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Chen, Pin-Chuan. "A critical history of Taiwanese independent documentary". Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/a-critical-history-of-taiwanese-independent-documentary(fa91871a-9257-477d-ba00-ca5b0501b6a1).html.
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This thesis is the first history of Taiwanese independent documentary. It asks what independent documentary (dulijilupian) is in Taiwan and how it changes in different historical periods. To address the characteristics of Taiwanese independent documentary and pursue the connection between social and political circumstances and independent documentary production in Taiwan, the thesis relies on primary data collection and archival documents to write a chronological and analytical history. It argues that independent documentary in Taiwan should be periodised according to changes in the in the mode of production, which are related to changes in the social and political environment. Deploying this approach based on mode of production and socio-political environment, the thesis divides the history of independent documentary production in Taiwan into four periods. First, the independent documentary making originated primarily as a vehicle against government-controlled media and in order to reveal alternative points of view during the political movements of the 1980s. Thus, independent documentary is a form for participating in political movements in this period. Second, the period after the cessation of Taiwan’s martial law (1987) saw independent documentarians shift their focus from political and social movements and towards social issues. Here, the independent documentary revealed the problems of the socially marginalized, which had been ignored by mainstream media. It participated in the idea of Community Development, which was a major topic from the late 1980s to the mid- 1990s. Third, after the mid-1990s, the decline of the Taiwanese feature film industry drove filmmakers, especially members of the post-New Taiwan Cinema young generation, to turn to digital video and make low-budget documentaries independently. Their approach placed art as a higher priority than social and political engagement. Fourth, since the early 2000s, independent documentary making has also become a way for expressing identities. For instance, filmmakers who used to be the filmed subjects of documentaries, such as Taiwanese indigenous peoples, foreign spouses, or other marginalized groups in society, have used independent documentary to express their cultural and social identities from their own viewpoints, and to claim equal rights.
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Irwin, Mary. "BBC television documentary 1960-70 : a history". Thesis, Glasgow Caledonian University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492389.
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In recent years British television drama of the 1960s has been the subject of significant academic scholarship and popular retrospective interest. The British television documentary of the period is, in contrast, markedly under researched. Initial investigation suggested that while the independent television network produced two very influential documentary series in Granada's World in Action (1963-1998) and ABC/Thames This Week (1956-1992), both of which have already been the subject of academic study, it was, in the main, at the BBC that the most critically acclaimed and popularly remembered documentaries of the period were produced. Beginning by tracing the televisual climate of the late 1950s and early 1960s out of which the documentaries developed, this thesis aims to construct the first scholarly narrative history of the development of the BBC television documentary between 1960 and 1970. It examines and re evaluates some of the most significant and influential BBC television documentaries or documentary series of the period, whilst examining the lack of status afforded other particular BBC television documentaries.
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Lasik, Franklin James. "Documentary theatre: dramatizing history and historicizing dram". The Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407236436.
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Jones, Rex Allan. "'We on history channel!' the representation of history in documentary film /". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/jones/JonesRA0509.pdf.
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The representation of history in documentary film is problematic. Documentary's creative treatment of actuality and assumed fidelity to perceived truth is at conflict with the historian's pursuit of veracity. Ever since the dawn of photography, artists have manipulated images and compromised facticity in service to aesthetics and drama. This trend continued into the early days of cinema, as newsreel producers adopted a more liberal than literal ethos that persists in documentary to this day. Reality can never be shown just as it is even in the most simplistic treatments of the most banal subjects. The representation of history is not always as absolute as it may seem. Instead of ignoring or denying the authorship inherent in the representation of history in documentary film, filmmakers should embrace it and reflexively provide glimpses of the cinematic process that forms their particular construction of reality. I will argue that the best way to accomplish this goal is to employ the performative mode of documentary representation, which gives the viewer a context to think about the film as a version of history, not necessarily the version of it.
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Colbourne, John Kenneth. "A documentary on the evolutionary history of Daphnia". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0006/NQ40367.pdf.
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BRASIL, MARCIA PATERMAN. "HISTORY AND UTOPIA: THE DOCUMENTARY OF SILVIO TENDLER". PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2008. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=12998@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
O trabalho História e utopia: o documentário de Silvio Tendler investiga o compromisso com a construção da memória política assumido pelo cineasta brasileiro Silvio Tendler, bem como discute alguns mecanismos responsáveis pelo incômodo resultante da sua narrativa no cenário contemporâneo. Tendler realizou cerca de trinta filmes documentários sobre personagens públicos e processos históricos nacionais, ambos identificados à preocupação em reelaborar a memória política brasileira e conscientizar sobre os autoritarismos de Estado. Mas sua urgência em narrar os sonhos libertários, percorrer as rupturas políticas e atualizar as esperanças para construção de um futuro democrático entra em confronto com as produções contemporâneas do gênero. Nestas, ficam explícitos o abandono dos horizontes de empenho em construir utopias e a rejeição da preocupação com a esfera pública de participação política. Para compreender este processo, este trabalho apresenta uma breve descrição biográfica, análise de alguns de seus filmes, suas políticas de representação histórica e os movimentos trilhados pelo autor. O trabalho coloca sua obra em diálogo com as características encontradas nas narrativas documentais recentes e com o conjunto de diretrizes teóricas do gênero. Assim, tenta entender de que modo o rompimento com os pilares do pensamento que guiou a modernidade ocidental, que impulsionou os relatos de emancipação, termina por envolver de desconfiança a identidade coletiva que perpassa a produção de Tendler.
The work History and Utopia: the Documentary of Silvio Tendler investigates the pact with the construction of political memory assumed by the Brazilian director, as well as discusses some of the mechanisms responsible for the resulting sense of displacement of his narrative construction in the contemporary scene. Tendler authored more than thirty documentary films about public personalities and national historical processes, both indentified by the desire to rework the political memory and raise consciousness the authoritarian past of the State. But his urgency to narrate dreams of liberation, to follow political ruptures, and to carry out the new hopes for the construction of a democratic future enters into conflict with the contemporary productions in the genre. In these productions the abandonment of the horizons of dedication to build utopias becomes explicit, as does the rejection of attention to the public sphere of political participation. To understand this process, we write a brief biographical description, select a few of his films, observe his politics of historical representation and the movements chronicled by the author. We place his work in dialogue with the main characteristics encountered in recent narrative documentary and with the theoretical tendencies of the genre. Doing so, we try and understand by what mode of rupture with the pillars of thought that have guided occidental modernism, that created accounts of emancipation, ends up creating suspicion of the collective identity reclaimed in Tendlers work.
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Sills-Jones, Dafydd. "History documentary on UK terrestrial television, 1982-2002". Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/ce5f1edf-1dba-4b89-b0c3-7f70cbcc00c8.
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This thesis is an examination of the connection between the changes in the political economy of television, and changes in history documentary form, between 1982 and 2002 on UK terrestrial television. It reviews the literature on the political economy of the media, including public service broadcasting (PSB), and on documentary form, including history documentary form. The thesis then poses three research questions which aim to explore changes in the political economy of television, the effect these changes had on the production of history documentary, and the effect these changes in production had on the form of history documentary. The thesis used official documentation, television listings, practitioner interviews and textual analysis to answer these research questions. The thesis then lays out a historical narrative of the developments in the production of history documentary on UK terrestrial television between 1982 and 2002, and analyses the causes and results of these developments. It argues that a direct link exists between changes in the political economy of television and changes in the form of history documentary between 1982 and 2002. The thesis demonstrates that the shift from traditional PSB values towards a market-driven broadcasting ecology affected the production, and form, of history documentaries. These changes in turn challenged traditional notions of quality and history documentary‘s function as a form of PSB. The thesis also demonstrates that the effect of political economic change on history documentary form was not as simple as had hitherto been implied in the academic literature. In particular, there was a parallel between the tension between public service and commercial aims, in both the structures of television production, and the form of history documentary.
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Corns, Donna. "Dina's story : a visual intervention in fathoming history". Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20717.
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A two-part dissertation including a research essay and script for a historical feature film as a work of creative non-fiction. The first 40 pages comprise the research essay discussing archival research methods and narrative strategies employed in the creative production. The script, Dina the runaway, is based on a reading of official records of a criminal case from the Court of Justice in Cape of Good Hope 1737. The intention of the creative reworking is to revivify a historical event hitherto imprisoned in archaic language, providing proximity through visual language to make it speak more directly to the present. Despite efforts of contemporary historians, slavery as part of South African historical consciousness is seldom foregrounded. There is no surviving 'slave voice' - the only way enslaved people 'made it' into history was through transgression, they were essentially criminalised by history. Dina's story and her telling of it serves as an imaginative empathetic intervention in historical transmission. Research methods of reading along and across the archival grain expose power dynamics in linguistic transactions and discrepancies in the records. The script is a creative treatment of 'historical reality,' thereby subverting the generic dichotomy of the historical fiction film and documentary. The essay and script occupy the uncomfortable space of a double consciousness in which the creative and analytic do not so much compete as attempt to coexist.
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Boyd, Laura Jean. "Mythologizing the History of Easter Island through Documentary Films". Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/boyd/BoydL1205.pdf.
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Documentaries have the power to rewrite history and perpetuate myths in our society. In the case of Easter Island, documentary filmmakers have sensationalized the history of the Rapa Nui people, dwelling on dramatic concepts such as eco-disaster, cannibalism and mysteriously vanishing cultures. As a result of poor filmmaking, we have a mythologized history of Easter Island. In my attempt to create a science-based documentary about an issue affecting contemporary Easter Island society, this mythologizing of history became a major obstacle. It became apparent that I had to first inform audiences to the fact that they had been misinformed by previous documentaries about Easter Island and I had to change their interpretation of the alleged facts. In my thesis paper I examine the documentaries that created sensational statements about the island and reveal why documentary filmmakers rely on dramatic elements. I also examine my approach to the process of making my graduate thesis film, Caballo Loco on Easter Island, and review the methods I used to ensure the people of Rapa Nui were accurately represented.
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Jones, Leonie E. "`The Greatness and the Smallness of their Story': Developing an Oral History Interactive Documentary Creative Practice telling the Battle of Coral Balmoral, Vietnam 1968". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/399976.
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This research explores the interconnection between oral history, documentary film and the emerging field of interactive documentary as an interdisciplinary creative strategy for telling factual stories of war and trauma. In doing so, it recognises the problematic nature of broadcast television documentary where uneven power structures can negatively affect authorship and story. The objective of this research was to ease this tension with the development of a new creative practice model in the field of documentary story telling, as an alternative form of representation. The immediacy, polyvocality and accessibility offered by this new form of communication and technology, when coupled with oral history and documentary film, is particularly suited to projects where marginalised communities seek to make sense of their experience, and to challenge existing histories. I have developed an innovative synthesis between the three approaches to factual storytelling, which I call Oral History Interactive Documentary (OHID). As a means of factual, multi-narrative storytelling, this approach is designed to meet participants’ need to speak and be heard on their own terms and in their own words, rather than through ‘hierarchical media as a forum for privileged voices’ (Mitchell 2015, p.9).
My development of OHID is based on a dataset of 150 audio-visual original oral history interviews conducted with returned Australian Vietnam War soldiers, who fought at the Battle of Coral Balmoral in May 1968, at the height of the Vietnam War. It was the biggest and bloodiest battle fought by Australians, with more Australian soldiers killed in this engagement than at any other time during the Vietnam War. However, the Coral Balmoral soldiers’ repatriation back to Australia in 1969 was troubled as it coincided with major historical, social and cultural shifts in Australian society. The re-casting of the previously secure Australian national identity, largely founded in the legend of Anzac, resulted in the soldiers’ exclusion from imperatives linked to nationalism and masculinity. Instead, the returned Coral Balmoral soldiers found themselves in an uneasy relationship with an Australian society unable to reconcile a gallant military history with the contentious war in Vietnam. It is within these warfare and post-war socio-cultural experiences that the oral history interviews I conducted sought to record the veterans’ memories.
To better understand the relationship between telling stories of war and trauma, oral history, documentary film and its potential interconnection with interactivity, Sandra Gaudenzi’s (2013) taxonomy of four modes of interactivity was critically applied and tested against a range of conflict themed interactive documentaries. Critical analysis of these i-docs helped shape ideas of how interactive documentary enables authorship and agency. Rethinking ideas of authorship and inviting co-creation collaboration, opened new possibilities in digital space for multiple and layered storytelling. Importantly for the Coral Balmoral community, it allowed for the emergence of contradiction leading to new interpretative possibilities. Making obvious the synergies between interactive documentary, oral history and documentary film enabled me to design a creative strategy and practice model for authentic telling of stories of war and conflict. As a result, I have developed and tested the first contemporary single battle post-conflict oral history interactive documentary prototype, 26 Days: The Battle of Coral Balmoral.
This practice-led inquiry shaped my own professional practice as a screen media artist. The synergy between oral history, documentary film and interactive documentary has enabled me to bridge a gap in current factual broadcast storytelling, that suffers from a lack of informed, documented strategies. This research also looks beyond linear, hierarchical television documentary as a favoured factual storytelling platform to a new model of communication by offering a strategy that transcends some of the limitations of time-based storytelling. By offering a collaborative and three-tiered storytelling system, operating in a spatial and temporal environment, the OHID strategy provides a multi-tiered, organic framework through which witness accounts are recorded, organised, cohesively presented and engaged with by a user audience. In this way, the OHID strategy provides a framework that builds storytelling arenas for ideas and plots to unfold freely, run parallel to each other, or be completely contradictory. In so doing, OHID breaks authorial codes, whether political, social, geographical or institutional. Finally, the OHID strategy encourages collaboration that empowers marginalised communities to present many and alternative versions of experiences, in a way that opens opportunities for new knowledge and understanding.
The Interactive Oral History Documentary 26 Days: The Battle of Coral Balmoral can be found at www.fsbcoral.org
Please note that all active oral history interviews are marked with a white star in a green circle.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
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Opal, Jack A. "Rethinking Documentary Photography: Documentary and Politics in Times of Riots and Uprisings". Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1366971692.
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Zafar, Muhammad Hasan. "Pakistani documentary : representation of national history and identity (1976-2016)". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8386/.
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This thesis presents a study of Pakistani documentary, with a focus on the ways in which it represents Pakistan’s national identity and history. The study examines three sources of documentary production – state media, commercial television channels, and independent filmmakers – as three distinct voices of Pakistani documentary. The study argues that the discourses of these institutions are governed by their respective ideological, political, and economic priorities. These factors result in two competing approaches to Pakistan’s national history and identity: right-wing and left-wing. The Islamic ideology of the state governs the discourse of state-sponsored documentaries. The commercial television documentaries take an anti-establishment position, however, they remain faithful to Islamic ideology of the state to a large extend. The independent filmmakers, on the other hand, offer a liberal perspective of history and a secular identity of Pakistan. Hence, they offer a critical view of the state’s Islamic ideology as a governing principle of historiography and identity formation. The notion of representation entails the issues of authenticity, credibility, and truth-value, associated with the various methods adopted by the filmmakers. Hence, attention is paid to the styles and modes of documentary, with a reflection on the documentarian’s individual approaches to realism. The documentaries have been placed within historical and political contexts considering Pakistan as a postcolonial state, which also functions as a critical framework of this study.
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Boyle, Nicola. "The documentary history and repertory of the Lady Elizabeth's Men". Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/16344.
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This thesis is the first to provide an amalgamation of the documents pertaining to the Lady Elizabeth’s Men playing company that flourished in England from 1611 to 1625. It provides a chronological history based upon empirical evidence gathered from a range of sources such as Records of Early English Drama (REED); Henslowe’s Papers and the Office Book of Henry Herbert. These documents provide a narrative which allows a consideration of the different facets of the company throughout its existence within the commercial world of Jacobean theatre. Chapter 1 provides a chronological history of the company based upon the gathered documents; Chapter 2 reconstructs the repertory and considers its nature, whilst Chapter 3 provides a study of the staging requirements of the plays. Consideration is also given to establishing the size of the company necessary to successfully perform the plays, through the construction and analysis of doubling charts. The various groups of personnel personnel behind the company--the players, financiers, writers, and patrons--are considered in Chapter 4, together with a study of the roles they played within the operations of the Lady Elizabeth’s Men. The various places of playing, and how they bear upon the company’s development, are discussed in Chapter 5. The documents at the source of this thesis have been gathered, collated, classified, and arranged in chronological order together with information about their provenance and their bearing upon the company’s activities.
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Da, Canha Taryn. "Redefining the griot : a history of South African documentary film". Master's thesis, University of Cape Town, 2001. http://hdl.handle.net/11427/17956.
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Includes bibliography and filmography.The South African film industry, like the rest of the country, has gone through a very difficult and trying time over the last century and has been faced with enormous challenges since 1994. South Africa is still in a process of transition and the turbulent era of Apartheid is still vivid in our memories and our collective national identity. What is especially exciting about studying the history of the South African film industry, is that it was through film, television and the media at large, that we witnessed the evolution of this history. On a microscopic scale, the history of the film industry, is that of the country, and many of the effects of Apartheid that are being experienced in South Africa today, are likewise being experienced by the film industry. Thus by seeking to understand the historical relationship between film and politics in South Africa, we are enabled to comprehend and contextualise the circumstances that have determined film's socio-political, economic and cultural place in society today. It was with this intention that I began to investigate the documentary film industry in South Africa. My particular interest was in the development of an independent, progressive documentary film movement that tentatively originated in the late nineteen fifties and established itself in the late seventies and eighties as a major force in the resistance movement. Concentrating on organisations such as the International Defense and Aid Fund to Southern Africa (IDAF), Video News Services/ Afravision, and the Community Video Education Trust (CVET), as well as many individual anti-Apartheid filmmakers, the focus of this paper and documentary film, Redefining the Griot, is thus limited to an analysis of the history of socio-political documentary filmmaking in South Africa, in particular, the anti-Apartheid film and video movement that emerged both in reaction to the ideologically-specific and restrictive State control of media, film and eventually television, and as a cultural weapon in the liberation struggle. Understanding this history enables valuable insight into the nature of the documentary film and video-making industry today - one that is still considered emergent in terms of having a homogeneous national identity.
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Fossen, Pamela, i n/a. "Errol Morris and the art of history". University of Otago. Department of Media, Film and Communication, 2009. http://adt.otago.ac.nz./public/adt-NZDU20091001.154456.
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The work of documentary director Errol Morris can be approached in a variety of ways as it intersects and engages with many of the major themes of film and television scholarship - genre, authorship, and historical representation. But while his films and television episodes expose debates within film and documentary studies, they also call up major elements of postmodern debates within the historical discipline. Morris makes historical documentaries that do not simply render a (hi)story visually; he also attempts to draw viewers' attention to the conventions and construction of both visual media and of history. His work reveals both his keen awareness of postmodern historical debates, and a willingness to play, to confront basic assumptions, question boundaries, and to contribute to those debates.
In 'Errol Morris and the Art of History', I argue that Morris is a visual historian; his films and television episodes draw as much from his understanding of historiographical debates as they do from his knowledge and artistic approach to visual media. All of Morris' work challenges the notion of objectivity in both documentary filmmaking and history; he attempts to illuminate the limits and conventions of visual depictions of history; he uses strategies to denaturalise historical and narrative construction, the naturalising tendencies of visual media, and the conventions of documentary practice; and he attempts to promote increased critical reflection. This thesis closely examines Morris' documentary films and television episodes to consider the structure and strategies that characterise his work, and situate it within contemporary film and historical debates. I explore Morris' methods and approach to documentary and history, showing how his work relates to postmodern history debates, to written and visual representations of history, and to documentary history and theory, including more recent factual forms like reality television.
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McCarty, Kieran. "Selections from A Frontier Documentary: Mexican Tucson, 1821-1856". University of Arizona, Mexican American Studies and Research Center, 1994. http://hdl.handle.net/10150/219036.
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Roebuck, Daire Elizabeth. "MARGARET JARMAN HAGOOD?S MOTHERS OF THE SOUTH AS SOCIOLOGICAL DOCUMENTARY". NCSU, 2004. http://www.lib.ncsu.edu/theses/available/etd-05172004-170009/.
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The purpose of this study is to discuss why and how Margaret Jarman Hagood?s 1939 monograph, Mothers of the South: Portraiture of the White Tenant Farm Woman, was a unique contribution to the sociological and documentary study of the rural white woman in the South during the Great Depression. Hagood?s work represents a lasting document of how these women experienced the poverty of the South during the 1930s. Mothers of the South is also part of a larger intellectual and aesthetic movement during the period known as documentary. Her work is compared and contrasted with a selection of its predecessors along with how her work was unique in its focus on rural white mothers.
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Qian, Ying. "Visionary Realities: Documentary Cinema in Socialist China". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11035.
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This dissertation examines documentary cinema in Socialist China as an emerging technology of mass politics, a new medium for creating political imaginaries and writing history, and a global vernacular connecting China to other revolutionary and modernizing cultures. At the center of my investigation is documentary cinema's capacities to work across boundaries between reality and fiction, between physical and metaphysical worlds, and between a historical world bound by its materiality and a revolutionary world mobilized to take leaps into a brighter future. I argue that these capacities made documentary a particularly relevant media for socialism for both epistemological and historiographical reasons. Epistemologically, documentary brought together the empirical and the ideological, both fundamental to a Marxist quest for truth. Historiographically, documentary's deep bond to the present moment and its capacity for temporal re-structuring and mass mobilization allowed it to intervene radically into the making and writing of history, particularly in a society engaged with engineering its own transformation. Using visual archives only recently made available, the dissertation's wide-ranging discussions include how documentary re-enacted the civil war upon the founding of the PRC, documented "tomorrow" during the Great Leap Forward, created mass passions for diplomacy in the 1960s, and enabled a poetics of mourning and testimony in the immediate years after the Cultural Revolution.East Asian Languages and Civilizations
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Palmer, G. E. "Basil Wright : definitions of documentary". Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.
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A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.
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Beattie, Debra. "The wrong crowd : an online documentary and analytical contextualisation". Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15874/1/Debra_Beattie_Thesis.pdf.
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This doctoral study comprises two parts. 75 per cent of the total weight of the submission consists of the creative component, the writing, directing and producing of a moving-image documentary in an online environment (supplementary material includes the script). Cutting edge technology (QTVR 'movies' and Live Stage Professional software) was used to create an immersive cinematic experience on the net. The Wrong Crowd can be viewed either online at www.abc.net.au/wrongcrowd or offline via a CD Rom (the latter includes the radio play 'Death of a Prostitute' which was excised from the version published via ABC Online because of legal concerns on the part of the ABC lawyers). The second part of the doctorate is the analytical contextualisation, comprising 25 per cent of the submission. This part examines the critical literature on the nature of the documentary form, documentary as history, cultural memory and the autobiography as history. Documentary exists as a truth-claim. History also embraces the search for evidence. The history documentary has a television form from which the online version is derived. The nature of the internet as a delivery platform for the moving image is discussed with reference to he truth claim as founded in the visible evidence - the news coverage - the 'this really happened'. The evidence however is open to interpretation for the historical record and is retold to suit the present power relations (the funding bodies, the commissioning editors, etc). In a CD Rom and more so online, this tendency towards individual interpretation is amplified to the point where the viewer can participate in the construction of the argument via a navigable database. Visually, the change from the temporal montage of the linear television documentary to spatial montage of the windows interface has led us to reconnect with computer-based moving images as a form of animated painting. Conventional screen theories of engagement and reception are invoked to aid in the discussion of modified cinematic conventions of editing and framing within the online form. The case-study of one of the inaugural Australian Film Commission funded online documentaries, The Wrong Crowd: Inside the Family Outside the Law, is a personal history narrative that intersects with Queensland police history from the 1950s to the late 1970s at the moments of inquiries into issues of police brutality and corruption.
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Beattie, Debra. "THE WRONG CROWD : An online documentary and Analytical contextualisation". Queensland University of Technology, 2003. http://eprints.qut.edu.au/15874/.
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This doctoral study comprises two parts. 75 per cent of the total weight of the submission consists of the creative component, the writing, directing and producing of a moving-image documentary in an online environment (supplementary material includes the script). Cutting edge technology (QTVR 'movies' and Live Stage Professional software) was used to create an immersive cinematic experience on the net. The Wrong Crowd can be viewed either online at www.abc.net.au/wrongcrowd or offline via a CD Rom (the latter includes the radio play 'Death of a Prostitute' which was excised from the version published via ABC Online because of legal concerns on the part of the ABC lawyers). The second part of the doctorate is the analytical contextualisation, comprising 25 per cent of the submission. This part examines the critical literature on the nature of the documentary form, documentary as history, cultural memory and the autobiography as history. Documentary exists as a truth-claim. History also embraces the search for evidence. The history documentary has a television form from which the online version is derived. The nature of the internet as a delivery platform for the moving image is discussed with reference to he truth claim as founded in the visible evidence - the news coverage - the 'this really happened'. The evidence however is open to interpretation for the historical record and is retold to suit the present power relations (the funding bodies, the commissioning editors, etc). In a CD Rom and more so online, this tendency towards individual interpretation is amplified to the point where the viewer can participate in the construction of the argument via a navigable database. Visually, the change from the temporal montage of the linear television documentary to spatial montage of the windows interface has led us to reconnect with computer-based moving images as a form of animated painting. Conventional screen theories of engagement and reception are invoked to aid in the discussion of modified cinematic conventions of editing and framing within the online form. The case-study of one of the inaugural Australian Film Commission funded online documentaries, The Wrong Crowd: Inside the Family Outside the Law, is a personal history narrative that intersects with Queensland police history from the 1950s to the late 1970s at the moments of inquiries into issues of police brutality and corruption.
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Rogers, Shannon. "Ken Burns' Baseball: Argument in documentary". CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1759.
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Friel, Ian. "The documentary evidence for maritime technology in later medieval England and Wales". Thesis, Keele University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302743.
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Al-Sagri, S. H. "Britain and the Arab Emirates 1820-1956 : A documentary study". Thesis, University of Kent, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.383913.
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The aim of this study is to examine the British policy toward the United Arab Emirates from 1820 until 1956. The relationship between Britain and the Emirates began in 1820 with the signing of "a general treaty between Britain and the Arab Tribes of the Persian Gulf". From that time until 1900, Britain set about consolidating its position in the region with the signing of a number of other treaties with the tribes of the region. British policy towards the Trucial States from 1820 to 1956 can be divided into two stages. The first stag~ lasted from 1820 to 1945. During that period Britain concentrated on maintaining her interests, and refrained from interfering in the internal affairs of the Emirates except when her interests were threatened. The second stage lasted from 1945 to 1956. That period which is the most important period in the history of the Emirates has, in my view, not been adequately studied. During that period Britain adopted a new pol icy aimed at developing the social, economic and political conditions in the Emirates. In 1952, Britain managed for the first time in the history of the Trucial States to unify the Sheikhs under a "Trucial States Council" to help Britain carry out its development programme. Such policy resulted in the establishment of formal education, a legal system, an administrative system as well as new stable economic resources. In this way the Trucial Coast Sheikhdoms moved from being a tribal society into a nation-state, albeit not a fully developed one. This is what this study hopes to describe on the basis of relevant documents.
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Laughren, Pat. "Picturing Politics: Some Issues in the Documentary Representation of Australian Political and Social History". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/366409.
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This submission groups together four 'TV Hour' documentaries - Red Ted and the Great depression 1994, The Legend of Fred Paterson 1996, The Fair Go: Winning the 1967 Referendum 1999, and Stories from the Split: the Struggle for the Souls of Australian Workers 2005 - researched, developed and produced between1990 and 2005. Each of the submitted documentary films treats an event or individual that made a decisive and lasting contribution to Australian political and social history in the course of the 20th Century. The projects also had the good fortune to win support from institutions such as the Australian Film Commission, the Australian Research Council, the Film Finance Corporation, the Australian Foundation for Culture and the Humanities and the Australian Broadcasting Corporation. The selected films may be viewed as representing a sustained exploration of the relations between documentary modes and production practices, the uses of oral history, the institution of television, and certain understandings of Australian Politics. Taken together, the works exemplify some significant issues in the documentary representation of Australia political and social history. All the films take their content from the field of Australian political and social history; all work within the limits of the 'Television Hour' - from 51 to 60 minutes for public broadcasters; and all emply a mix of interview and archival materials in their construction. Crucially, the films emphasise the experience, opinions and testimaony of participants and witnesses rather than experts. Each film also employs elements of an approach to compilation filmmaking which can be traced to the montage strategy pioneered by the Soviet filmmaker Esther Shub; celebrated by Jay Leyda in his groundbreaking study 'Films Beget Films' (1964).Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Griffith Film School
Arts, Education and Law
Full Text
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Opal, Jack A. "Documentary Photography and the Edge of the Sword". Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1492608162938188.
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Vitols, Maruta Zane. "From the Personal to the Public: Juris Podnieks and Latvian Documentary Cinema". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210796660.
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Weisz, Talia M. "Voices from Israel/Palestine: A Documentary Video Exhibition". The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274903253.
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Scott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production". Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.
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This thesis provides an ‘insider account' of the process of making contemporary ‘observational' documentaries from within the broadcasting industry. Raploch Stories (2002) and Raploch Stories Revisited (2007) are seven television documentary programmes written, produced and directed by me for BBC Scotland. This critical appraisal examines the pathway from the formulation of the creative idea, through project research and development, filming, post-production, delivery and transmission, in order to assess and demonstrate the originality of these published works. This is supported by a reflexive commentary which examines the influence of the wider ‘community of practice' on my development as a film-maker. The study identifies ways in which these films demonstrate innovation and progress in technology and production methods, and examines the development of new hybrid forms of programming in the television documentary genre. These new developments are placed in the context of the history of the documentary film, and the on-going academic debate about the definition of the genre and the question of whether it is possible to achieve an authentic record of real life. By comparing Raploch Stories with other examples of social documentary film-making, such as Housing Problems (1935), Lilybank (1977), Wester Hailes – the Huts (1985) and The Scheme (2010), the thesis analyses how films in this sub-genre have evolved and assesses the ways in which there has been continuity in content and in the approach to filming. Finally, the thesis seeks to establish the significance of the published works and to demonstrate how these programmes contribute to the development of documentary television production in Scotland, and to the representation of Scottish working-class communities by the media. Through the reflexive examination of creativity, practice, production, textual interpretation, cultural impact, institutional history, and policy and regulation, the thesis provides a critical perspective on these overlapping areas of knowledge.
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Banker, Catherine Mary Courser. "A structural history of the Old Stone Hotel in Daggett utilizing archaeological and documentary evidence". CSUSB ScholarWorks, 1994. https://scholarworks.lib.csusb.edu/etd-project/856.
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Solbrig, Heide Frances. "Film and function : a history of industrial motivation film /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2004. http://wwwlib.umi.com/cr/ucsd/fullcit?p3142448.
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Xu, Apple Yaping. "The oral testimony and the embodied witness: orality, intersubjectivity, and Chinese oral history documentary film". HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/24.
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In order to explore the embodiment of oral history in documentary film this study sets out its analysis in two sections. The first section concentrates on understanding the issue of intersubjectivity in Walter Ong’s idea of ‘orality’, namely, orality as characterized by an interactive relation between speaker and listener, based on the sensual-perceptual experience of sound phenomenon and the expressive act of the spoken word. Additionally, in this first section, intersubjectivity in cinematic experience is also investigated in relation to early German film theorists’ romantic conceptions of filmic ‘gesture’. Employing a ‘performance-centered’ approach, the second section of the dissertation analyzes how the oral testimony and the embodied witness collaboratively produce historical knowledge on the scene of interviewing and beyond. This section will also consist of three case studies covering three broad areas of historical identity: 1. Women induced into sexual slavery by Japanese troops (the so-called ‘comfort women’); 2. Villagers affected by the Great Leap Forward Famine, and 3. Intellectuals affected by political persecutions during the era of Mao.
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London, Joseph. "The Beloved: A documentary film on the history and aftermath of Fremantle’s Rajneesh sannyasin community – and – Hidden Realities: Transcendental Structures in Documentary Film: An exegesis". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2130.
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This creative work and its associated exegesis examines the concept of what I have termed a ‘transcendental structure’ in relation to a documentary film form, and what outcomes, specific to a non-fiction mode of representation, result from the application of this structure. A transcendental structure in film has a long history of investigation and interpretation in narrative fiction film theory and practice, but is substantially absent from documentary scholarship. The topic appears, in different forms, in the critical writings of Zavattini (1940), Bazin (1946), Pasolini (1965), Schrader (1972), Deleuze (1985), and more recently, Perez (1998) and Minghelli (2016). All of these theorists have identified a cinema of a double nature: on one level, explicit in its narrative programme and engagement, while on another level, simultaneously registering a spatial and temporal ‘beyond’ that invites an alternative experience based on a formal engagement. This aesthetic or non-narrative dimension is made perceivable through cinematic strategies that aim to interrupt or suspend the narrative flow and foreground elements external to the narrative programme. It is for this reason that landscape holds particular importance to a transcendental structure; in its physical interaction with and set-apartness from the human narrative, and through this, in its contrasting temporality to the narrative and less tangible level of registration.
This research will proceed by testing this structure through my own creative practice: a documentary feature on Fremantle’s Rajneesh sannyasin community, titled The Beloved. This is an ongoing community in Fremantle, which in the eighties, experienced a dramatic and public rise and fall as a movement. It is also a community with which I have an enduring personal relationship. This has allowed me to address not only their public history, but also the troubled memory that survives within the community. This documentary will be accompanied by the exegesis which will identify the concept of a transcendental structure within fiction film scholarship and, in the absence of critical writings that relate to this concept in documentary, will examine documentaries that are able to be discussed in these terms. The key films that I examine in the exegesis include Shoah (Lanzmann, 1985), which brings the incomprehensibility of the Holocaust into the realm of present experience by rejecting archival imagery in favour of landscapes from the concentration camps in their contemporary state; and sleep furiously (Koppel, 2008), in which the unprocessed trauma of community disintegration is registered through affect-based experience rather than the narrative or representational programme.
From the sum of this research, I argue that the interview based historical documentary is particularly suitable as a platform for a transcendental structure, and useful to historical subjects of a sensitive, troubled, and unresolved nature. The double nature of the structure, exhibited in the dissociation of the voice recounting the historical narrative from imagery of present-day settings, opens up new communicative possibilities and spaces for the contemplation and processing of incomprehensible, repressed, or traumatic experience.
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Gisler, Carolyn M. "Revisioning the documentary tradition from within : Patricia Gruben's Leylines (1993)". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26689.
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Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)
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Shier, Sara Ann. "The depiction of indigenous African cultures as other in contemporary, Western natural history film". Thesis, Montana State University, 2006. http://etd.lib.montana.edu/etd/2006/shier/ShierS1206.pdf.
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Gharabaghi, Hadi Parandeh. ""American Mice Grow Big!"| The Syracuse Audiovisual Mission in Iran and the Rise of Documentary Diplomacy". Thesis, New York University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10682611.
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This dissertation investigates the coterminous emergence of imperial documentary operations and modernization programs in the United States during the 1940s and 1950s. It argues that the period saw a governing investment in documentary format and documentary "value," and that this was a response to the containment strategy of cultural diplomacy at the onset of the Cold War. It's focus is a mixed group of governmental and non-governmental entities. The project makes evident how a group of events and practices involved in foreign diplomacy campaigns of knowledge/intelligence and large scale overseas modernization programs give rise to a discourse of documentary diplomacy. The output of these projects was varied: locally-made rural training films; newsmagazine newsreel; travelogues, and the exported nontheatrical American documentaries. As the dissertation demonstrates, they were influenced by a weaponized ethnographic documentary experience, first formulated in Asia by Margaret Mead and Gregory Bateson in the late 1930s. The subsequent rise of governing investment in culture for imperial planning during the 1940s, large scale government experiment with training films during World War II, and governing investment in grassroots audiovisual movement of educational film in the United States all bear the marks of these knowledge/intelligence campaigns. The path to freedom, accordingly, became a bifurcating atomized process that ultimately reconceptualized geopolitically sensitive nation-states as people, as audiences, and eventually as individuals available to be freed from their own "hostile" and "uncooperative" governments on their way toward building bottom-up democratic movements.
Containment campaigns of defending American capitalism against Soviet communism in postcolonial nation-states led to a proliferation of instructional films throughout the world. These missions invested in local filmmaking and established pockets of documentary infrastructure that inevitably played some roles in the making and transformation of national cinemas. As a case study of the emerging discourse of documentary diplomacy, this dissertation also investigates American documentary operations in Iran during the 1940s and 1950s and demonstrates how US-Iranian media projects institutionalized documentary, audiovisual modernization, and media governance in Iran. The Syracuse documentary mission to Iran emerged as among the most important sites of such campaigns. For instance, the first generation of localizing newsmagazine series were made in Iran for Iranians by Iranian crew, using American planning, infrastructure and capital. With this convenient "usage," however, also came subscribing to an ideological package. Media producers and advisors from thirty-five American universities, under Syracuse University's binational contract with American and Iranian governments, participated in this work by 1959.
As this research project demonstrates, documentary diplomacy in this era brings into contact and coherence film and legal discourse, diplomatic policymaking, film practice, and applied social scientific research and intelligence production. In this respect, documentary diplomacy encompasses a set of events that include making documentary, mobile screening, expert viewing, national character research, applied anthropology intelligence work, survey trips, public opinion projects, courses of audiovisual and documentary training, and nation-building projects of central documentary infrastructure and media governance.
This dissertation argues that localized missions of overseas audiovisual training and documentary filmmaking and infrastructure during the 1950s operate through a propaganda facade of apolitical modernization by building on the governing strategy of welfare imperialism via invitation. In some cases, this went to extent of sponsoring anti-leftist localized newsreel campaigns of crushing local journalism and a wide range of objectifying practices. The village how-to films enforced a rapid modernization campaign while audiovisual training facilitated central education and governing. The dissertation also argues that the apolitical facade of the imperial documentary campaign in Iran is an expression of claiming fakery and manipulation in the name of the real.
The project draws from a wealth of declassified archival sources in the United States National Archives at College Park, the Library of Congress, the Archives of Rockefeller and Ford Foundations and other sources including individual memoirs and interviews. The archival sources include memoranda of film scripts, film receipts, correspondence, embassy notes, university and government contract, cultural manuals, immigrant interviews and a documentary bible of administrative film theory and production.
Following the case study of Iran, the dissertation extrapolates that researching the genealogical course of postwar imperial campaigns of documentary diplomacy in the Middle East and Asia can contribute to understanding of the transformation of modernization programs of central education, media cultures and media governance.
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Cieplak, Piotr Artur. "The Rwandan genocide and its aftermath in photography and documentary film". Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609170.
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Van, Vuuren Lauren. "The Great Dance : myth, history and identity in documentary film representation of the Bushmen, 1925-2000". Doctoral thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/22171.
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This thesis utilises a sample of major documentary films on the Bushmen of Southern Africa as primary sources in investigating change over time in the interpretation and visualisation of Bushmen peoples over seventy-five years from 1925 to 2000. The primary sources of this thesis are seven documentary films on the subject of Bushmen people in southern Africa. These films are as follows The Bushmen (1925), made by the Denver African Expedition to southern Africa; the BBC film Lost World of Kalahari (1956) by Laurens van der Post; The Hunters (1958) by John Marshall; the 1974 National Geographic Society film Bushmen of the Kalahari; John Marshall's 1980 film N!ai: The Story of a !Kung Woman; and the South African films People of the Great Sandface (1984) by Paul John Myburgh and The Great Dance (2000) by Craig and Damon Foster. All of these films reflect, to varying degrees, a complex interplay between generic images of Bushmen as pristine primitives and the visible evidence of many Bushmen peoples rapid decline into poverty in Southern Africa, a process which had been ongoing throughout the twentieth century. The aim of the thesis has been to explore the utilisation of film as a primary source for historical research, but focussing specifically on a subject related to the southern African historical context. The films under analysis have been critically appraised as evidence of the values and attitudes of the people and period that have produced them, and for evidence about the Bushmen at the time of filming. Furthermore, each film has been considered as a film in history, for how it influences academic or popular discourses on the Bushmen, and finally as filmic 'historiography' that communicates historical knowledge. This thesis, then, utilises a knowledge and understanding of film language, as well as the history and development of documentary film, to assess and consider the way in which knowledge is communicated through the medium of film. This study has attempted to investigate the popular and academic indictment of documentary film as progenitor and/ or reinforcing agent of crude, reified mythologies about Bushmen culture in southern Africa. It is shown here that the way major documentary films have interpreted and positioned Bushmen people reveals the degree to which documentary films are acute reflections of their historical contexts, particularly in relation to the complicated webs of discourse that define popular and academic responses to particular subjects, such as 'Bushmen', at particular historical moments. Critical, visually literate analysis of documentaries can reveal the patterns of these discourses, which in turn reflect layers of ideology that change over time. A secondary finding of this thesis has been that documentary film might constitute a source of oral history for historians, when the subjects of a documentary film express ideas and attitudes that reflect self-identity. It is proposed that the approach to analysis of documentary film that has been utilised throughout this study is a means of 'extracting' the oral testimony from its ideological positioning within the world of the film. The historian might evaluate the usefulness of a subject's oral testimony in relation to the ideological orientation of the film as a whole, to decide whether it is worthwhile being considered as das Ding an sich or should be seen purely as a reflection of values and attitudes of the filmmaker, or something in between. It is shown in this thesis that documentary film constitutes an important archive of oral testimony for historians who are properly versed in reading film language.
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Pryke, Sebastian. "The eighteenth century furniture trade in Edinburgh : a study based on documentary sources". Thesis, University of St Andrews, 1995. http://hdl.handle.net/10023/11339.
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“The existing work is easy to summarise; despite the ever present nature of furniture in people's lives, and its obvious position in a social context as a reflection of taste, wealth and progress, the study in Scotland of the trade which made it, and the furniture itself, has until recently been sadly neglected.” -- From the Preface. “This thesis is intended to hang flesh on the bones of Francis Bamford's ‘Dictionary of Edinburgh Wrights', rather than to be a counterpart to Pat Kirkham's study of the London trade¹². Whereas in Glasgow 'no rich vein of documentation has revealed the existence of a dominant city manufacturer comparable with Trotter of Edinburgh, whose furniture and business activities can be traced back into the eighteenth century¹³', in Edinburgh rich veins do exist. They have been used not only to illuminate the careers of individuals but also to explore the great range of services which these individuals offered. The editorial of the 1992 volume of ‘Regional Furniture' states that 'some work on Norwich, Chester, Doncaster, Lancaster and Glasgow is in print, but coverage is patchy'. That Edinburgh had such a clearly vibrant trade will hopefully be of encouragement to historians of all major British cities, even those that did not benefit from the privileges of a capital city, or bask in the reflected glow of the Enlightenment.” – From the Introduction.
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Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /". Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.
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Du, Toit Jaqueline Susann. "The organization and use of documentary deposits in the near east from ancient to medieval times : libraries, archives, book collections and genizas". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38480.
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A multidisciplinary approach is utilized to assess the organization and use of ancient and medieval Near Eastern textual deposits. An elaborate survey of the published material in ancient Near Eastern studies and library and archival studies indicates a general and pervasive insensitivity to and misuse of key terminological constructs. The indistinct portrayal of the nature of ancient libraries and archives is identified as of particular concern; as well as a widespread disregard for the recognition of textual collections older than the famed Library of Alexandria. This dissertation endeavours to indicate the presence of distinct textual collective units in the ancient Near Eastern context on equal footing with their much later counterparts and more broadly defined than the traditional library and archive, to include entities such as the geniza, building and foundation deposits, and so forth. Furthermore, the ancient temple library, as a restricted and well-regulated collective entity, is suggested as representative of literary standardization in the Near East, and the canonization process of the Hebrew Bible, in particular. Ancient archives are attested as equally prevalent textual units, clearly distinguishable from adjunct textual deposits, often loosely, but incorrectly, termed "archives" in modern scholarly discourse. In conclusion, this dissertation reconsiders the status of the two traditionally most valued ancient textual entities, the Library of Assurbanipal and the Library of Alexandria, and concludes that these entities are atypical examples of ancient textual collections. As closest claimants to the improbable and often religiously imbued ideal of universal collection of information, these libraries erroneously became the impossible standards by which all ancient collections were measured and found wanting. As alternate, the applicability of the theoretical constructs proposed in the earlier part of this dissertation, such as the introduction of an in
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Lambert, James K. "REEL NAZIS a propaganda history". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4954/.
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This thesis film is an overview of Nazi Germany, primarily told through the use of their own propaganda images, and structured in such a way as to make the viewer question what they think they know about the past, present, and future. This paper is a discussion of the process that went into making the film and some of the ideas connected to it that could not be brought out in the documentary.
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Childress, Doris (Doris Elaine). "Bus Ride to Liberation: a Historical Video Documentary of the Acres Homes Transit Company in Houston, Texas". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279071/.
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The Acres Homes Transit Company in Houston, Texas is Texas' first African American owned and operated bus company. Some say it is the first in the South. The company was developed during the height of the civil rights period. It serves as an establishment of economic empowerment during the oppressive civil rights era. The video is a historical visual documentation of the bus company from its beginning to its end. An accompanying written profile describes the research process, the pre-production, production and post-production stages, as well as future proposals for the documentary.
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Herdman, Catherine N. "Appalshop Genesis: Appalachians Speaking for Themselves in the 1970s and 80s". UKnowledge, 2014. http://uknowledge.uky.edu/history_etds/19.
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Appalshop, a multi-media and arts organization in Whitesburg, Kentucky emerged in 1969 at the crossroads of several different developments. It started as a War on Poverty program and its history exhibits the contradictory ideologies that fueled that effort and the political changes that forestalled it. The production company began in the midst of technological advances in media and is an early example of the democratization of technology and the potential of portable video equipment in affecting social change. Most importantly, its genesis is located within the context of a renewed interest in Appalachian history and culture and the related issues of negotiating regional cultural identity in the American national context. This one small organization in Eastern Kentucky provides a window to a wide slice of American history and culture in the midst of profound changes.
Throughout the twentieth century the Appalachian region has been repeatedly characterized in mainstream American culture in an overtly negative light. Appalshop played an integral role in countering these characterizations and the stereotypes they generated and reinforced. Technology became more accessible the second half of the twentieth century. As a result, Appalshop was able to challenge these negative perceptions of the region in the national mind by placing cameras, printing capabilities, drama, and visual art in the hands of Appalachians. This allowed them to speak for themselves—first to each other and eventually to the nation.
This dissertation focuses on the founding of the Community Film Workshop of Appalachia, the subsequent abandonment of the project by the federal government, the acquisition of control over its artistic output by artists and staff members, and its expansion between 1969 and 1984. It also addresses the significant role Appalshop played in the burgeoning Appalachian social movement context that emerged concurrently with its founding and its related role as a social change organization.
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Jooste, Rina. "Representing history through film with reference to the documentary film Captor and Captive : perspectives on a 1978 Border War incident". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85668.
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Thesis (MA)-- Stellenbosch University, 2013.ENGLISH ABSTRACT: This dissertation is supplementing a documentary film entitled Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010), referred to as Captor and Captive, with a duration of 52-minutes. The film follows the story of two soldiers caught up in the disorganized machine of war. Johan van der Mescht, a South African Defence Force (SADF) soldier was captured in 1978 by Danger Ashipala, a South West Africa People’s Organisation (SWAPO) guerilla fighting for Namibian independence. Van der Mescht was held as a prisoner of war (POW) in Angola before being exchanged for a Russian spy, Aleksei Koslov, at Checkpoint Charlie in Berlin in 1982. The main focus of the dissertation is to provide an analysis of representing history through film, with reference to Captor and Captive. It explores the manner in which history can be represented through the medium of film and add value to historical text, as well as historical text adding value to film, and how the two mediums can supplement each other. In this instance, Captor and Captive was produced first and the research conducted was used to inform the dissertation. It briefly discusses the history of documentary film within South Africa; the reality of producing documentary films reflecting on Captor and Captive and the theoretical principles involved in the craft of documentary filmmaking. The dissertation further provides details of the capture of Van der Mescht and his experience as a POW in Angola, against the backdrop of the Border War that waged between 1966 and 1989 in South West Africa (SWA) and Angola. The political landscape and various forces at work within southern Africa during the period of Van der Mescht’s capture are discussed. It also provides detail of the role of Van der Mescht’s captor Ashipala, and the liberation movement SWAPO. With independence in 1990, South West Africa became Namibia and will be referred to as such for the purpose of the dissertation. Mention will be made of other POWs during the Border War, providing a brief comparative analysis of their respective experiences.
AFRIKAANSE OPSOMMING: Die verhandeling is aanvullend tot die dokumentêre rolprent Captor and Captive – the story of Danger Ashipala and Johan van der Mescht (2010). Die rolprent het ‘n 52- minute speeltyd, en daar word daarna verwys as Captor and Captive. Dit handel oor twee soldate wat vasgevang is in die chaos van oorlog. Johan van der Mescht, lid van die Suid Afrikaanse Weermag, is in 1978 gevange geneem deur Danger Ashipala, lid van die Namibiese bevrydingsorganisasie SWAPO. Van der Mescht is as ‘n krygsgevangene in Angola aangehou, en 1982 uitgeruil vir ‘n Russiese spioen, Aleksei Koslov. Die uitruiling het by Checkpoint Charlie in Berlyn plaasgevind. Die verhandeling gee hoofsaaklik ‘n uiteensetting van die manier waarop geskiedenis aangebied word deur die visuele rolprentmedium, met verwysing na Captor and Captive. Die wyse waarop ‘n rolprent waarde kan toevoeg tot historiese teks, en hoe historiese teks op sy beurt weer waarde kan toevoeg tot ‘n rolprent word ondersoek, asook die wyse waarop die twee mediums mekaar kan aanvul. Captor and Captive is vervaardig voor die verhandeling aangepak is, en die navorsing is gebruik ter aanvulling van die verhandeling. Verder word die agtergrond en geskiedenis van dokumentêre rolprente in Suid Afrika kortliks bespreek; die realiteite rondom die vervaardiging van dokumentêre rolprente, met verwysing na Captor and Captive, en teoretiese aspekte betrokke by die vervaardiging daarvan. Die verhandeling verskaf inligting omtrent die gevangeneming van Van der Mescht en sy ondervinding as ‘n krygsgevangene in Angola. Dit word geskets teen die agtergrond van die Grensoorlog (1966 tot 1989) in Suidwes Afrika en Angola. Die politieke omgewing en groeperinge binne Suider Afrika gedurende Van der Mescht se gevangenisskap word bespreek. Verder word inligting oor Ashipala, wat verantwoordelik was vir Van der Mescht se gevangeneming bespreek. Die bevrydingsorganisasie SWAPO, waarvan hy ‘n lid was, word ook bespreek. Suidwes Afrika verander sy naam met onafhanklikheidswording in 1990 na Namibiё, en vir die doel van die verhandeling word daar na Namibiё verwys. Daar word melding gemaak van ander krygsgevangenes gedurende die tydperk van die Grensoorlog, en ‘n vergelyking tussen die ondervindinge van die onderskeie krygsgevangenes word kortliks ondersoek.
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Hammerton, Rachel Joan. "English impressions of Venice up to the early seventeenth century : a documentary study". Thesis, University of St Andrews, 1987. http://hdl.handle.net/10023/2792.
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The first Englishmen to write about the city-state of Venice were the pilgrims passing through on their way to the Holy Land. Their impressions are recorded in the travel diaries and collections of advice for prospective fellow pilgrims between the early fourteenth and early sixteenth centuries, the most substantial being those of William Wey, Sir Richard Guylforde and Sir Richard Torkington, who visited Venice in 1458 and '62, 1506, and 1517 respectively. In the 1540s arrived the men who saw Venice as part of the new Europe--Andrew Borde and William Thomas. Thomas's study of the Venetian state emphasized the efficiency of its administration, seeing it as an example of constructive government, where effective organisation for the common good led directly to national stability and prosperity. The mid-sixteenth century saw the beginnings of Venice as a tourist centre; the visitors who came between 1550 and the end of the century described the sights and the people, the traditions and way of life. Fynes Moryson's extensive account details what could be seen and learned in the city by an observant and enquiring visitor. In addition to information available in first-hand accounts of Venice, much could be learned from the work of the late sixteenth-century English translators. Linguistic, cultural, geographical, historical and literary translations yielded further knowledge and, more importantly, new perspectives, Venice being seen through the eyes of Italians and, through Lewkenor's comprehensive work, The Commonwealth and Government of Venice, of Venetians themselves. Finally, to assess the general impressions of Venice and the Venetians, we consider the literature of the turn of the sixteenth-seventeenth century; what, and how much, of the three-hundred year accumulation of knowledge of the city and people of Venice had most caught the attention and imagination of the English mind, and how close was the relationship between the popular impression and the documentary information from which it had largely developed.
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Phelan, Joseph Patrick. "The limitations of original history : the use of documentary evidence in the work of Clough, Arnold and Browning". Thesis, King's College London (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.342968.
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Hildebrandt, Melinda 1976. "Strands of realism : the instructional, the narrative and the poetic in British cinema, 1929-2003". Monash University, School of Literary, Visual and Performance Studies, 2003. http://arrow.monash.edu.au/hdl/1959.1/7598.
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Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.
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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information.
Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events.
Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc.
Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era.
Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques.
In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers.
Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.
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Asadipour, Saeedeh. "5 Broken Cameras: Landscape, Trauma, and Witnessing". University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1459439752.
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