heightening. Music’s ethical precariousness emerges in recognising its capacity to influence audience perception of ‘reality’ through emotional and semiotic capacity, and crucially, in the degree to which its influence often remains unnoticed.

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Loewy, Monika. "Psychoanalysis and Ethics in Documentary Film". International Journal of Psychoanalysis 97, nr 1 (luty 2016): 225–28. http://dx.doi.org/10.1111/1745-8315.12300.

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Bayley, Nicholas. "Psychoanalysis and ethics in documentary film". European Journal of Psychotherapy & Counselling 16, nr 3 (23.06.2014): 288–90. http://dx.doi.org/10.1080/13642537.2014.929261.

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Eadie, Bruce. "Psychoanalysis and ethics in documentary film". New Review of Film and Television Studies 15, nr 3 (10.08.2016): 381–84. http://dx.doi.org/10.1080/17400309.2016.1219557.

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Ad-deen, Hafidh Shams. "The Ethics of Representation: Documentary Film and Islam". Khazar Journal of Humanities and Social Sciences 18, nr 3 (maj 2015): 82–103. http://dx.doi.org/10.5782/2223-2621.2015.18.3.82.

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The great artistic potential of the documentary film photograph as well as the filmmakers’ intervention and manipulation impact viewers as well as interviewees to believe that the camera is able to capture a “real” moment in time. Both viewers and documentary subjects are exploited: the latter’s “informed consent” is not built on true, honest and clear relationship. That is, informing subjects, before camera proceeds, about the possible consequences of their participation is absent. For instance, interviewees know nothing of the overall goals of the project and have no idea about the intended audience. Consequently, both documentary subjects and the targeted audience are exploited, since many documentary filmmakers are not interested in approaching a ‘real’ image of something. Rather, documentary filmmakers’ use of sex, violence and controversial issues for sensational purposes is often produced under the guise of “education” or “investigation.” This paper attempts to trace the serious ethical issues in two American documentary films which represent Islam and Muslims. These documentary films are Steven Emerson’s Jihad in America (1994) and Wayne Kopping’s TheThird Jihad: Radical Islam’s Vision for America (2008).

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Ebberfeld, Peter. "Dokumentarfilmens etik: Mellem Den Hemmelige Krig med det hemmelige plot og Michael Moores satiriske dokumentarmassakre". K&K - Kultur og Klasse 36, nr 106 (22.03.2009): 142–65. http://dx.doi.org/10.7146/kok.v36i106.22028.

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Ethics of Documentary Films: In Between the Secret Plot of Den Hemmelige Krig and Satirical Documentary- massacre by Michael Moore:In this article I focus on ethics, and the way it is usually interpreted in the context of documentary television – that is normative and aimed at creators. This way of thinking is illustrated in my setting out of Jan Foght Mikkelsen’s contribution to ethics of mediation, and in that respect I argue that the request for ethical sensitivity among creators of mass-mediated communication must be complemented with an offer of a recipient-oriented vocabulary. Audiovisual mass communication represents an asymmetric display of force between creator and recipient, and Mikkelsen’s ethics of mediation claims its purpose to be a protection of autonomy among media consumers. Thus my suggestion is to supplement the ethics of mediation by addressing the audience of the communication in an attempt to rectify the imbalance of forces.In my analysis of Christoffer Guldbrandsen´s documentary Den Hemmelige Krig I focus on how the narrative seeks to persuade its audience through narrative strategies and cinematic devices, and I thereby abstain from any kind of substantial evaluation of communication. Based on analytical impacts and some interpretations of this passage, I point out the importance of the nuanced attention to small details in classical authoritative documentaries.The main conclusion is that we need to develop a new vocabulary, which can provide media consumers with an approach to audiovisual documentaries making them aware of communicative aspects.

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Jungstrand, Anna. "Svetlana Aleksijevitj och den dokumentära rösten". Tidskrift för litteraturvetenskap 46, nr 2 (1.01.2016): 49–63. http://dx.doi.org/10.54797/tfl.v46i2.8791.

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”To whom am I shouting? Who listens?”: Voice and Ethics in Svetlana Alexievich’s Zinkyboys Few authors have engaged so intensively with the human voice as Svetlana Alexievich. In her interview books, the monologues of testimony run over hundreds of pages, completely dominating the narration. In Zinkyboys (1998) the technique of the interview-book attains perhaps its fullest realization: the interviewees’ speech seems to operate freely in quotations, without authorial comments, confirmations, or denials. But how shall we understand this ”pure” documentary voice? This article proposes a few basic theoretical starting points for the analysis of the production of voice and address in documentary literature, and aims to demonstrate how these aspects interact with textual ethics in Alexievich’s text. My perspective on documentary literature emphasizes performative and dialogical aspects, rather than questions of representation and fact-fiction dichotomies (formerly dominant focal-points of research on documentary literature). Utilizing a method that combines speech act theory and narratology, with philosophical thoughts on language and ethics presented by Emmanuel Levinas, the genealogy of the documentary voice may be discerned. Most important is how the documentary text proves to work on double grounds in the production of speech acts – utterances in the real situation/event (which precede the text) negotiate with an overall form of address that the literary work connotes. Zinkyboys and its quotations manifest the performative of ”the saying” in a way that corresponds to an ethical responsibility in the text. As an illustrative example, this article analyses Alexievich’s frequent use of the ellipsis (three dots), a strategy that, in this documentary context, constitutes what might be termed a ”principle of amplification”.

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Byrdal Jørgensen, Tine. "Biografier på scenen". Peripeti 11, nr 21 (1.01.2014): 64–73. http://dx.doi.org/10.7146/peri.v11i21.109416.

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Through an analysis of the performance Gardenia the article discusses the negotiation between aesthetics and ethics in contemporary documentary theatre. Gardenia is a performance with and about aging transvestites. The author combines Lévinas’ ethics with a poststructural understanding of the subject in order to methodically grasp how the performance is activating an ethical relationship between the Other on stage and the spectator.

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An, Grace, i Catherine Witt. "Ethics of care in documentary filmmaking since 1968". French Screen Studies 22, nr 1 (2.01.2022): 1–5. http://dx.doi.org/10.1080/26438941.2021.2003551.

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Nash, Kate. "Telling stories: the narrative study of documentary ethics". New Review of Film and Television Studies 10, nr 3 (wrzesień 2012): 318–31. http://dx.doi.org/10.1080/17400309.2012.693765.

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Sanders, Willemien. "The ethics of documentary filmmaking: an empirical turn". New Review of Film and Television Studies 10, nr 3 (wrzesień 2012): 315–17. http://dx.doi.org/10.1080/17400309.2012.695982.

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Heinemann, David, i Sharon Lin Tay. "The French documentary in context: genealogy, aesthetics, ethics". Studies in French Cinema 14, nr 3 (2.09.2014): 157–66. http://dx.doi.org/10.1080/14715880.2014.949452.

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Poster-Su, Tobi. "A grotesque act of ventriloquism: Raising and objectifying the dead on stage". Applied Theatre Research 8, nr 1 (1.07.2020): 45–56. http://dx.doi.org/10.1386/atr_00025_1.

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As a real-life figure who was extensively written about in medical journals after his death, but whose voice is entirely absent from the historical record, the character of Tarrare presents the theatre-maker with a number of ethical and artistic considerations. In documenting Tarrare’s life through puppetry and opera, Wattle and Daub engaged in both a literal and a metaphorical act of ventriloquism, wherein we put our own words into the mouths of the dead. Drawing on Levinas’s ethics of the ‘other’ and Salverson’s reflections on the ethics of documentary theatre, this article interrogates The Depraved Appetite of Tarrare the Freak as an example of documentary theatre and explores the unique opportunities and challenges presented when using puppetry to represent the historical ‘other’.

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Paço, Sandra, i Sérgio Deodato. "Conscientious objection: reflections for nursing in Portugal". Revista Gaúcha de Enfermagem 36, nr 4 (grudzień 2015): 112–16. http://dx.doi.org/10.1590/1983-1447.2015.04.53242.

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Objective: to discuss conscientious objection in nursing, identifying the ethic and legal basis for this decision-making. Methodology: qualitative study in which the methodology used was ethical reflection based on a legal analysis of the laws in question, proceeding to a bibliographical and documentary research Conclusions: Portuguese law and ethical pillars that form the basis of the Code of Ethics of nurses in Portugal defend the freedom of conscience as a professional practice. However, the obligation to protect human life, which imposes the need for coordination between this protection and the exercise of the right to conscientious objection on the part of the nurse, is also clear.

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Carter, William H., i Kate Padgett-Walsh. "Introduction: On the ethics of debt". Finance and Society 2, nr 1 (24.10.2016): 1. http://dx.doi.org/10.2218/finsoc.v2i1.1660.

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This special issue stems from a 2015 conference on the ‘Ethics of Debt’, organised by the guest editors and held at Iowa State University. Three themes emerged from the conference and are represented in the articles and documentary film selected for the special issue. The first concerns representations of debt in art and literature. The second theme demonstrates how debt arises and functions in specific contexts. The final theme addresses moral and ethical responses to debt within society.

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Dana, Cassandra. "Documentary Ethics and Criminal Justice Reform in "The Jinx"". Journal of Communication and Media Studies 6, nr 3 (2021): 15–28. http://dx.doi.org/10.18848/2470-9247/cgp/v06i03/15-28.

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Diniz, Debora. "Research ethics in social sciences: The Severina’s Story documentary". IJFAB: International Journal of Feminist Approaches to Bioethics 1, nr 2 (wrzesień 2008): 23–35. http://dx.doi.org/10.3138/ijfab.1.2.23.

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Landesman, Ohad. "Agnieszka Piotrowska (2014) Psychoanalysis and Ethics in Documentary Film". Film-Philosophy 20, nr 2-3 (październik 2016): 380–83. http://dx.doi.org/10.3366/film.2016.0022.

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Cooper, Sarah. "Looking back, looking onwards: selflessness, ethics, and French documentary". Studies in French Cinema 10, nr 1 (marzec 2010): 57–68. http://dx.doi.org/10.1386/sfc.10.1.57/1.

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Butchart, Garnet C. "On Ethics and Documentary: A Real and Actual Truth". Communication Theory 16, nr 4 (listopad 2006): 427–52. http://dx.doi.org/10.1111/j.1468-2885.2006.00279.x.

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Zhang, Gaoheng. "Documentary films on migrations in Italy: Characteristics and ethics". Journal of Italian Cinema & Media Studies 6, nr 1 (1.01.2018): 3–14. http://dx.doi.org/10.1386/jicms.6.1.3_2.

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Thomas, Steve. "Collaboration and ethics in documentary filmmaking – a case study". New Review of Film and Television Studies 10, nr 3 (wrzesień 2012): 332–43. http://dx.doi.org/10.1080/17400309.2012.695979.

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Weber, Brenda R. "Mormon Lifestyles: Communicating Religion and Ethics in Documentary Media". Journal of Contemporary Religion 37, nr 3 (2.09.2022): 574–76. http://dx.doi.org/10.1080/13537903.2022.2075547.

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Ponce-Correa, Andrés Mauricio, Alexander Alonso Ospina-Ospina i Rosa Elvira Correa-Gutierrez. "Curriculum analysis of ethics in engineering: a case study". DYNA 89, nr 222 (22.07.2022): 67–73. http://dx.doi.org/10.15446/dyna.v89n222.101800.

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For several decades, there have been warnings about certain ethical faults in engineers regarding corruption in different works, which lead to collapses and the death of people, calling engineering into question and affecting the social development of communities. Ethics is an educational responsibility, the ethical debate must take place inside and outside the classroom, since studies carried out in different universities indicate that ethics continues to be a pending subject in engineering programs. This study seeks to contribute to educational innovation for the teaching of ethics in engineering through documentary review and interviews with students and teachers. It was found that the education of ethics in engineering should be included in the curriculum as an important factor in the training of engineers, from a practical dimension, which includes the study of cases, moral dilemmas, and based on problems applied to the environment.

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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance". Film-Philosophy 21, nr 3 (październik 2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of Rikyū (Rikyū ni tazuneyo, Tanaka Mitsutoshi, 2013) is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character, his individual aesthetic practices, and his personal political circumstances. I will draw upon the work of Gilles Deleuze alongside Kyōto School philosopher Nishida Kitarō in order to articulate the way in which Ask This of Rikyū explores the relation of artistic activity and aesthetic experience to the general ethical and political forces that feed into history.

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Jazdon, Mikołaj. "To film an inconceivable reality: the manifesto of the young Kieślowski". Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, nr 33 (25.03.2019): 155–66. http://dx.doi.org/10.14746/i.2018.33.13.

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In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.

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Graham, Caroline, i Kylie Stevenson. "‘It doesn’t feel right to say how much I enjoyed this’: Listener perspectives on ethics in true crime podcasts". Australian Journalism Review 44, nr 2 (1.11.2022): 211–28. http://dx.doi.org/10.1386/ajr_00104_1.

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This research seeks a clearer understanding of listener perspectives on issues of ethics in true crime podcasts (TCPs). To do so, the study first divides TCPs into three subgenres: Documentary, Recap and Expert. Then, it uses a mixed methods content analysis of listener reviews (n = 1200) of TCPs to ascertain listeners’ value systems and preferences when assessing podcasts, the role of ethics in audience evaluations of TCPs and the impact of subgenre on listener response. It finds that a large subsection of the reviewer audience (29.7 per cent) privileged ethics as a key criterion for evaluating and reviewing podcasts and that listeners’ level of engagement with issues of ethics is specific, careful and nuanced. It also finds that subgenre can play a role in shaping engagement with content, with Documentary and Recap formats more likely to result in listeners relating to content as entertainment.

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Fisher, Joshua A., i Arnau Gifreu Castells. "The Ethics of Realism as a New Media Language in Immersive Media". Revista FAMECOS 29, nr 1 (13.07.2022): e43375. http://dx.doi.org/10.15448/1980-3729.2022.1.43375.

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This work explores the ethical and moral limits of practicing realism in immersive nonfiction. To establish these practices, the nonfiction media ecosystem is analyzed from traditional to emerging immersive forms. Four significant forms of nonfiction works are discussed that reflect different ethics of realism: documentary, journalism, education, and cultural heritage. Through the description and presentation of each form, a provisional set of elements, variables, indicators and parameters that impact practices and ethics of realism are presented. These compositional elements can be implemented in the design, development and production of experiences for audiences that respect social, cultural, political, physical, and material realities.

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Ahnert, Laurel. "Ilona Hongisto (2015)Soul of the Documentary: Framing, Expression, Ethics". Film-Philosophy 22, nr 1 (luty 2018): 138–41. http://dx.doi.org/10.3366/film.2018.0068.

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Ahnert, Laurel. "Ilona Hongisto (2015)Soul of the Documentary: Framing, Expression, Ethics". Film-Philosophy 22, nr 2 (czerwiec 2018): 313–16. http://dx.doi.org/10.3366/film.2018.0081.

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Munk. "Ethics and Responsibility: The Feminization of the New Israeli Documentary". Israel Studies 16, nr 2 (2011): 151. http://dx.doi.org/10.2979/israelstudies.16.2.151.

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Korhonen, Timo. "Capturing freedom: direction, dramaturgy and ethics in contemporary Finnish documentary". Studies in Documentary Film 10, nr 2 (3.05.2016): 145–68. http://dx.doi.org/10.1080/17503280.2016.1221678.

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Hayes, Matthew. "Get that camera outta my face: ethics in documentary media". COMPASS 1, nr 2 (31.05.2012): 1–11. http://dx.doi.org/10.29173/comp38.

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Alamouti, David. "The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view". Transnational Screens 11, nr 2 (28.02.2020): 103–20. http://dx.doi.org/10.1080/25785273.2020.1734305.

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Szasz, Ileana Gabriela. "Dare to Record! The Ethics of Decision Making in Fieldwork Documentary Practice". Martor. The Museum of the Romanian Peasant Anthropology Review 25 (15.11.2020): 199–213. http://dx.doi.org/10.57225/martor.2020.25.13.

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The ethics of documentary practice is often brought into discussion after the screening of the film, when the production is already finished. Except for a minimum formal requirement of consent, there is no standard set of rules that filmmakers are compelled to follow during fieldwork, regulating their relationship with the people in front of the camera. Viewers make ethical judgments based on cultural expectations regarding consent, disclosure, motive, and structure. The diversity of fieldwork situations is considered the main reason for the lack of formal guidelines in this practice. Fieldwork behavior is shaped by the responsibility the practitioners assume towards the people filmed, the other team members, and their personal professional goals based on their own set of moral standards. Grounded in my experience as a cinematographer for a documentary shot in a Cortorari Roma community in a Transylvanian village, the article discusses the ethical challenges I faced in the decision-making process while filming on location. Accounting for the particularities encountered during this fieldwork—from the language barrier, secrecy and rumors to tensed conversations and open conflicts—I discuss the factors that influenced my choices. The analysis aims to reveal how the perception of responsibility and power roles that emerged in this context determined when and what was to be recorded and made available for editing and disclosure.

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Craft, Stephanie. "TRUE, FALSE, BOTH, NEITHER? USING DOCUMENTARY FILM IN TEACHING JOURNALISM ETHICS". Journal of Mass Media Ethics 24, nr 4 (30.10.2009): 307–8. http://dx.doi.org/10.1080/08900520903332717.

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Mukherjee, Debashree. "A Night of Knowing Nothing". Film Quarterly 76, nr 1 (2022): 11–22. http://dx.doi.org/10.1525/fq.2022.76.1.11.

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Payal Kapadia’s feature debut, A Night of Knowing Nothing (2021), is at once a political chronicle of contemporary India, an ode to the intimate struggles of love, and a love letter to cinema. Winner of the Best Documentary award at Cannes, the film radically blurs the lines between fiction and documentary by using an epistolary narrative structure interspersed with multiple genres of staged and documentary footage, animation, news reportage, and home movies. In its promiscuous crossing of genre-boundaries and its critical citational ethics, A Night of Knowing Nothing does more than simply mobilize archive effects: it collates its own archive of loss and longing, resistance and repair.

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Hooper, Keith, i Jenny Wang. "Ethics and auditing: Setting the bar too low". Corporate Ownership and Control 12, nr 4 (2015): 549–61. http://dx.doi.org/10.22495/cocv12i4c5p5.

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Purpose - from a philosophical and empirical perspective this paper seeks to show how the big audit firms have managed to set the bar low so that they offer only opinions on whether financial statements meet accounting standards. It is argued that while the concepts of virtue ethics have now largely disappeared, ethical legitimacy has moved beyond consequential ethics to a form of social Darwinism. It is a Social Darwinism that is legalistic and technical as evidenced by the audit firms’ widespread use of the Bannerman clause attached to their opinions. Design - to illustrate the shift of ethical positions, the paper is informed illustrations of a failure to discharge a duty of care to the public. Findings – the shift in underlying social values contributes to what the Economist Journal describes as a steady decline in professional ethics. This arguable conclusion is supported by various illustrations and cites the shift in combinations of cognitive, moral and pragmatic legitimacy as drivers employed by accounting firms. Research Limitations – the paper uses secondary and documentary data and is informed by conceptual analysis which necessarily in the realm of ethics may be contentious. Originality – the paper seeks to link the changing social values with changes in legitimisation and to show shifts in accounting practices like the recent practice of issuing disclaimers.

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Inoue, Miyo. "The Ethics of Representation in Light of Minamata Disease: Tsuchimoto Noriaki and His Minamata Documentaries". Arts 8, nr 1 (20.03.2019): 37. http://dx.doi.org/10.3390/arts8010037.

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In this paper, I will examine how Japanese documentary filmmaker Tsuchimoto Noriaki (1928–2008) tackled the issue of visual ethics through the representation of Matsunaga Kumiko and Kamimura Tomoko—two young female patients known for the symbolic roles they each played in the history of Minamata disease. I will introduce the ethical challenge Tsuchimoto encountered upon his first visit to Minamata in 1965—especially how he grappled with the question of filming subjects (shutai) who were unconscious and/or unable to express whether they approved the act of filming or not—and how such conundrums were reflected into his representation of Kumiko in her hospital bed. For the analysis of the representation of Tomoko as seen in Tsuchimoto’s documentary, I will bring in W. Eugene Smith’s photograph “Tomoko and Mother in the Bath” as a point of comparison to explore what could be an ethical representation of Minamata disease patients, including the issue of photographs that seem to beautify the tragedy. Based on the above examinations, I will argue that the challenges Tsuchimoto faced upon representing unresponsive subjects and the very struggle to find a way to capture them as humans, not as patients or victims, altered his manner of artistic and political involvement with Minamata disease. And in the current post-Fukushima era, the issue of ethical representation that he kept exploring carries even more significance upon representing disasters.

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Offen, Julia. "Documentary Anthropology and Ethics Education: Conveying Anthropological Sensibilities through Community-Based Projects". Anthropology News 49, nr 6 (wrzesień 2008): 14–15. http://dx.doi.org/10.1111/an.2008.49.6.14.

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Downing Roberts, M. "The Ethics of Japanese Social Documentary in the Wake of 3/11". Journal of Japanese and Korean Cinema 11, nr 1 (2.01.2019): 68–84. http://dx.doi.org/10.1080/17564905.2019.1600699.

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Sanders, Willemien. "Documentary Filmmaking and Ethics: Concepts, Responsibilities, and the Need for Empirical Research". Mass Communication and Society 13, nr 5 (29.10.2010): 528–53. http://dx.doi.org/10.1080/15205431003703319.

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Evrard, Audrey. "Shifting French Documentary Militancy: From Workers' Rights to an Ethics of Unemployment". Nottingham French Studies 55, nr 1 (marzec 2016): 96–116. http://dx.doi.org/10.3366/nfs.2016.0141.

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If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and Christophe Coello. Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) unapologetically and uncompromisingly reject the normative legitimacy of waged employment as a warrant of individual and social productivity. Nonetheless, it would be highly reductive to see in these two films and in the filmmakers' project a celebration of idleness. Rather, as they strive to restore the productive value of individuals unable and unwilling to enter the labor market, they reject what the filmmakers see as leftist politics' complacency about capitalism's promotion of work as an ethics of self-realization. Drawing from Jacques Rancière's emphasis on the proletariat's self-identification and incidental political inscription in late nineteenth-century society, this analysis argues that the two films discussed here operate therefore a political and aesthetic shift away from twentieth-century militant cinema by replacing the figure of political consciousness commonly associated with industrial capitalist society, namely the worker, with the unemployed post-industrial subjects of the late-twentieth and early twenty-first centuries.

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Schneider, Dulcinéia Ghizoni, i Flávia Regina Souza Ramos. "Moral deliberation and nursing ethics cases: Elements of a methodological proposal". Nursing Ethics 19, nr 6 (22.05.2012): 764–76. http://dx.doi.org/10.1177/0969733011420096.

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A qualitative study with an exploratory, descriptive and documentary design that was conducted with the objective of identifying the elements to constitute a method for the analysis of accusations of and proceedings for professional ethics infringements. The method is based on underlying elements identified inductively during analysis of professional ethics hearings judged by and filed in the archives of the Regional Nursing Board of Santa Catarina, Brazil, between 1999 and 2007. The strategies developed were based on the results of an analysis of the findings of fact (occurrences/infractions, causes and outcomes) contained in the records of 128 professional ethics hearings and on the structural elements (statements, rules and practices) identified in five example professional ethics cases. The strategies suggested for evaluating accusations of ethics infringements and the procedures involved in deliberating on ethics hearings constitute a generic proposal that will require adaptation to the context of specific professional ethics accusations.

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Morton, Tom, i Mark Pearson. "Zones of silence: Forensic patients, radio documentary, and a mindful approach to journalism ethics". Pacific Journalism Review 21, nr 2 (31.10.2015): 11. http://dx.doi.org/10.24135/pjr.v21i2.113.

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This article explains a collaborative and critically reflective journalism research project stemming from the wish of an incarcerated forensic mental health patient to be named in public communication about his case. The authors are academics and journalists who embarked upon a combination of journalism, legal processes and academic research to win the right to name Patient A in a radio documentary and in academic works—including this journal article and research blogs. As a case study, it explains the theoretical and ethical considerations informing the journalism and the academic research, drawing upon traditions of documentary production, the principle of open justice and the ethical framework of ‘mindful journalism’. It concludes by drawing lessons from the project that might inform future practitioners and researchers embarking upon works of journalism and research involving vulnerable people and a competing set of rights and public interests.

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Sinnerbrink, Robert. "Re-enactment and Traumatic Memory: Cinematic Ethics in The Act of Killing and S21: The Khmer Rouge Killing Machine". Emotions: History, Culture, Society 5, nr 1 (13.07.2021): 124–42. http://dx.doi.org/10.1163/2208522x-02010117.

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Abstract The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this with Rithy Panh’s perpetrator/witness documentary, S21: The Khmer Rouge Killing Machine (2003), focusing on the mass killings perpetrated by the Pol Pot regime (1975–1979), which uses both visual representations and a more direct, bodily performative mode of re-enactment, to represent and communicate traumatic memory. Both films examine a range of moral emotions, solicited through interview sequences and different modes of cinematic re-enactment. These strategies enable the perpetrators to expose their traumatic violence and, in some cases, acknowledge the suffering of their victims, but also allow the perpetrators to be questioned and held to account, staging an ethical encounter wherein the social recognition of traumatic memory of political violence might become possible.

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