Artykuły w czasopismach: „Documentary production”

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Vinuela, Ana. "Television documentary production in France". Critical Studies in Television: The International Journal of Television Studies 13, nr 2 (26.04.2018): 227–43. http://dx.doi.org/10.1177/1749602018763681.

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This article discusses the regulatory framework within which the television documentary production industry operates in France, and how public policies have created and then adapted a support system in response to the active agency of professionals. I give particular attention to the reform of the support system implemented between 2014 and 2017, which has privileged certain categories of non-fiction programmes and affected the patterns of production. I will look at the definition of quality criteria in documentary funding, focusing on the pivotal, though controversial, notion of ‘creative documentary’, and on the diverse approaches that inform French audiovisual policy. By focusing on policy interventions, the article will address the economic and political history of television documentary in France between 1986 and 2017.

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Ranangsari, Kosalalita Anggiyumna, i Qiu Fuquan. "PRODUCTION OF DOCUMENTARY FILM DRIVING AWARENESS". Capture : Jurnal Seni Media Rekam 11, nr 2 (17.07.2020): 83–95. http://dx.doi.org/10.33153/capture.v11i2.3166.

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The film "Driving Awareness" tells about the importance of driving according to the rules for mutual safety. This film uses a linear storyline and character flashback plot. The purpose of this paper is to describe the concept and visualization of the documentary film "Driving Awareness". The stages in designing the creation of the documentary film "Driving Awareness" start from the idea, preproduction, production, then post-production. In the idea stage, the idea of a film story is determined together with the team and then converted into a script for the film to be made into a storyboard to illustrate every scene in the film as well as a detailed storyline. The pre-production stage determines the position of each person in filmmaking, selecting players, determining locations, and scheduling filming activities. Production activities are carried out according to a predetermined schedule by recording images of each scene. The whole shot was edited to make a whole film work and add backsound, transition effects, and coloring.

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Nushur, Rizki Dhian, i Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION". Getsempena English Education Journal 8, nr 1 (28.05.2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.

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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.

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von Schantz, Miriam. "Documentary is as documentary does: The production of realities in The Reunion". Journal of Scandinavian Cinema 8, nr 1 (1.03.2018): 35–44. http://dx.doi.org/10.1386/jsca.8.1.35_1.

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Kim, Sook Hyun. "Women’s Cultural Practices in Documentary Production - Focusing on Korean New Female Documentary Filmmakers". CONTENTS PLUS 20, nr 2 (28.02.2022): 1–24. http://dx.doi.org/10.14728/kcp.2022.20.02.001.

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Laughren, Pat. "Debating Australian Documentary Production Policy: Some Practitioner Perspectives". Media International Australia 129, nr 1 (listopad 2008): 116–28. http://dx.doi.org/10.1177/1329878x0812900112.

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On 1 July 2008, Screen Australia commenced operation as the main Australian government agency supporting the screen production industry. This article considers some of the policy issues and challenges identified by the ‘community of practitioners’ as facing Australian documentary production at the time of the formation of that ‘super-agency’ from the merger of its three predecessor organisations — the Australian Film Commission, the Film Finance Corporation and Film Australia. The article proceeds by sketching the history of documentary production in Australia and identifying the bases of its financial and regulatory supports. It also surveys recent debate in the documentary sector and attempts to contextualise the themes of those discussions within the history of the Australian documentary.

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Kilborn, Richard. "New contexts for documentary production in Britain". Media, Culture & Society 18, nr 1 (styczeń 1996): 141–50. http://dx.doi.org/10.1177/016344396018001009.

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Cohen, Hart. "Database Documentary: From Authorship to Authoring in Remediated/Remixed Documentary". Culture Unbound 4, nr 2 (1.06.2012): 327–46. http://dx.doi.org/10.3384/cu.2000.1525.124327.

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The engagement with documentary from its inception as a film form is frequently a set of references to documentary auteurs. The names of Flaherty, Grierson, Vertov and later Ivens, Leacock and Rouch are immediate signifiers of whole documentary film practices. These practices have given rise to histories and criticism that have dominated discussion of documentary and provided the foundation for more nuanced thinking about problems of the genre. One of the seminal texts in the field, Documentary by Erik Barnouw (1974) celebrates the auteur as the structuring principle for his historical review of documentary. It may be a reflection of the influence of this book, that so much of documentary criticism reflects the auteur approach as a starting point for analysis. The shift towards a new documentary format, the Database Documentary, challenges the concept of an auteur in its presentation of documentary materials. This format relies on a remediation technique that recalibrates documentary media within new distributive networks supported by the web and enhanced by converged and designed visual and sonic interfaces. The reception modalities are necessarily removed from the familiar forms of projection and presentation of documentary film and television. The research focus for this paper is how the concept of authorship (the “auteur”) is transformed by the emergence of the relatively new screen format of the database documentary. The paper reviews some of the more recent examples of Database Documentary, the contexts for their production and the literature on new conceptions of documentary knowledge that may be drawn from these examples. An analysis of the authoring program, Korsakow and the documentaries that have been made using its software will demonstrate the route documentary has travelled from authorship to authoring in contemporary media production.

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Louw, Lieza. "Documentary film politics and the politics of documentary film". Communicare: Journal for Communication Studies in Africa 40, nr 1 (5.10.2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.

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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed political activist, set out to recount the events by recreating a voice forthe mine workers by offering his personal reaction to the deaths of the 34 black men by interviewsand archival material. Miners Shot Down was received well locally and internationally, but as an overt political narrativepresented in a subjective reconstruction, some of the omissions may impact on a fuller understandingof the tragic event.tion. This finding prompted recommendations for entrepreneurs, policymakersand scholarship.

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Mahasim, Siti Hazwani, i Norsiah Abdul Hamid. "DOCUMENTARY VIDEO PRODUCTION OF “AESTHETIC DRINKS OF LOCAL BRAND IN TOWN”". International Journal of Law, Government and Communication 7, nr 30 (31.12.2022): 202–12. http://dx.doi.org/10.35631/ijlgc.730016.

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Aesthetic drinks are currently popular among people regardless of age. The extreme demand started from the viral of these trending drinks among social media communities. Due of their appealing drinks, the bubble tea, coffee, and matcha tea cafes became popular and attracted a lot of attention when they went viral on social media.Local brands do not provide a variety of branding and not enough advertisements in the social media for people to notice them and aware of their extant. Therefore, there is a need to produce a documentary video to gain people awareness on the aesthetic drink’s brands. This article highlights the production of a documentary video titled “Aesthetic Drinks of Local Brand in Town”. The objective of this documentary video is to explore and educate people about the world of small business and marketing. It gives exposures to people on how it should be done professionally and authentically. Besides telling the audience the distinct journey of each entrepreneur, the behind-the-scenes sharing also is hoped to inspire people to build up the local business. The documentary video production contains a 2-minute teaser, 1-minute behind-the-scenes footage along with a full-fledge 15-minute documentary video. The plot of this documentary explains about the meaning of aesthetic drinks. It progresses to the next plot where it explains how these aesthetic drinks become famous in the town of Tawau, Sabah. This documentary is produced with the hope to set a clearer picture to the public about the aesthetic drinks of local brands in Tawau, so that we can better support the local business, thus help them to advance and emerge. The documentary expresses the importance of media in promoting this small business to create the awareness of local people to the product.

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Davison, Elizabeth L., i Thomas S. Hansell. "Establishing documentary production support for 21st century campuses". Education and Information Technologies 19, nr 1 (29.05.2012): 227–37. http://dx.doi.org/10.1007/s10639-012-9202-3.

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Murray, Leo. "Authenticity and realism in documentary sound". Soundtrack 3, nr 2 (1.12.2010): 131–37. http://dx.doi.org/10.1386/st.3.2.131_1.

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While we expect a dramatic feature film to use creative license in bringing the sound-track to life, does the same carte blanche approach apply for documentary? Does it, and should it, matter? This article highlights some of the problems and questions relating to the notions of realism and authenticity in the production of the documentary soundtrack. The production of the documentary filmGallipoli Submarineis used as a case study to examine the implications for practice.

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Lanšperková, Jitka. "A New Ecosystem of Czech Documentary Production in the 90s". Apertura 17, nr 1 (2021): 1–16. http://dx.doi.org/10.31176/apertura.2021.17.1.10.

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The paradoxical relations between Czech documentary filmmakers and institutions established after the Velvet revolution are identified as key aspects of a new ecosystem characterizing Czech documentary in the 90s. This paper focuses on the field which – together with the Czech film industry as a whole – lost state support in 1989. The documentaries were produced only due to efforts of individual entrepreneurs who started their own film businesses, although such activity remained illegal till 1993. Also, young FAMU students started to develop a new structure for supporting Czech documentary production in the late 90s. The main methodology of the paper relies on Bruno Latour’s actor-network theory, enriched by the ethnographic approach of John Caldwell, using semi-structured interviews with key personnel and analysing un/published texts. Emotional layers of interviews and personal relationships are considered as the most important attributes for the articulation of key paradoxes and conflicts within the Czech documentary field.

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Ji Hun Chang. "The Alteration and Diversity of Pre-production, Production and Post-production of Making a Documentary- with a focus on the documentary 'Don't Laugh at Me'-". journal of the moving image technology associon of korea 1, nr 16 (czerwiec 2012): 69–88. http://dx.doi.org/10.34269/mitak.2012.1.16.004.

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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan". Arts 8, nr 2 (17.05.2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.

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Mustofa, Hisbulloh Als, Gunawan Gunawan, Kosim Kosim i Sutrio Sutrio. "Pengembangan Video Dokumenter Berbasis Local Content Alat Musik Tradisional Pada Materi Gelombang Bunyi". Jurnal Pendidikan Fisika dan Teknologi 8, SpecialIssue (1.06.2022): 12–22. http://dx.doi.org/10.29303/jpft.v8ispecialissue.3360.

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Changes in the learning system during the COVID-19 pandemic require innovation in learning, innovation in the development of video learning media can be a solution, including documentary videos. The documentary video itself is one of the learning media that contains events and phenomena of everyday life that are close to students. Integrating documentary videos with the local content of traditional musical instruments to explain sound wave material can significantly assist students in understanding the material. This study aims to develop a local-based documentary video content of traditional musical instruments on sound waves. This study uses the Research and Development method with a 4D model (Define, Design, Develop, and Disseminate) developed by Thiagarajan by making documentary videos through the pre-production, production, and post-production processes. The development process started from the draft of the learning video and was revised twice based on suggestions and input from 3 expert validators and 3 practitioner validators then a commentary through suggestions from respondents. Then the documentary video was obtained as the final learning media with a validity percentage of 93% based on expert judgment and 89% based on respondent's assessment. So it can be said that a final documentary video has been produced which is very feasible for use in learning.

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Periago, Francisco Redondo. "production of documentary as teaching material for basic education". International Journal for Innovation Education and Research 3, nr 9 (30.09.2015): 93–98. http://dx.doi.org/10.31686/ijier.vol3.iss9.436.

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Nowadays it is unquestionable that audiovisual has become a widely used tool for the development of knowledge in the classroom. Based on this assumption, the research that I have developed aims to produce documentaries as helping diffuser product and content for students of Basic Education and also as a form of training, put graduate students to deepen the practices developed in the classroom. The audiovisual aid that will be developed is the documentary which will be the matrix for the development of teaching material that fits the process of cognition between teachers and students. This will be achieved through the interaction between University and Basic Education Institutions and will include the involvement of teachers and students. The activity is of extension and social order and aims to promote integration between the University and the Basic Education Institutions for the development of teaching materials.

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Nash, Kate, i John Corner. "Strategic impact documentary: Contexts of production and social intervention". European Journal of Communication 31, nr 3 (10.03.2016): 227–42. http://dx.doi.org/10.1177/0267323116635831.

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Hill, Annette. "Documentary imaginary: Production and audience research of The Act of Killing and The Look of Silence". European Journal of Cultural Studies 24, nr 4 (sierpień 2021): 801–15. http://dx.doi.org/10.1177/13675494211033291.

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Oppenheimer describes The Act of Killing as a ‘documentary about the imagination. We are documenting the ways we imagine ourselves, the ways we know ourselves’. This research analyses the documentary films The Act of Killing (Director Oppenheimer, co-directors Christine Cynn and anonymous 2012) and The Look of Silence (director Oppenheimer 2014), and the documentary imaginary. The research combines normally separate sites of analysis in production and audience studies in order to understand the power of documentary and the spectrum of social stories we inhabit. The article asks: how do the films document and imagine fear and impunity in memories of the genocide, and how do audiences engage with this documentary imaginary? Particular focus is paid towards the endings of the two documentary films and how audiences in this study reflect on the absence of justice for the victims of the genocide. Through the empirical research, we take a journey with the director and his film making process, understanding the lengthy and complex filming for the two documentaries in Indonesia. The films signal Oppenheimer’s political and ethical commitment towards victim recognition, the possibility and impossibility of forgiveness, and the challenge of reconciliation between victims and perpetrators. The filmmaker’s journey is intertwined with the enactments of the genocide by the perpetrators in their own surreal ways of imagining themselves, and the experience of victims seeking recognition. Audiences become intertwined in these journeys, finding along the way a critically productive space for documentary and the imaginary.

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Loh, Yoke Ling, i Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia". Jurnal Komunikasi: Malaysian Journal of Communication 38, nr 1 (31.03.2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.

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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.

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King, Barry. "Editorial: A complicated post-documentary era". Pacific Journalism Review 21, nr 2 (31.10.2015): 6. http://dx.doi.org/10.24135/pjr.v21i2.109.

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SINCE early in the first decade of this century, the concept of documentary—never beyond contestation—has entered into a state of generic uncertainty. Reflecting on these developments, John Corner, in an influential article, dubbed the current context of production as ‘Post-documentary’ (Corner, 2002). In his view, the documentary tradition has always encompassed a range of approaches: 1. Documentary as social commentary seeking to inform audiences as citizens rather than consumers. 2. Documentary as Investigative Reporting, once the most extensive use of documentary methods on television. 3. Documentary as Radical Interrogation and Agit-Prop as found in the practices of independent cinema. 4. Documentary as popular ‘factual’ entertainment driven by ratings and box office.

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O’Brien, Anne. "(Not) getting the credit: women, liminal subjectivity and resisting neoliberalism in documentary production". Media, Culture & Society 40, nr 5 (10.10.2017): 673–88. http://dx.doi.org/10.1177/0163443717734405.

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Women experience positive engagements with documentary as an enclave that values their gendered contribution, but also suffer negative encounters with it as a genre that restricts their full involvement, by promoting masculinist practices as normative. This gendered dynamic means that women occupy a liminal space with regard to documentary. Women’s liminal status is experienced negatively in a number of ways: first, during commissioning, where their approach to narrative, budgets and directing are questioned; second, in terms of work relationships where they are required to be relentlessly ‘likeable’; and third, when credits for work performed are withheld. Women’s subjective identities are constructed around this negative liminal positioning but it can become a position or form of positive adaptation to gendered and neoliberal subjectivity in their working lives. Resistance occurs when women conduct practices such as, first, enhancing the status of affective labour; second, when they undo or reject working through normative hierarchies; and third, when they collaborate in documentary production to negate neoliberal logics of individualization. Liminality, thus, constitutes both a way of understanding women’s negative experiences of gender inequality in documentary production but also a potentially positive form of resistance to the gendered precarity that characterizes creative labour.

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Dubois, Frédéric. "Media innovation and social impact: the case of living documentaries". Journal of Media Innovations 6, nr 1 (6.03.2020): 23–37. http://dx.doi.org/10.5617/jomi.7831.

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This scholarly essay discusses one particular form of documentary production: interactive documentary. It does so in the larger context of media innovation research. Its main aim is to shed light on how those thinking and creating living documentaries define and frame social impact. The thesis behind this essay is, that contrary to media innovation happening within the paradigm of what scholars and practitioners call the ‘media industries’ - which are largely tributary to capitalist impact criteria, living documentary producers are mainly driven by the potential social impact that their work might have. By presenting and analysing the living documentary Field Trip (2019), a project in which I assumed a combined role of practitioner-researcher, I offer a case study that illustrates and tests my assumptions. I complement my observations within the case study with interviews and other practices. My findings indicate that from a media production perspective, the impact expectations of those making living documentaries can loosely be as associated with a commons-based production paradigm. Yet, producers of these documentaries constantly need to renegotiate and compromise on their social impact expectations because of internal production affordances and the (external) dominance of the ‘media industries’ paradigm.

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Lachman, Richard. "Emergent Principles for Digital Documentary". Non-fiction Transmedia 5, nr 10 (31.12.2016): 97. http://dx.doi.org/10.18146/2213-0969.2016.jethc115.

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Digital Documentaries are an area of rapid invention and experimentation at all levels, including creative content, production techniques, and business models. As with many forms of digital storytelling, a focus on technologies can be distracting; platforms change rapidly, and are dependent on external commercial forces rather than creative potential. This article presents several design strategies for driving experimentation in digital documentary above and beyond the specific of platform and technology. The core focus is on treating digital docs as experiences, with an expanded range of designable moments, as well as a strategic approach to designing interactions for their unique set of challenges. The discussion is not intended to fully define digital documentary design factors, but rather, defines a useful subset of methods that can lead emerging practitioners to new innovations in their approach.

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Mendonça, Rosiel, i Sérgio Braga. "Glauber Rocha descobre a Amazônia: discurso e representações sociais no documentário Amazonas, Amazonas". Arteriais - Revista do Programa de Pós-Gradução em Artes 6, nr 11 (27.09.2021): 121. http://dx.doi.org/10.18542/arteriais.v6i11.11028.

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ResumoO artigo faz uma análise do discurso fílmico do documentário de curta-metragem Amazonas, Amazonas, dirigido pelo cineasta baiano Glauber Rocha entre os anos de 1965 e 1966. Para isso, recorremos a fontes documentais e bibliográficas no intuito de reconstituir a experiência do diretor na região e as condições sociais de produção do filme, buscando identificar que representações ele faz do Amazonas - e da região amazônica, em sentido mais amplo.AbstractThe article makes an analysis of the filmic discourse of the short documentary Amazonas, Amazonas, directed by Glauber Rocha between the years 1965 and 1966. For this, we used documentary and bibliographical sources in order to reconstitute the experience of the director in the region and the social conditions of production of the film. We also try to identify wich representations does the film make of Amazonas and the Amazon region.

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Inštitorisová, Dagmar. "The Figure of Milan Rastislav Štefánik in Television and Radio Production". Slovenske divadlo /The Slovak Theatre 65, nr 4 (1.12.2017): 416–27. http://dx.doi.org/10.1515/sd-2017-0025.

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Abstract This study deals with television and radio artistic, documentary, and investigative programmes whose thematic focus is the historical figure of Milan Rastislav Štefánik. The analysis examines television and radio recordings from the archives of RTVS, the Slovak Film Institute in Bratislava, and two documentary films produced by the company Kanimex. It focuses on the form of their artistic treatment as well as representation of the personality of Štefánik. In its conclusion, the study summarizes findings about the manner of interpretation of his personality in a model of an audiovisual and audial historical figure.

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IZUDDIN, LUTFI IZUDDIN, i Syafwandi Syafwandi. "PROMOSI STUDIO TENUN PINAN KABU MELALUI VIDEO DOKUMENTER". DEKAVE : Jurnal Desain Komunikasi Visual 11, nr 1 (4.05.2021): 90. http://dx.doi.org/10.24036/dekave.v11i1.112335.

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The aim of the designing documentary video is to promote Studio Tenun Pinan Kabu in providing information visually about revitalization of Minangkabau's old songket along with the procedure of manufacturing which become the main focus of this project.The design method used is the 4-D method: Define (Definition), Design (design), Develop (Development), Disseminate (deployment); (Nasrul Kamal: 2016).The analysis method uses 5W+1H to obtain required data according to design needs. The documentary video of Studio Tenun Pinan Kabu produce through creative program: pre-production, production, and post-production phase.The result of Tenun Pinan Kabu documentary video as the main media can increase economic value of Studio Tenun Pinan Kabu, raising the numbers of enthusiasts, and it can be educational video about revitalization of Minangkabau's old songket. The supporting tools of the main media are in form of posters and X banners which indirectly become the extended information of Tenun Pinan Kabu Studio through the audience which use one of the supporting media in form of masks, tote bags, stickers, clothes, and MUG.Keywords: documentary video, revitalization, economic value

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Irwin, Mary. "Civilisation and the Rise of the Television Blockbuster Documentary". Journal of British Cinema and Television 14, nr 3 (lipiec 2017): 361–76. http://dx.doi.org/10.3366/jbctv.2017.0378.

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This article examines how Civilisation created a formula for putting together and presenting documentary series on British television using expensive production values and a well-respected presenter to introduce serious cultural content. It explores the international and historic impact of Civilisation, which became the blueprint for a whole range of popular, high-budget, internationally co-produced documentary series from the early 1970s onwards: the ‘blockbuster documentary’.

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Kouh, Hoon-Joon, i Kyeong-Su Jang. "Analysis of Plan and Production for Documentary 'Preservation of Letters'". Journal of the convergence on culture technology 2, nr 2 (31.05.2016): 17–22. http://dx.doi.org/10.17703/jcct.2016.2.2.17.

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Debrett, Mary. "Professionalising Documentary Production: Third Way Cultural Policy Conundrums in Australasia". International Journal of the Arts in Society: Annual Review 1, nr 3 (2007): 93–100. http://dx.doi.org/10.18848/1833-1866/cgp/v01i03/35852.

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Tarasov, I. E. "Documentary Films Production and Demonstration on Federal and Regional Television". Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 26, nr 2 (2020): 42–50. http://dx.doi.org/10.15826/izv1.2020.26.2.029.

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Haase, Antti. "‘The golden era’ of Finnish documentary film financing and production". Studies in Documentary Film 10, nr 2 (3.05.2016): 106–29. http://dx.doi.org/10.1080/17503280.2016.1221671.

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Noske-Turner, Jessica. "Making One Blood: A journey through participatory radio documentary production". Journal of Media Practice 13, nr 2 (1.01.2012): 177–87. http://dx.doi.org/10.1386/jmpr.13.2.177_1.

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Roseman, Sharon R. "A Documentary Fiction and Ethnographic Production: An Analysis ofSherman's March". Cultural Anthropology 6, nr 4 (listopad 1991): 505–24. http://dx.doi.org/10.1525/can.1991.6.4.02a00040.

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Shergova, Kseniya Aleksandrovna, i Ksenia Shergova. "Aesthetic Features of the Modern TV-documentary". Journal of Flm Arts and Film Studies 2, nr 1 (15.01.2010): 57–64. http://dx.doi.org/10.17816/vgik2157-64.

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The author of the article investigates the aesthetic lines of the generalized image of modern TV documentaries, such as commercialized "kitsch" and "trash", and finds the preconditions for them in the mode of production adopted in modern Russia's television.

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ross, jesikah maria, i Vicky Funari. "Participatory Documentary Then and Now". Television & New Media 18, nr 3 (23.11.2016): 283–93. http://dx.doi.org/10.1177/1527476416675418.

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In this conversation, community media activist jesikah maria ross and filmmaker Vicky Funari talk about the work they have done together in alternative media since the 1990s. Their shared projects include skin•es•the•si•a (1994), an experimental video exploring the cultural codification of the female body; Paulina (1998), a feature-length documentary about a resilient Mexican woman whose parents traded her for land when she was a child; and Maquilápolis [City of Factories] (2006), a participatory documentary that tells the stories of women workers in Tijuana’s multinational factories, and explores through their eyes the transformation of a city and its people by the forces of globalization. Set just after their last collaborative project, Troubled Waters (2014), their conversation addresses the issues of media pedagogy and aesthetics, technological affordances and limits, and the changing state of participatory media production in the United States.

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د. المعز حمودة علي حمودة. "الفيلم الوثائقي ودوره في الترويج للسياحة في السودان". Omdurman Islamic University Journal 33, nr 1 (27.06.2021): 1–24. http://dx.doi.org/10.52981/oiuj.v33i1.773.

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This study explored the extent of documentary films’ effectiveness in introducing and promoting tourism in Sudan in which the film series Ard-AlSomur was taken as a case study. The basic premise was that documentary films which promoted tourism in Sudan had not been subjected toexistening professional and technical standards in television production process; many questions were presented, however, the most important of which was the extent thatArd-AlSomur series’ had contributedto promoting and guiding tourists to sites and tourism landmarks in Sudan. The descriptive and case study approach was used for which a questionnaire and an interview were adopted as data collection tools. The study was divided into three sections: the first tackled the documentary film; the second was on tourism and media; and the third covered the field study’s procedures. A number of findings were reached, the most important of which are that: The Ard-alsumor films series have significantly contributed to the promotion of tourism in Sudan and that there are production weaknesses in documentaries that promote tourism in Sudan incompatible with theprofessional and artistic standards. Accordingly, the researcher recommends the conduction of more research to develop the area of documentary film industry in Sudan and to encourage investment in the media by engaging in the production of documentary films that promote tourism.

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Damiani, Concetta. "Certification and preservation of artworks in digital environments". JLIS.it 13, nr 2 (5.05.2022): 189–202. http://dx.doi.org/10.36253/jlis.it-467.

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Reflecting about the documentary heritage of artists requires the consideration of archival, legal, historical-artistic and museological factors. If the analogue productions of artifacts and the correlated documentation have been studied, transferring the creative perspective into a digital environment asks to face a reality in turmoil: the ways of expressing and representing contemporary art, in balance between digital and crypto art, require new visions in the production and management of works. In this redefinition of roles and relationships, which almost exclusively concern the documentary structure and the technological and digital components, document systems assume a primary role.

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Hodgets, Darrin, Alison Barnett, Andrew Duirs, Jolene Henry i Anni Schwanen. "Maori media production, civic journalism and the foreshore and seabed controversy in Aotearoa". Pacific Journalism Review : Te Koakoa 11, nr 2 (1.09.2005): 191–208. http://dx.doi.org/10.24135/pjr.v11i2.1061.

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This article explores the social significance of increased media production by Maori in Aotearoa/New Zealand as an opportunity for challenging a tendency in mainstream journalism to promote Pakeha perspectives. The analysis focuses on the recent documentary Hikoi, which was initiated by two young Maori women as a challenge to media framing of Maori protests as 'unjustified' and 'disruptive' acts. We argue that this documentary illustrates the potential for civic journalists to broaden public deliberations regarding political issues such as the foreshore and seabed controversy.

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Murray, Tom. "Emotions, Activism and Documentary Storytelling: A Biographical Production-Based Case Study". Emotions: History, Culture, Society 5, nr 1 (13.07.2021): 103–23. http://dx.doi.org/10.1163/2208522x-02010116.

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Abstract The biography of Douglas Grant (c.1885–1951) has been publicly and popularly told in media since 1916. Interestingly, Grant’s unusual life-story has consistently been deployed to serve various political agendas. This essay examines the role of popular-media biographies of Douglas Grant and the emotions embedded in them, and utilises a documentary-film production as a case study to examine relations between these emotions, activist agendas and documentary-film storytelling. Additionally, given the consistent use of tragedy as a formal narrative structure employed in tellings of Douglas Grant’s story, this essay also describes how narrative structures are not culturally neutral, but are themselves emotionally suggestive cultural productions. Analysing a century of tellings of the Douglas Grant biography, this essay also offers insights into how conquest-colonial ideology is manifest in these often ‘tragic’ tales. As an attempt at decolonising scholarship, this essay also responds to insights by Indigenous commentators within the case-study text to reflect on Indigenous ontologies and the role of Country and Indigenous futurism as places/sites/histories of hope.

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Fisher, Duncan, i Jolyon Mitchell. "Portraying Forgiveness through Documentary Film". Studies in World Christianity 18, nr 2 (sierpień 2012): 154–68. http://dx.doi.org/10.3366/swc.2012.0013.

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At the heart of this article is an analysis of two documentary films that focus on the topic of forgiveness, one in Rwanda, in the wake of the 1994 genocide, and the other in northern Uganda, following the ravages of the Lord's Resistance Army. This essay includes a description of the production background of both films, a brief outline of the historical context in which they are set, and a more detailed examination of both documentaries. Special focus is placed upon how these films reflect the way in which local traditions are used in the aftermath of violence in an attempt to bring about reconciliation. Through this discussion the observation is made that while neither film actually shows the local Gacaca gathering in Rwanda nor the Mato Oput rituals in Uganda at work, the films do draw these practices into a larger narrative about forgiveness. These traditions of ritualised forgiveness and local justice pre-date the arrival of Christianity in central East Africa. In this context, it is suggested that the filmmakers have appropriated and used these practices for a particular rhetorical purpose: to show how forgiveness is possible even after unimaginable cruelties.

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Aripin, Norizah, i Nurshafizah Suhairi. "“DOCUMENTARY THE CURSE BAN PECAH”". International Journal of Law, Government and Communication 5, nr 18 (10.03.2020): 43–56. http://dx.doi.org/10.35631//ijlgc.518005.

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The study focused on the publication of a documentary entitled “The Curse of Ban Pecah” to address some of the concerns of the tragedy and public opinion on the devastation that has occurred over Kampung Sungai Baharu and the surrounding area. In general, the documentary "The Curse of Ban Pecah" is historical and mythical about the existence of "The Curse of Ban Pecah" which raises the question of its existence. The history of the curse is a matter of ignorance and the story of orphans who have been betrayed by their uncles because of their wealth. In this regard, the documentary was produced for 10 minutes showing the history and development of the “Ban Pecah” in Tanjung Piandang, Perak. The publication of the documentary was conducted in advance of interviews with some of the villagers. Observations are also made in the area for information before filming in the area. The production of this video was uploaded on “YouTube Sintok Media” for public viewing. Overall, the study shows that this place has begun to develop and, in addition to the story behind the name "Ban Pecah", can provide lessons for the community and can be taught in the future.

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De Diego, Estrella. "Three Women in a Garden. Alice Austen’s Pictures and the Paradox of Documentary Photography". Anales de Historia del Arte 28 (25.09.2018): 147–62. http://dx.doi.org/10.5209/anha.61609.

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That so very difficult question about “truth”, frequently posed in relation to both autobiographical artefacts and documentary photography, is no doubt the key query concerning Alice Austen’s whole oeuvre. Taking that question as a starting point for discussion, this article explores Austen’s autobiographical and documentary work as part of the same strategy, since Austen’s autobiographical photography “documents” the life of New Women and the class that she belonged to. But if her autobiographic production is documentary, why not consider her documentary work autobiographical? The article works on this hypothesis by engaging canonical autobiography texts and exploring how watching an event may mean becoming part of the event itself.

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Lanšperková, Jitka. "A cseh dokumentumfilm-gyártás új ökoszisztémája a kilencvenes években". Apertura 17, nr 1 (2021): 1–16. http://dx.doi.org/10.31176/apertura.2021.17.1.3.

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A kilencvenes években kialakuló cseh dokumentumfilmes ökoszisztéma lényege azon ellentmondásos viszonyokban ragadható meg, amelyek a cseh dokumentumfilm-készítők és az intézmények között jöttek létre a bársonyos forradalom után. A jelen írás fókuszában álló terület, a dokumentumfilm-gyártás, a cseh filmipar egészével együtt 1989-ben elveszített minden állami támogatást. Dokumentumfilmek ezt követően csak újonnan megjelenő filmgyártó magánvállalkozók erőfeszítései révén keletkeztek, bár tevékenységük jogilag tisztázatlan maradt egészen 1993-ig. Emellett a kilencvenes évek végén a FAMU ifjú hallgatói felléptek a cseh dokumentumfilm-gyártás új támogatási struktúrájának mihamarabbi kidolgozásának ügyéért. A tanulmány módszertanilag elsősorban Bruno Latour cselekvő-hálózat-elméletére támaszkodik, amelyet John Caldwell etnográfiai szemléletű megközelítésével egészít ki, és kulcspozíciókban dolgozó személyekkel készített, félig strukturált interjúk, valamint nyilvános és nem nyilvános szövegek elemzésén alapul. Az interjúkban és személyközi kapcsolatokban feltárt érzelmi rétegek a kilencvenes évekbeli cseh dokumentumfilmes közeg paradox helyzeteinek és konfliktusainak legfontosabb jellegzetességeiként rajzolódnak ki.

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Huang, Fengyi. "Short Video: The Opportunity of Documentary Transformation". Scientific and Social Research 3, nr 2 (13.07.2021): 44–49. http://dx.doi.org/10.36922/ssr.v3i2.1099.

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The era of omni media is arriving, due to the rise in popularity of short video platforms such as Tik Tok and Kwai. When audiences’ interests are constantly changing, documentary production is bringing in a new possibility for reform. This article uses the documentary “At thirty, a man should be independent” as an example to discuss transition thinking and effective development methods in the new media culture, with the aim of contributing to the transformation of promotion channels and innovation of new era documentaries.

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Goodarzi, Arash, i Mohammad Hossein Tamjidi. "Reflexive Documentary; Ternary Challenges of Production Process, Audience and Self-Consciousness". International Journal of Social Science and Humanity 4, nr 4 (2014): 298–302. http://dx.doi.org/10.7763/ijssh.2014.v4.367.

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Randall, Joanna. "LOS ANGELES DOCUMENTARY AND THE PRODUCTION OF PUBLIC HISTORY, 1958-1977". Journal of Film and Video 72, nr 1-2 (1.04.2020): 113–15. http://dx.doi.org/10.5406/jfilmvideo.72.1-2.0113.

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Wijayanti, Sri Hapsari, Agnes Harnadi, Putra Putra, Toyomi Sayagiri, Aditha Thomas i William Frederich. "Muaragembong: Natural potential and production of Dodol Pidada in documentary video". Riau Journal of Empowerment 2, nr 1 (12.06.2019): 1–8. http://dx.doi.org/10.31258/raje.2.1.18.

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Not many people know the potential of Muaragembong Sub-District, Bekasi, West Java. The skills to process pidada mangroves, in particular, should be introduced to the people who also live in areas with the same mangrove forest wealth as Muaragembong. The purpose of this activity is to design a documentary video about the activities of a coastal woman who produces dodol pidada. The video, which titled "Cara Praktis Produksi Dodol Pidada, Olahan Top Kampung Beting, Desa Pantai Bahagia, Kecamatan Muaragembong, Bekasi, Jawa Barat / Practical Ways of Pidada Dodol Production, Processed Top Kampung Beting, Pantai Bahagia Village, Muaragembong District, Bekasi, West Java" design through the three stages: pre-production, production, and postproduction. This 09.40 video has been tested on thirty respondents via a google form. The results are that this video was considered adequate in terms of sound quality (43.3%), images (43.3%), transitions between images (50%), choice of music (43.3%), and duration (46.7%). This video contains excellent inspirational impressions (33.3%) and good in terms of content (40%), visual (48.3%), and font size (30%). The presence of this video can use a learning media to give skills how to process pidada fruits become dodol pidada easily and safely. In addition, this video is a promotion of the marine tourism potential of Muaragembong, which has been less exposed. No less important, this video is expected to inspire Indonesian women to become strong entrepreneurs.

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Palumbo, Donald. "Review of The Media Education Foundation's Open Lens Media Production Documentary". Journal of American Culture 33, nr 1 (marzec 2010): 60–62. http://dx.doi.org/10.1111/j.1542-734x.2010.00731.x.

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Brylla, Catalin, i Mette Kramer. "A Pragmatic Framework for the Cognitive Study of Documentary". Projections 12, nr 2 (1.12.2018): 159–80. http://dx.doi.org/10.3167/proj.2018.120216.

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Traditionally, there has been little intersection between cognitive film theory and documentary studies. This article initially outlines the main reasons for this lacuna, but it also highlights the few existing exceptions. While these remain too embryonic to initiate a large, overarching, and evolving discourse, they constitute seminal landmarks and stepping stones for the future of cognitive documentary studies, which, as we argue, needs to be a pragmatic endeavor. Based on this premise, we propose a research framework consisting of four areas of interest: the mediation of realities; character engagement; emotion and embodied experience; and documentary practice. This framework takes into account intratextual and extratextual aspects in relation to documentary production and reception, as well as potential social impacts.

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Artykuły w czasopismach na temat „Documentary production”

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