Artykuły w czasopismach na temat „Documentary Producer”
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Gaetano, Arianne. "Migration and Modernization in China". Transfers 4, nr 3 (1.12.2014): 126–30. http://dx.doi.org/10.3167/trans.2014.040312.
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Last Train Home (guitu lieche 归途列车) 2009. Produced by Mila Aung-Th win and Daniel Cross (executive producers) with Bob Moore (co-producer) and Zhao Qi (executive producer). Directed by Lixin Fan. Documentary. Cast: Changhua Zhan, Suqin Chen, Qin Zhang, Yang Zhang, Tingsui Tang (as themselves).
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Alink-Brunsdon, Sheila. "A Documentary Producer: Day in the life of…". Biochemist 33, nr 2 (1.04.2011): 63. http://dx.doi.org/10.1042/bio03302063.
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Williams, Rua M. "Review of David James Savarese (Producer) & Robert Rooy (Director, Producer), Deej (2017)". Canadian Journal of Disability Studies 8, nr 3 (24.05.2019): 165–68. http://dx.doi.org/10.15353/cjds.v8i3.513.
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‘Deej’ is a documentary film which throws popular assumptions about non-speaking autistics’ capacities into sharp relief-- exposing viewers to their biases and preconceptions-- challenging audiences to reframe what they think they know about people which society has labeled 'unincludeable'.
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Jackson, Anna, G. "Launching Loading Docs: A reflection on the first year of a documentary innovation experiment from a producer/researcher perspective". Pacific Journalism Review 21, nr 2 (31.10.2015): 99. http://dx.doi.org/10.24135/pjr.v21i2.121.
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Loading Docs is a New Zealand documentary initiative that supports the development, production and distribution of three-minute documentary films. Loading Docs is also a development and innovation initiative, building the capabilities of local filmmakers to fund, promote and distribute their work and increase their presence online. More broadly, Loading Docs aims to create a supportive community of filmmakers, increase opportunities for feature documentary development, and cultivate audience awareness of and appetite for New Zealand documentaries. This paper presents an account of the development of Loading Docs from the author’s perspective as co-founder, co-executive producer and practice-led researcher. Reflecting on the experience of acting as both researcher and producer in the capacity of an experimental initiative, this article argues that research/practice partnerships create beneficial opportunities for knowledge-transfer and innovation.
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Story, Brett, Michelle Brown i Eamonn Carrabine. "The Prison in Twelve Landscapes: An interview with film producer and director Brett Story". Crime, Media, Culture: An International Journal 13, nr 1 (26.09.2016): 107–13. http://dx.doi.org/10.1177/1741659016669192.
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Bernstein, R. B. "The scientist-statesman Benjamin Franklin Ken Burns, executive producer Florentine Films, 2022. 240 minutes." Science 376, nr 6588 (kwiecień 2022): 40. http://dx.doi.org/10.1126/science.abo2776.
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Nault, Curran. "Documenting the Dead". TSQ: Transgender Studies Quarterly 8, nr 1 (1.02.2021): 24–57. http://dx.doi.org/10.1215/23289252-8749568.
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AbstractCall Her Ganda (dir. PJ Raval, 2018) chronicles the murder of transpinay Jennifer Laude by a US marine, and the subsequent court case. This essay draws from theories of necropolitics and hauntology, as well as the author's experience as a documentary producer of Call Her Ganda to raise critical questions about the representation of trans death, and to reflect on the possibilities and limitations of documentary as a trans activist tool. In doing so, the author lays out a looping logic as a parallel proposition to the vortical violences of colonization and transmisogny. This loop begins with the film's apparitional aesthetics, which rouse contemplation of the trans activisms that survive in the wake of trans death, and it continues with the film's activating address and impact campaign. I posit that such efforts can feed back into the communities from which a documentary has been extricated, working through/against the othering and exploitation endemic to documentary practice.
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Hidayat, Nisa Imawati. "MALE GENDER ROLE MESSAGES PADA TOKOH “HERO” DALAM EPISODE “CAHAYA HATI” DI PROGRAM “ZERO TO HERO” METRO TV". INFORMASI 45, nr 1 (1.06.2015): 33. http://dx.doi.org/10.21831/informasi.v45i1.7768.
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AbstractThe research purpose is to determine how the television documentary producer “Zero to Hero” program on Metro TV classify male gender role messages in the cast of “hero” in that program. Researcher used social semiotics method Theo van Leeuwen with multimodal analysis procedure and 24 of male gender role theories from Ian M. Harris, that have been categorized into 5 classification: standard bearers, lovers, workers, bosses and rugged individuals. The result of this study revealed that the television documentary producer “Zero to Hero” program, construct the male gender role messages in the cast of “hero” to the category of male gender role messages consist with standard bearers, lovers, bosses and workers, who shows a positive image and dominant as a man who lived in patriarchal culture in Indonesia.AbstrakTujuanpenelitianiniuntukmengetahui bagaimana produsen program dokumenter televisi “Zero to Hero” di Metro TV mengklasifikasikan male gender role messages pada tokoh “hero” di dalam program tersebut. Peneliti menggunakan metode semiotika sosial Theo van Leeuwen dengan prosedur analisis multimodality dan teori 24 male gender role messages Ian M. Harris yang dikategorikan dalam 5 klasifikasi yaitu standar bearers, lovers, workers, bossesdan rugged individuals. Hasil penelitian ini mengungkapkan bahwa produsen program menampilkan tokoh “hero” dengan kategori male gender rolemessages berupastandar bearers, lovers, bosses dan workers yang menunjukkan citra positif dan dominan sebagaimana layaknya pria berperilaku dalam budaya patriaki di Indonesia.Keywords: Male Gender Role Messages, Hero, Documentary
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Gott, Michael. "“Everything Happens Fast”". Transfers 5, nr 1 (1.03.2015): 131–34. http://dx.doi.org/10.3167/trans.2015.050113.
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Il sorpasso, Italy, 1962; Mario Cecchi Gori (producer); Dino Risi (director), Dino Risi, Ettore Scola, and Ruggero Maccari (screenplay); starring Vittorio Gassman and Jean-Louis Trintignant. 2014 DVD release by the Criterion Collection includes new English subtitle translation, interviews, essays, excerpts of a documentary, and an introduction by filmmaker Alexander Payne.
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Downing, Taylor. "A Personal View". Journal of British Cinema and Television 10, nr 1 (styczeń 2013): 93–105. http://dx.doi.org/10.3366/jbctv.2013.0123.
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The following article is a personal reminiscence of the planning and making of the 24-part television documentary series Cold War (CNN, 1998–9). It reveals the vision of TV mogul Ted Turner in getting a series made on what many felt to be an unpopular subject, the influence of the award-winning British television documentary series The World at War (1973–4), and the contribution of the producer Jeremy Issacs, who was behind both series. Cold War was able to take advantage of recent access to former Eastern bloc archives and drew on the expertise and authority of young Cold War historians. The article considers the initial broadcasting of the series and its impact.
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Hanlon, Gerard. "The Emigration of Irish Accountants: Economic Restructuring and Producer Services in the Periphery". Irish Journal of Sociology 1, nr 1 (maj 1991): 52–65. http://dx.doi.org/10.1177/079160359100100104.
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This paper examines emigration patterns among Irish accountants in the context of the growth of an international labour market in highly skilled, professional work. It uses documentary sources and interviews with a sample of young Irish accountants to illustrate how changes in the international nature of accountancy has affected the profession in Ireland and have given rise to a particular kind of career-oriented emigration among accountants. These developments in turn are related to broader changes in the producer services sector of the economy in Ireland and in the way this sector is integrated into the international capitalist economy.
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Khor, Denise. "History before and behind the Camera: An Interview with Renee Tajima-Peña". Film Quarterly 74, nr 1 (2020): 21–29. http://dx.doi.org/10.1525/fq.2020.74.1.21.
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On the occasion of the highly anticipated PBS/WETA documentary, Asian Americans, Denise Khor offers a comprehensive career overview of Renee Tajima-Peña, executive producer of the landmark series. Tajima-Peña is best known for her work as a director on films including Who Killed Vincent Chin? (1987, with Christine Choy) and My America… or Honk if you Love Buddha (1997), but her behind-the-scenes, institutional achievements are also significant. As the co-founder of NAATA/CAAM (Center for Asian American Media) and the first paid director of Asian CineVision, Tajima-Peña developed some of the most important organizational infrastructures to support independent Asian American filmmaking. Khor's interview with the filmmaker looks back at the radical history of independent filmmaking by Asian Americans and the sorts of filmmaking practices and collaborations shaping Tajima-Peña's past and present documentary work.
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Geissler, Megan. "Tinghir-Jerusalem (Morocco/Israel), 2013, Color, 87 min. In English and Hebrew, French, Berber, and Arabic w/English subtitles. Director/Producer: Kamal Hachkar. Distributor: Icarus Films; 32 Court Street, Brooklyn, NY 11201; (718) 488-8900; www.icarusfilms.com". Review of Middle East Studies 49, nr 2 (sierpień 2015): 159–60. http://dx.doi.org/10.1017/rms.2016.39.
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Tinghir-Jerusalem is a documentary about exile and identity, with an unremarkable Moroccan village at its epicenter. Director, producer, and narrator Kamal Hachkar brings us along, quite literally, on a journey to explore his insecure sense of self while examining a broader narrative about the exodus to Israel of his natal town's Berber Jewish population. With a shared, idealized notion of “home,” Hachkar and his subjects explore what it means to exist liminally, in between both place and time.
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Williams, Sonja D. "Wade in the Water". Resonance 1, nr 1 (2020): 15–24. http://dx.doi.org/10.1525/res.2020.1.1.15.
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In January 1994, Wade in the Water: African American Sacred Music, a first-time radio series collaboration between the Smithsonian Institution and National Public Radio, began airing on hundreds of NPR affiliate stations throughout America. An ambitious and influential series of 26 hour-long documentary programs, Wade explored 200 years of black sacred music, including spirituals, ring shouts, lined hymns, jazz, and gospel. The series also featured the insights of music creators, performers, listeners, and historians who could place African American sacred music traditions within the social, political, and cultural context of their times. Wade eventually won a Peabody Award and other awards of distinction. Conceived and hosted by Smithsonian Institution curator, artist, and MacArthur Foundation “Genius” Fellow Bernice Johnson Reagon, Wade required an intensive, five-year-long fundraising, research, and production journey of commitment. As the series’ associate producer, this article’s author worked with a host of dedicated radio producers, researchers, engineers, scholars, and music collectors who helped to make Wade a reality. Therefore, this article describes the series’ production journey from the vantage point of an insider, and it serves as a personal reflection on the making of a series that would set the standard for future long-form, NPR-based music documentary productions.
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Goldman, Tanya. "Picturing Lee Dick". Feminist Media Histories 1, nr 2 (2015): 125–34. http://dx.doi.org/10.1525/fmh.2015.1.2.125.
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This short essay provides an overview of the career of Lee Dick, a female nonfiction film director and producer in the late 1930s and '40s. With a body of work that traverses documentary, industrial, and amateur production, Dick challenges perceived divisions between often overlapping spheres of nonfiction filmmaking and invokes tensions between personal and institutional authorship within a sponsored, and deeply collaborative, media context. Her largely unexamined career is a window into gendered labor and mid-twentieth-century media production.
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Willemin, Rémi. "Monter une histoire, montrer l’Histoire, table ronde sur le film documentaire historique". Didactica Historica 3, nr 1 (2017): 15–19. http://dx.doi.org/10.33055/didacticahistorica.2017.003.01.15.
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Seven film directors – Mehran Tamadon, David Korn-Brzoza, Jean-Gabriel Périot, Frédéric Gonseth, Stéphane Goël, Daniel Wyss et Alex Mayenfisch – discussed the four key-steps in historic documentary film production. Their seven points of view diverged on why and how films should and can portray History. From the roundtable brilliantly moderated by Anaïs Kien, producer for La Fabrique de l’Histoire at France Culture radio station, there emerged a variety of film-making practices – from purists of audiovisual archives to illusionists of high definition colour movies.
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Musser, Charles. "Discovering Union Films and Its Archives". La quête du document 24, nr 2-3 (22.05.2014): 125–60. http://dx.doi.org/10.7202/1025151ar.
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This article begins by providing a narrative account of the (re)discovery of Union Films, the leading producer of left-wing documentaries in the United States in the immediate post-World War II era. Because of the Red Scare and blacklist, the organization has gone unmentioned in histories of documentary and radical filmmaking. The Orphan Film Movement has provided a cultural formation that has enabled this reclamation to unfold, providing a synergy between scholars, archives and labs. The question is then raised: where does the Union Films Project go from here?
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Trihastutie, Nopita. "DOCUDRAMA GENRE TO REPRESENT RELIGIOUS EXPERIENCE IN OBAT MALAM AND SOLUSI TV PROGRAM: A CASE STUDY". Lire Journal (Journal of Linguistics and Literature) 6, nr 1 (18.05.2022): 71–87. http://dx.doi.org/10.33019/lire.v6i1.143.
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Genre is an important thing in planning film or TV program. This paper focuses on exploring two national TV programs that use docudrama genre to deliver people’s real past to represent their religious experience. By conducting interview with the producer of Obat Malam and Solusi TV program, the aim of this paper is to examine why docudrama genre used to represent religious experience in Obat Malam and Solusi TV program. The interview was conducted online via zoom meeting and involved the producer manager as the single participant. The open ended questions were used in the interview. A mix coding technique was applied in the interview data collection analysis. The findings show that producer’s perspective puts emphasis on docudrama genre as a configuration of particular elements, highlights visual narrative aspects, and accentuates qualities of docudrama modes of documentary. It can be concluded that docudrama genre meets the need of creative and contextual way to present religious experience to the viewers.
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Zan, Fátima Regina, Manuel Luis Tibério i Suzana Leitão Russo. "perception of the economic agents on the quality and the control in the certification of wines in Geographical Indications (GIs)". International Journal for Innovation Education and Research 5, nr 10 (31.10.2017): 85–98. http://dx.doi.org/10.31686/ijier.vol5.iss10.829.
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Since 1992 geographical indications have become a reference for product quality, especially in the food sector in the European Community. The identification of the products with the place of production was a strategy used in antiquity, mainly to identify the origin of the wines, being this the pioneer product. The research was developed in the demarcated wine regions of Portugal. This country is considered the birthplace and the pioneer in the regulation of Geographical Indication (GI). The first demarcated region was that of the Douro, where Port wine is produced. Seals identifying the products of the region demarcated for distribution to producers undergo a certification process, described in the Specification Manuals, formulated according to the rules established in the GI, which each producer must follow. Therefore, the research, sought to identify the process of certification of products originated from Portuguese GIs in Portugal, and the perception of economic agents on the control, good practices and quality, in relation to the distribution and control of certification stamps. The methodology used was field, documentary and bibliographic research by the use of questionnaires. For the economic agents, the quality of the products is satisfactory, not requiring changes taking into account the way in which it is being distributed and controlled.
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Simor, Kamilla. "The documentary representation of late modern warfare and the perceptual context of video-selfies". Apertura 17, nr 1 (2021): 1–23. http://dx.doi.org/10.31176/apertura.2021.17.1.13.
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The paper analyzes the visual and personalised implications of late modern warfare and its representation in documentary film. In the first half of my paper, I’m analyzing the cinematic representation of late modern war and its relationship to film and vision primarily from a media-historical perspective: what does the access to information mean in this context and what kind of media and mediatisation specificities has the war after the 2000s. In the second half of my study I’m focusing on the video-selfie-scenes of Nine Months of War (László Csuja, 2018) from a phenomenological and reception-theoretical perspective: what are the implications of the use of video-selfies in this documentary and what kind of new functions could this film add to these in warfare. I classify the functions of video-selfies into a three-tier typology of channel (making a video message to another person), identity affirmation and space of testimony. While at the beginning of the war the apparently superficial video-selfie-use characterizes the protagonist as a content producer and user, it then serves to identify with the military self-image and finally creates a specific, private space for the expression of traumatic experiences.
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Kirillova, Natalia B. "“Provincial” Cinema on Global Orbits". Journal of Flm Arts and Film Studies 8, nr 4 (15.12.2016): 84–96. http://dx.doi.org/10.17816/vgik8484-96.
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The author explores important aspects in the development of Russian post-Soviet film art, basing on the Ural school of cinema, which sprang into being in 1943 with the start of Sverdlovsk Film Studios. The "golden age" of Ural cinema unfolded in the 1960s-1980s - the span when the Ural cinema traditions were shaped; when this flourishing manifested itself in all cinema genres and trends: fiction, documentary and educational cinema, as well as in animation. Both film professionals and viewers were very much familiar with the names of such directors as: Ya. Lapshin, O. Nikolayevsky, V. Khotinenko; documentary directors A. Litvinov, B. Galanter, L. Rymarenko and V. Volyanskaya, A. Baluyev, S. Miroshnichenko, I. Persidsky and others. Ural school of animation achieved global relevance with the works of such artists as A. Karayev, V. Petkevich, A. Petrov, O. Cherkasova, etc. After facing economic and creative crisis on the cusp of the 20th and 21st centuries, and even passing a stage of "clinical death", Ural cinema had not only survived, but achieved a new avant-garde position within the cinema world and expanded internationally. During this period Sverdlovsk Film Studios lost its monopoly within Ural cinema production with the new studios appearing on the regional cinema map: A-Film, Ural-Film, February 29, Snega, Kinokhronika OOO, Ethnographicheskoye Byuro and others. Post-Soviet cinema arena of Ural ushered in the new names of film professionals, who were the part and parcel of contemporary cinema avant-garde: Alexey Fedorchenko (director and producer), Vasily Sigarev (playwright, film director and producer), animators Sergey Aynutdinov, Nina Bisyarina, Oksana Cherkasova and others.
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Acland, Charles R. "Mapping the Serious and the Dangerous: Film and the National Council of Education, 1920-1939". Cinémas 6, nr 1 (25.02.2011): 101–18. http://dx.doi.org/10.7202/1000961ar.
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This article recognizes the National Council of Education's tole in articulating the national educationalist objective for Canadian film. The NCE was a significant force; it was a powerful lobby, initiator of cultural activities, and producer of cultural criticism. The NCE was imperialist in orientation, and took as one of its goals the improvement of popular taste. Its members encouraged the regulation of recreation and modes of popular pleasure so that leisure time served the nation. This educationalist agenda led them to promote documentary film and to write about the dangers of popular cinema, both of which find their way into later developments in Canadian film policy.
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Blatt, Martin. "Introduction". Public Historian 33, nr 2 (2011): 9–12. http://dx.doi.org/10.1525/tph.2011.33.2.9.
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Abstract These four essays critique Ken Burns's PBS documentary series The National Parks: America's Best Idea. Burns has over the last several decades established himself as the central producer of PBS multi-part documentaries, addressing such topics as the Civil War, baseball, jazz, and World War II. National Park Service (NPS) leadership recognized the promotional opportunities for the NPS and aligned themselves closely with Burns and PBS. Critical discussion in the essays focuses in three areas: the treatment of Native Americans; the reverential treatment of “nature” in the national parks, and the distorted focus on the natural park in the West as the embodiment of the National Park system.
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Miller, Elizabeth. "The Shore Line as polyphony in practice". Alphaville: Journal of Film and Screen Media, nr 15 (9.10.2018): 113–23. http://dx.doi.org/10.33178/alpha.15.08.
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The Shore Line (2017) is a collaborative interactive documentary that features over forty individuals from nine countries who are confronting the threats of unsustainable development and extreme weather along our global coasts. In addition to video profiles the site features dynamic maps, visualisations, and soundscapes. In this case study, producer and director Elizabeth Miller discusses how the polyphonic attributes of i-docs are ideal for classrooms and how she designed the site with educators in mind. She defines polyphony as the creative engagement of voices, authors and forms towards a common objective and shares the strategies and challenges of engaging her target audience—teachers invested in sustainability.
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braester, yomi. "chinese cinema in the age of advertisement: the filmmaker as a cultural broker". China Quarterly 183 (wrzesień 2005): 549–64. http://dx.doi.org/10.1017/s0305741005000354.
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the article looks at a model of filmmaking that has emerged since the rise of “cultural economy” in the mid-1990s. directors have collaborated with real estate developers and other entrepreneurs and become cultural brokers. they use the prestige, access and popular appeal of the cinema to establish a stronger connection between film and market forces. as filmmakers become trendsetters, their films aim not only at box office success but also at shaping economic agendas and visual experience, social networks and the aesthetic environment. filmmaking as cultural brokering has been practised by directors as disparate as the market-oriented feng xiaogang, the neorealist ning ying and the documentary producer wu wenguang.
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Mollericona Alfaro, Marcela Daniela, Marcelo Tarqui Delgado i Medardo Wilfredo Blanco Villacorta. "Trabajos de investigación realizados en la Estación Experimental Patacamaya, Facultad de Agronomía-UMSA: una sistematización y estudio bibliométrico". Revista Apthapi 8, nr 3 (2.12.2022): 2443–55. http://dx.doi.org/10.53287/rzku6959qa75n.
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The Patacamaya Experimental Station (EEP), which depends on the Faculty of Agronomy of the Universidad Mayor de San Andrés (UMSA), stands out as an important center dedicated to agricultural research in the highlands of La Paz, Bolivia. Therefore, the objective of this study was to describe the scientific production of the EEP, period 2008-2022, carrying out a bibliometric, documentary, descriptive, longitudinal and retrospective study. The data source was the research works available in the Institutional Repository of the School of Agronomy (undergraduate and master's theses, supervised works, dissertations) using bibliometric indicators such as: productivity per year, articles produced, type of modality, production index. The inclusion criteria identified 72 publications and 17 topics: quinoa, potato, vegetables, pastures and/or native species, irrigation, camelids, sheep, guinea pigs, vermiculture, forestry, aromatic plants, microorganisms, other Andean crops, birds, soils and water resources. According to the Productivity Index (PI), the years 2016, 2020 and 2021 correspond to a "large producer" rating, while from 2008 to 2015 the PI categorizes the EEP as a "medium producer". For the number of publications per year, there is an increasing linear trend (R2=0.7889), with an average of 6.36 papers and a maximum of 11. By type of modality, undergraduate theses predominate, followed by graduate theses, dissertations and supervised works (88.89, 6.94, 2.78 and 1.39 %, respectively). By subject matter, undergraduate and graduate theses related to vegetables are predominant, followed by studies on irrigation, quinoa, guinea pigs, fodder, camelids, sheep and potatoes.
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Chiselita, Vasile. "Documentary sources and methodological landmarks in the research of the creation of the singer Veronica Mihai in the „Folclor” Orchestra". Arta 30, nr 2 (grudzień 2021): 32–37. http://dx.doi.org/10.52603/arta.2021.30-2.04.
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The study aims to identify the main theoretical and methodological criteria, important in shaping the scientific vision applied to the approach of the subject. The author delimits two distinct periods in the evolution of the singer’s repertoire: the late Soviet period (1968–1991) and the post-Soviet period (1991–1999). The main focus is on the Soviet epoch. Among the documentary sources are the materials stored in the IPNA archive – “TeleradioMoldova” Company, the personal files of the artists, the minutes of the Artistic Council, the musical scores, the library of the editorial offices within the institution. To substantiate the theoretical framework of the study, the author argues the need to instrumentalize the concepts of „Soviet folk song”, „mass song”, „creator&producer networks”, „modernization”, „revitalization”, „invented traditions”, „folklorization”, „new folk songs”, „neo-traditional music”.
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Joo, HyeJeong. "Accept the image of a Zainichi womanⅠin a documentary by producer : Focusing on 〈The Story of Koreans in Postwar Japan〉 and 〈HARUKO〉". Japanese Cultural Studies 82 (30.04.2022): 273–95. http://dx.doi.org/10.18075/jcs..82.202204.273.
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Silverman, Martin A. "Vamik Volkan As A Psychoanalytic Ambassador Of Peace—A Film Essay and More: Vamik’S Room, A Documentary. Director and Producer, Molly Catelloe". Psychoanalytic Quarterly 87, nr 3 (3.07.2018): 591–605. http://dx.doi.org/10.1080/00332828.2018.1495527.
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Munro, Kenny. "Explorer and Teller of Celluloid Tales: James Wilson – Veteran International Filmmaker and Producer for BBC Scotland". Scottish Affairs 23, nr 4 (listopad 2014): 522–39. http://dx.doi.org/10.3366/scot.2014.0049.
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The importance of documentary filmmaking as a living medium and its historic contribution to recording and preserving Scotland's culture and international viewpoint cannot be overstated. But before the digital age, where was all this film material stored and what has survived? The current debate on film restoration and public access is ongoing and is illustrated through this article with my personal introduction to veteran BBC film producer James (Jim) Wilson whose enterprising career has documented so much of the twentieth century. Reflecting on this unique creative achievement, the historical context and value of his films, and those of others to society, deserve closer scrutiny. Questions need to be raised regarding government policy on film preservation and how Lottery funding can further support film restoration. Clarification is required, in this case, of possible relaxation to certain BBC licensing agreements to stimulate cooperation. Discussions are in progress which highlight the growing demand for more democratisation and further public access to these celluloid assets which can be quickly forgotten or destroyed. It is therefore encouraging that new partnerships are being forged to identify and restore the vast film collections. Building on the very significant activities of Scottish Screen Archive/National Library of Scotland. They deliver services on several levels including online film archive research/restoration facilities and exhibitions. But there is still a great deal of work to be done in this field. The Wilson film legacy is one such area and a meeting with BBC has been arranged to discuss the future potential of celebrating this special film collection.
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Ba-Yunus, Ilyas. "Muhammad". American Journal of Islam and Society 10, nr 3 (1.10.1993): 411–14. http://dx.doi.org/10.35632/ajis.v10i3.2497.
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During the almost one thousand years of European obsession withIslam, only a few authors have tried to rise above their contemporaries bypresenting a more balanced view of this religious ideology. Armstrong'smain aim is to encourage "this more tolerant, compassionate, and courageoustradition" (p. 15). From the very beginning, it is apparent that thisbook is written with an unsurpassed empathy and that it contains a degreeof dismay and resentment that the truth about the Prophet and Islam hasbeen compromised and hidden by ethnocentric European writers inspiredeither by the Christian church and its missionaries or modem secularism.The main strength of the book lies in the fact that the author is nota run-of-the-mill orientalist With experience as a free-lance writer, commentator,and television documentary producer, Armstrong does not avoidthe themes so dear to European critics of the Prophet, but deals with themdirectly. For instance, rather than rationalizing the Prophet's polygamy, ...
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Pepenene, Limakatso, i Ntsele Radebe. "Retelling the history of Lesotho : an interplay between orality, painting and film in Kalosi Ramakhula’s works". Issue 1 1, nr 1 (12.06.2018): 75–87. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a5.
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Kalosi Ramakhula is the producer of Moshoeshoe: The Mountain King Volumes 1, 2 and 3, a series of videofilms which narrate the history of Lesotho in the 19th century. His production emerges as a rewriting of history in a context where historical documentation is predominantly authored by historians and ethnographers who complement their research through oral resources. Ramakhula uses a unique approach which incorporates visual art by way of historical paintings created to accomplish a coherent mixture with the established print, sound and vision media of documentary cinema. He collaborates with contemporary Basotho artists commissioned to produce elaborate naturalistic paintings of historical significant characters, sites, events and social practices of the period being depicted. Through an exploration of the concepts of multimodality and intermediality, the article uses a semiotic analysis of selected paintings to examine the multiple layers of potential meanings communicated by the film-maker. We argue that Ramakhula’s retelling strategy explicitly creates a link with the experience of nation building in the past and the present. The paintings are a significantly expressive form of media in this regard, creating a consciousness of Bosotho-ness as the one concept that in principle remains constant despite transformation over the centuries. Ramakhula’s work is seen therefore, as having the potential to create space for negotiations around contemporary debates on nation building in Lesotho.
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Murfianti, Fitri. "SEXY KILLERS : FILM AND ENVIRONMENTAL MOVEMENT". Capture : Jurnal Seni Media Rekam 12, nr 1 (1.12.2020): 48–62. http://dx.doi.org/10.33153/capture.v12i1.3209.
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This study focuses on how a documentary film entitled Sexy Killers can be part of the campaign for change. This film with the issue of environmental damage is interesting to study about the reading of the text by the audience as an active producer of meaning. In order to understand how the audience read the text, a Sexy Killers research was conducted using a Descriptive Qualitative approach. The data collection technique used Purposive Sampling with In-Depth Interviews, then the data were processed by Content Analysis. The results of this study indicate that there are different perspectives in reading this film, which can be categorized into anthropocentrism, biocentrism and eco-centrism. This differences in reading are influenced by differences in educational backgrounds, professions, and also interests. Film as a text, is not a unit, but rather a kind of battlefield to compete to accept, reject, or negotiate certain ideas. Understanding the results of this reading can be useful for determining the right steps in encouraging the environmental conservation movement
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Lowe, N. J. "VI Terence". New Surveys in the Classics 37 (2007): 115–32. http://dx.doi.org/10.1017/s001738350800048x.
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Publius Terentius Afer is a remarkably well-documented figure about whom we nevertheless know next to nothing with any certainty. We have a reasonably secure documentary core in the didascaliae, the production notices attached to the plays in the manuscript tradition, whose information on original performances has survived the occasional sceptical attempts at unpicking; these give not only date, festival, producer, and aediles or other commissioning magistrates, but Greek source, and even the name and owner of the slave who composed the music and which type of reed-pipes it was played on. There is also Donatus' commentary, though frustratingly shredded and reconstituted in the form in which we have it, which also preserves invaluable, if sometimes puzzling, information about the Greek source plays and their adaptation. But Terence himself remains an enigma. Suetonius' biography of Terence, one of only four survivors from his Lives of the Poets, is a rich and still underinvestigated document, but it tells us less about Terence's life than it does about the biographical tradition that grew up around him a century after his death.
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Dow, Katharine. "Looking into the Test Tube: The Birth of IVF on British Television". Medical History 63, nr 2 (26.03.2019): 189–208. http://dx.doi.org/10.1017/mdh.2019.6.
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The birth of Louise Brown, the world’s first ‘test-tube baby’, has come to signify the moment at which technologically assisted human reproduction became a re ality. This was a highly mediated and visible reality, as this article explores through the example of a British television documentary about Louise Brown broadcast when she was just six weeks old, ‘To Mrs Brown… A Daughter’ (Thames Television, 1978). In the article, I discuss the programme alongside data from an interview with its producer, Peter Williams. Williams sought to convince the public that IVF was morally acceptable and to cultivate sympathy for the infertile through this film. I will consider how he went about this by focusing on the programme’s visual presentation of Louise Brown, Peter Williams’ aims in making the film and his sympathetic relationship with the ‘pioneers’ of IVF, gynaecologist Patrick Steptoe and physiologist Robert Edwards. I will conclude with a discussion of the political implications of this film and how it contributed to the normalisation of IVF at a pivotal moment in its history.
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Pedersen, David. "Book reviews : The Uncompromising Revolution, a film about Castro and Cuba at middle age. Written, produced and directed by SAUL LANDAU; executive producer Jack Willis (distributed by Center for Documentary Media, Washington). 78 minutes". Race & Class 30, nr 4 (kwiecień 1989): 101–3. http://dx.doi.org/10.1177/030639688903000413.
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Ventura, Maria Isabel de Almeida. "Desafios da representação da informação nas plataformas digitais dos arquivos: o caso do arquivo do jornal Público norte". Páginas a&b : Arquivos & Bibliotecas, nr 14 (2020): 52–73. http://dx.doi.org/10.21747/21836671/pag14a5.
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It is our goal in this study to analyze, in a first step, what issues of information organization and representation have been most discussed by theorists in the new context of digital platforms (structure of information, archival terminology, extent of information, etc.). Studies showed that the assumptions that have guided the representation of information in digital platforms are traditional normative-instrumental, characteristic of traditional archival finding aids, aimed at describing documents, but they escape the user's understanding. Many of the archival finding aids have migrated to the digital environment without being designed for that purpose. In a second step, we will present the digital platform of the newspaper Público Norte, where user-centered criteria of organization and representation of information have been applied. The starting point of this empirical study was the elaboration of the producer organic-functional study and the representation of his structure and information flow in the AtoM digital platform. For the organic study, a documentary analysis of newspapers published between 1990 and 2006 was made. The organic and structural foundations of the information system were supported by the publishing houses that produced the information. Finally, some criteria of organization and representation of the information centered on the user were applied. The results showed that an user approach was achieved through the selection and simplification of content description and the creation/adaptation of menu tags to user preferences or needs.
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Yazıcı, Berna. "“Discovering Our Past”: Are “We” Breaking Taboos? Reconstructing Atatürkism and the Past in Contemporary Turkey". New Perspectives on Turkey 25 (2001): 1–30. http://dx.doi.org/10.1017/s0896634600003587.
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In 1993, a documentary film titled Sarı Zeybek, which narrates the last days of Atatürk, the founder of the Turkish Republic, appeared on a private TV channel in Turkey. Having roused considerable interest, the film reappeared on screens a few more times and later was made into a video. Can Dündar, the producer of the film, writes:When I was a child, I could not understand why the statues of Atatürk were put so high, that as I tried to stare at them, my neck would start to hurt. I could not know why he would always appear alone in his pictures …. Atatürk was a statue far away and a lonely picture …. With this film, in which we narrate his last 300 days, this statue came down to earth. We could touch him …. We loved not the tough hero of poems, but this emotional man whose eyes would fill with tears as he watched the celebrations of the Republic from his window. Unfortunately, they have not introduced us to this man in schools. Sarı Zeybek is a brave step for this late introduction [on the back cover of the tape].
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BROSIUS, PETER. "Anthropologists Produce Environmental Documentary". Anthropology News 40, nr 9 (grudzień 1999): 16–17. http://dx.doi.org/10.1111/an.1999.40.9.16.
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Thiéry St Urbain, Yeboute Konan. "La Traite Cacaoyère à l’Épreuve de l’Insécurité dans la SousPréfecture de Soubré (Sud-ouest Ivoirien)". European Scientific Journal, ESJ 18, nr 34 (30.11.2022): 97. http://dx.doi.org/10.19044/esj.2022.v18n34p97.
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Le cacao représente 10 à 15% du Produit Intérieur Brut (PIB) de la Côte d’Ivoire, avec près de 40% de ses recettes d’exportation. Il est la principale source de revenus de près de 800 000 ménages de producteurs. Cependant, le secteur cacaoyer ivoirien est confronté à de nombreux problèmes qui constituent des pesanteurs à son bon développement. Cet article, mené à l’échelle du territoire de la sous-préfecture de Soubré (sud-ouest de la Côte d’Ivoire), analyse la traite cacaoyère et sa pesanteur majeure qu’est l’insécurité causée par les actes criminels. Il s’appuie sur une recherche documentaire et une enquête de terrain auprès divers acteurs de la traite cacaoyère. Au total, 229 individus engagés dans la traite (producteurs, responsables de coopératives, forces de sécurité, responsable du Conseil café-cacao, transporteurs, etc.) ont été interrogés. Il est fondé sur une théorisation de l’environnement sécuritaire de la traite cacaoyère pour aboutir à trois principaux résultats. Ces résultats indiquent d’abord que la traite cacaoyère cristallise essentiellement deux types de flux, impulsés par les activités des acteurs. Ensuite, des facteurs divers concourant à l’installation d’une atmosphère d’insécurité. Enfin, d’une campagne à l’autre, les actes d’infractions connaissent une évolution en fonction de l’intensité des activités commerciales autour de la production du cacao.
Cocoa accounts for 10 to 15 per cent of Côte d'Ivoire's Gross Domestic Product (GDP), with nearly 40 per cent of its export earnings. This crop is the main source of income for nearly 800,000 producer households. However, the Ivorian cocoa sector faces many problems that constitute burdens to its good development. This article, conducted throughout the territory of the sub-prefecture of Soubre (south-west of Côte d'Ivoire), analyses the cocoa trade and its major gravity, which is the insecurity caused by criminal acts. It is based on documentary research and a field survey of actors in the cocoa trade. In sum, 229 persons involved in trafficking (producers, cooperative leaders, security forces, head of the coffee-cocoa council, transporters) were interviewed. It is based on a theorization of the security environment of the cocoa trade to lead to three main results. These results first indicate that cocoa milking essentially crystallizes two types of flows, driven by the activities of the actors. Then, various factors contributing to the installation of an atmosphere of insecurity. Finally, from one campaign to another, the acts of infringements evolve according to the intensity of the commercial activities around the production of cocoa.
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Cardoso, Matheus Moraes, Vanessa Cabral Gomes i Amanda Cristina Gaban Filippi. "PROGRAMA EMPREENDER E INOVAR E SUA ATUAÇÃO NO DISTRITO FEDERAL NO CONTEXTO DA PECUÁRIA LEITEIRA / THE ENTREPRENEUR AND INNOVATION PROGRAM AND ITS PERFORMANCE IN THE BRAZILIAN FEDERAL DISTRICT IN THE CONTEXT OF LIVESTOCK". Informe GEPEC 26, nr 1 (7.02.2022): 191–210. http://dx.doi.org/10.48075/igepec.v26i1.27816.
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O objetivo desse artigo é analisar a atuação do programa Empreender e Inovar na profissionalização de uma propriedade de leite do Distrito Federal. Nesse sentido, a presente pesquisa é qualitativa, exploratória e descritiva, sendo utilizado o estudo de caso como plataforma para a sua execução. Como método de coleta de dados utilizou-se entrevistas semiestruturadas, além da pesquisa documental. Os principais resultados demonstram a importância do programa Empreender e Inovar na promoção do desenvolvimento e profissionalização das propriedades rurais. O programa apóia os produtores rurais, na tomada de decisão e nas áreas administrativas, contábil e jurídica, além de ter como diferencial a proximidade junto ao produtor rural, acompanhamento dos técnicos junto ao produtor, e, facilidade com a metodologia de entendimento e aplicação. Por fim, é possível perceber a importância dos programas governamentais para assistencialismo e extensão rural, assegurando a perpetuação de famílias na atividade rural e gestão do empreendimento. Abstract: The objective of this paper is to understand the performance of the Entrepreneur and Innovate Program in the professionalization of a dairy farm in the Federal District and discuss the participation of a dairy farm in the program. In this sense, the present research is qualitative, exploratory and descriptive, using the case study for its execution. As a method of data collection, semi-structured interviews were used, in addition to documentary research. The main results demonstrate the importance of the Entrepreneur and Innovate program in promoting the development and professionalization of rural properties. The program supports rural producers in decision-making and in the administrative, accounting and legal areas, in addition to having a proximity to the rural producer, monitoring of technicians, and ease with the methodology of understanding and application. Finally, it is possible to realize the importance of government programs for technical assistance and rural extension, ensuring the permanence of families in rural activity and management of the enterprise.
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Hedling, Erik. "The Struggle for History: Lindsay Anderson Teaches Free Cinema". Journal of British Cinema and Television 11, nr 2-3 (lipiec 2014): 312–31. http://dx.doi.org/10.3366/jbctv.2014.0218.
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In spring 1986, Lindsay Anderson appeared in a television programme on British cinema. This was part of a series of three under the heading British Cinema: Personal View, produced by Thames Television. Anderson's contribution, Free Cinema 1956–? An Essay on Film by Lindsay Anderson, was written and directed by him. He was also the star of the programme, providing a lecture on the history of British cinema with himself at the very core, although, at the time of the production, Anderson's career was in decline and he was not involved in any film projects. Drawing on press materials, the programme itself and Anderson's personal papers in the University of Stirling library, this article analyses Anderson's personal conception of Free Cinema – according to his understanding, a short-lived documentary movement in the 1950s which eventually transformed itself into a series of feature films in the ensuing decades, particularly his own trilogy If…. (1968), O Lucky Man! (1973) and Britannia Hospital (1982). The polemic in the programme was particularly aimed at the general idea of the British Film Year of 1985 and at the successful film producer David Puttnam, at the time well known for his contribution to what was sometimes called the ‘New British Cinema’ of the 1980s. Anderson, however, dismissed Puttnam as a film-maker concerned only with Oscars and economic success, and instead lauded the qualities of ‘Free Cinema’, a realist, non-conformist and radical aesthetic, as the most artistically rewarding tradition in British cinema. The programme was highly entertaining and was generally well received by the British press, but did not really strengthen Anderson's position within the British film industry, which might, or might not, have been Anderson's intention.
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Ratmanto, Aan. "Beyond The Historiography: Film Dokumenter Sejarah Sebagai Alternatif Historiografi di Indonesia". SASDAYA: Gadjah Mada Journal of Humanities 2, nr 2 (24.06.2018): 405. http://dx.doi.org/10.22146/sasdayajournal.36452.
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The Department of History, Faculty of Cultural Sciences, the University of Gadjah Mada in 2015 made a milestone in the development of historiography in Indonesia. They made a bold move to produce a scholar with a documentary film work instead of a thesis. In the future, it is not impossible that this step will soon be followed by other universities in Indonesia. This paper was written in response to these developments. In this digital era-and in the midst of still low interest in reading in Indonesia-emerged the discourse to seek new media for historiography in Indonesia. The film, especially documentary films are seen as new media that match the characteristics of history because of they both present real-life reality. Moreover, Indonesia with the diversity of tribes and culture and history, of course, save a variety of themes that will not run out to be appointed a documentary. Based on that, this paper will discuss the types, forms, and format of the documentary that is suitable and possible to be produced by history students as a substitute for thesis-considering the cost of film production tends to be higher than thesis research. Thus, the film of a documentary a college student, especially a history produces the quality of research and aestheticsKata
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Khaw-ngern, Chainarong. "Mindfulness and Sufficiency Economy: Framework for Waste Management Reform". Psychology and Education Journal 58, nr 1 (29.01.2021): 1373–79. http://dx.doi.org/10.17762/pae.v58i1.916.
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Due to increase in population, economic expansion, growth and expansion of the city, more waste problems are increasing and becoming a global problem that every country encounters. Only waste management policies from government and waste management campaigns from private sectors cannot keep up with the excessive waste amount unless all people in societies become aware that their cooperation in waste reduction can make a great contribution. This paper provides an overview of waste management in Thailand, how private sectors take part in waste management, and how consumers in communities can contribute in waste reduction. It also suggests the framework of mindfulness and Sufficiency Economy Philosophy for waste management reform. Documentary study and literature review were used for data collection. The results showed that consumers can be a big producer of waste due to their overconsumption behavior, so they can take the major role in waste reduction with moderate consumption. Mindfulness can conduct consumers to stay awake and aware of waste problems and have a sense of caring towards other people, their communities and environment. Sufficiency Economy philosophy can work as a guideline for consumers to make ethical choice with moderation, reasonableness, and prudence. With the framework of mindfulness and sufficiency economy philosophy, waste management reform can be conducted at the beginning stage for waste reduction before it is generated. With the care of environment and their communities, consumers will be willing to work together with government and private sectors in following 3R (Reduce, Reuse, Recycle) concept for sustainability.
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Dvuzhilnaya, Inessa F. "“Yellow Stars”: Memory of the Holocaust in the Musical Project of the St. Petersburg Philharmonic Society". IKONI / ICONI, nr 1 (2022): 110–19. http://dx.doi.org/10.33779/2658-4824.2022.1.110-119.
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The title “Yellow Stars” was given to the annual project of the St. Petersburg Philharmonic Society devoted to the International Day of the Memory of the Victims of the Holocaust (January 27). During the six years of its existence (since 2016) it has asserted itself as a bright cultural phenomenon presented by the artistic word and highquality music. Applying the analytical method, the author of the article analyzes concert programs in which two components have been apparently indicated: the literary-musical composition with documentary or artistic verbal texts which return us to the pages of the history of the Holocaust, including separate compositions for symphony orchestra (and those with chorus and solo vocalists) which disclose the traditions of Jewish musical culture (Isaac Schwartz, Max Bruch, Dmitri Shostakovich, Mechislav Weinberg, Leonid Desyatnikov, etc.), as well as other works which reveal the spiritual theme (Giya Kancheli, Alfred Schnittke). A high-quality level of concerts has been provided by the mastery of Valery Galendeyev, the producer of the project, and by his performers: the Academic Symphony Orchestra of the Philharmonic Society (Vladimir Altshuler, conductor) and solo performers (Polina Osetinskaya, Maxim Vengerov, Julian Milkis, Ilya Gindin, Sergei Nakaryakov, etc.). Thereby, the project “Yellow Stars” asserts the significance of the memory of the tragedy of the Jewish people and projects it onto contemporary realities, where the art of music and the spoken word may become a powerful reaction to evil in its various manifestations, assertion of peace and the magnitude of human life.
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Arantes, Rita De Cassia, Andréa Aparecida da Costa Mineiro, Cleber Carvalho de Castro i Leonardo Pinheiro Deboçã. "Creating and appropriating value in cooperation networks". Revista Ibero-Americana de Estratégia 20, nr 1 (20.04.2021): e18242. http://dx.doi.org/10.5585/riae.v20i1.18242.
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Objective of the study: The objective of this research was to analyze how the processes of creation and appropriation of value are manifested in a horizontal agribusiness networkMethodology / approach: A case study was carried out in the Cerrado Mineiro Region (CMR) in which documentary research and interviews were used as source, whose data were analyzed through content analysis by frequency. Originality / Relevance: There is little evidence in the literature about studies that explore processes of joint value creation and appropriation in horizontal networks. In view of this gap, the study proceeds by individually addressing the processes of creation and appropriation of value considering the nature of cooperation of the networks.Main results: In relation to the results achieved, CMR creates value in cost reduction, differentiation by product, market expansion, expertise in the production of coffee, differentiation, dissemination and strengthening of the brand. Regarding the appropriation of value, CMR appropriates itself for the commercialization of potential quality coffee, the learning process, the premium paid in the cooperative's coffee, the valorization of the producer and for having a unique way for the production of coffee.Theoretical / methodological contributions: Among the main contributions of this study, the individual analysis highlights the processes of creation and appropriation of value applied to horizontal networks. The considerations reinforce the fine line between the processes of creation and appropriation of relational value. That is, in addition to developing internal competencies and essential skills for the creation and appropriation of value, organizations must devise strategies to achieve a balance between these processes.
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Marques Mota, Daniel, Alessandro Ferreira do Nascimento, Nélio Cezar de Aquino, Raquel Marcolongo i Gabrielle Cunha Barbosa Cavalcanti e Cysne Troncoso. "Atuação da Agência Nacional de Vigilância Sanitária no enquadramento de produtos fronteira: uma pesquisa documental". Vigilância Sanitária em Debate: Sociedade, Ciência & Tecnologia 9, nr 2 (31.05.2021): 37–47. http://dx.doi.org/10.22239/2317-269x.01481.
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Introdução: Os produtos sujeitos à vigilância sanitária, em sua maioria, podem ser facilmente enquadrados em medicamentos, produtos para a saúde, cosméticos, saneantes ou alimentos, para fins de regularização na Agência Nacional de Vigilância Sanitária (Anvisa). Entretanto, existem produtos, designados de “produtos fronteira”, que compartilham características de várias destas categorias simultaneamente, dificultando seu enquadramento à luz da legislação sanitária vigente. Objetivo: Descrever a atuação da Anvisa no enquadramento de produtos fronteira para fins de comercialização no Brasil. Método: Pesquisa documental de natureza descritiva e abordagem quali-quantitativa realizada com documentos produzidos pela Anvisa. A elaboração da narrativa foi baseada em um processo seletivo, criterioso e iterativo. Os valores numéricos foram expressos em frequências absolutas e relativas, sendo a mediana utilizada como medidade tendência central. Resultados: Foram analisados 27 documentos. A Anvisa instituiu um comitê técnico, em outubro de 2015, com atribuição de subsidiar decisões da sua Diretoria Colegiada (Dicol) sobre enquadramento de produtos fronteira. É formado por representantes das áreas de registro, monitoramento pós-mercado, fiscalização sanitária e melhoria da qualidade regulatória. O comitê adotou cinco critérios de demarcação de fronteira, com fundamento na experiência de outras agências reguladoras internacionais. Entre 2017 e 2019, o comitê emitiu dez pareceres que tiveram deliberações da Dicol. Em cinco casos, a demarcação de fronteira envolveu dois tipos de categoria de produtos, a saber: medicamento e produto para a saúde. Foram identificadas 62 citações nos oito pareceres de enquadramento de produtos fronteira, sendo a maioria classificadas como literatura cinzenta (n = 53; 85,5%). Conclusões: É recente a atuação da Anvisa, de forma mais sistematizada e integrada, no tema de enquadramento dos produtos fronteira, com a criação de um comitê técnico formado por representantes das áreas responsáveis pelo registro de produtos, fiscalização, monitoramento e regulamentação. A conformação atual do comitê produziu, em 2019, maior número de pareceres em relação aos anos anteriores estudados.
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Moritzen, Karina. "Opening Up Virtual Mosh Pits". Journal of Sound and Music in Games 3, nr 2-3 (2022): 115–40. http://dx.doi.org/10.1525/jsmg.2022.3.2-3.115.
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This article investigates the sociabilities that surround in-game concerts and music scenes in the massively multiplayer online games Fortnite and Minecraft. Drawing on ludomusicology and cultural studies, it will rethink the virtual music scene concept to better incorporate the technical, economical, aesthetic, and social aspects that affect how relationships are developed inside MMOs among members for whom music and games play a primordial role in their personal life-worlds. Focusing on Travis Scott’s Astronomical performance in Fortnite sponsored by the video game and music industries, as well as the independent music festivals in Minecraft organized by volunteer-run virtual events producer Open Pit, allows for comparisons that are valuable in highlighting the characteristics that define a virtual music scene and differentiate it from an in-game concert. In order to conduct such a task, this essay will analyze Scott’s Astronomical performance currently hosted on YouTube while also considering statements made by the rapper in his 2019 Netflix documentary Travis Scott: Look Mom, I Can Fly and magazine interviews with the rapper and the team responsible for this event. In order to understand Open Pit’s festivals, several interviews with its members available online, as well as excursions undertaken by journalists to these events, will be investigated, providing an immersive account of what attending an Open Pit music festival can feel like from their perspectives. In the end, the article argues that as much as Scott’s performance changed what can be expected of in-game concerts by joining game and music aesthetics, Open Pit’s periodic events and their connection to the hyperpop music genre are a better representation of the virtual music scene concept developed in this article.
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Salako, Taofiki Ajani. "Introducing Istisna’ for Financing Personal Housing Projects by Islamic Microfinance Banks in Nigeria". Oguaa Journal of Religion and Human Values 4 (1.06.2018): 89–105. http://dx.doi.org/10.47963/ojorhv.v4i.348.
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Istisna’ is a mode of financing housing projects and other manufactured assets. It involves negotiation on the object of sale with the buyer, the producer and the financier, amount and profits to be paid agreed upon before the construction of the item begins. In essence the business transaction has been completed before the item of construction comes into existence. It is also known as a forward sale. This study looks into projects that could be financed through istisna’ mode of funding. Its focus however is to introduce istisna’ to Islamic Microfinance Banks in Nigeria as a financing product for the construction of personal houses for individual persons, and also to other areas where istisna’ could thrive. It has been observed through interactions with the Nigerian practitioners in these banks that they lack any idea of istisna’, the benefits to be derived from its usage and principles guiding its mode of operation. The researcher through documentary approach x-rayed the socio-economic benefits of using istisna’ to finance personal houses projects and the necessity of incorporating it into one of the microfinance banks products to be explored. The developmental gains, practical economic empowerment and fund circulation of banks investment among the people through the use of istisna’ are enormous and needed to be explored and exploited by the Islamic Microfinance Banks that deal with people at the micro level. This the researcher aimed at drawing the attention of the banks to and hence has given practical illustration, guidance, suggestions and recommendations on how the Islamic Microfinance Banks could tap the benefits of istisna’ to make more meaningful profits to the banks and also to contribute significantly to the economic welfare and ownership housing scheme of the people.
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Zawisza, Robert. "Biografia nieobecna. Wokół życia i twórczości Ireneusza Plater-Zyberka". Acta Baltico-Slavica 38 (31.12.2014): 296–314. http://dx.doi.org/10.11649/abs.2014.011.
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An Absent Biography. About the life and work of Ireneusz Plater-ZyberkIreneusz Plater-Zyberk (1896–1946), was a writer and a film producer, adventurer and gallant. His life is an incredible story of the disabled individual who succeeded in an amazing career. Plater-Zyberk was born in a wealthy landowning family who lived at the estate of Vabole in Latvia. He was born without hands and at that time, due to his disability, was classified as "margins of society." Thanks to perseverance and commitment of his mother, he graduated as an extern student from high school in Warsaw, Poland. His career includes Life without Hands, memories, and two novels. He was a co-author of first movie in Poland with stunt effects Dead Node (1927), which unfortunately wasn’t preserved. Also, he was recognized as a documentary creator as well as an initiator of film production regulations. Biografia nieobecna. Wokół życia i twórczości Ireneusza Plater-ZyberkaIreneusz Plater-Zyberk (1896 lub 1897–1946) był literatem i twórcą filmowym, nieco awanturnikiem i bawidamkiem. Jego postać to niezwykły przykład niepełnosprawnego, który osiągnął w dwudziestoleciu międzywojennym znaczącą karierę. Ireneusz Plater-Zyberk pochodził z zamożnej rodziny ziemiańskiej, zamieszkałej w majątku Wabol na Łotwie. Urodził się bez rąk i w ówczesnej rzeczywistości miał pozostać na marginesie społeczeństwa. Dzięki wytrwałości matki udało mu się ukończyć jako ekstern gimnazjum w Warszawie. W swoim dorobku ma wspomnienia Życie bez rąk oraz dwie powieści. Ważną rolę odegrał Plater jako scenarzysta i reżyser, był m.in. współtwórcą pierwszego polskiego filmu z efektami kaskaderskimi „Martwy węzeł” (1927). Miał on również ogromne zasługi jako twórca filmów dokumentalnych i jednocześnie inspirator zmian w prawodawstwie dotyczącym produkcji filmowej. Tłem jego twórczości pisarskiej jest burzliwe i pełne przygód życie osobiste, romanse i popełniony mezalians, które z racji kalectwa były traktowane przez społeczność ziemiańską pobłażliwie i z dużą wyrozumiałością.