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Goldson, Annie. "A claim to truth: documentary, politics, production". Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/1246.
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The following thesis examines how documentary texts, in particular those that are associated with the tradition of political documentary, negotiate their way into being. For this purpose, I use a series of documentary case studies, each one structured around a work of my own. The five documentaries I examine were made through the decade 1990-2000 and, although these works address a range of specific cultural and political issues, they were produced either out of the US or New Zealand, the two countries within which I have lived while a documentary maker. My methodological approach is two-fold. First, I place each documentary within a framework designed by Bill Nichols as a way of defining documentary. Nichols, a major presence in the field of documentary studies, looks at documentary as constructed through a matrix of factors: the interplay of possible documentary modes and styles, pressures brought to bear through the institutional context surrounding documentary production, such as funding and distribution, the expectations of the genres' audiences, and the dialogue and influences generated by a community of documentary practitioners and their films and videos. In following Nichols' model, I offer up a modal and textual analysis for each of my own works cited, and examine, through a mixture of anecdote and theory, how funders, distributors, audiences and my fellow makers shaped my documentaries. In carrying out this examination, I also highlight certain debates that raged through the decade, particularly around documentary realism and identity politics, that were to have considerable impact on my work. My second methodological approach is to situate each work within a history of "political documentary". In Chapter One of this thesis I have attempted to categorize the various formulations of the sub-genre, which have developed since the inception of film over a century ago. In the ensuing chapters I examine how each of my documentaries draws on that history. My own body of works of course was produced in a relatively short period, but even within this time the historical changes the world has undergone are immense. Documentary is ever sensitive to its context and I chart the impact of political change on the texts being scrutinized. Although the focus, my own work, may appear narrow, the thesis draws on the tradition of participant observation and seeks, by analyzing the complexities of production within a series of case Studies, to cast light on contemporary documentary practice generally.Whole document restricted, but available by request, use the feedback form to request access.
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Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins". Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.
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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised.
The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience.
Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism.
The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as.
In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
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Mitropolous, Maria. "Regimes of truth: Documentary photography in the margins". Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.
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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience.
Among the theoretical ISsues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism.
The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmanuel Levinas' philosophy of the Other with a Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Administration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
4
Mickwitz, Nina. "Comics and/as documentary : the implications of graphic truth-telling". Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/48686/.
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Examining examples from a cluster of early twenty-first century comics this thesis argues that these are comics adopting a documentary mode of address. The recognition that they share a documentary ambition to visually narrate and represent aspects and events of the real world, in turn calls for a closer examination of the contribution such comics present in terms of documentary’s repertoire. This thesis challenges the persistent assumption that ties documentary to recording technologies, and instead engages an understanding of the category in terms of narrative, performativity and witnessing. In so doing, it aligns with debates and questions raised by recent academic work around animated documentary. Shared concerns include conventions, truth-claims and trust, and the limitations of representation as verisimilitude. Mindful not to overstate correspondence with animated and inherently moving image forms, however, this contribution explicitly concerns documentary in comics form: as constituted by static and silent pages. The enquiry is structured according to concerns and themes that have been identified as central to documentary theory: the relation between documentary image and its referent; the production of archives and popular history; the social function of documentary as visibility and ‘voice’, and the travelogue as cultural narrative and production of knowledge. In other words, examples of comics that address actual, as opposed to imagined, persons and events of the historical world, are read through the lens of documentary. Close reading and visual analysis, engaging comics-specific frameworks, asks how comics by means of their formal qualities might offer alternative strategies and even the possibility to overcome certain problems associated with audiovisual modes of documentary representation. The thesis simultaneously extends an alternative perspective to literary frameworks, in particular the categories of memoir and autobiography, which have come to dominate in a steadily growing field of comics studies.
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Shaw, Nicola. "Truth-telling strategies of British drama-documentary : from realism to postmodernism". Thesis, Manchester Metropolitan University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496787.
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This study offers a retrospective, critical view of the field of drama\documentary on British television and, through the examination of key social and theoretical shifts surrounding issues of "reality" and "truth", offers a new critical and conceptual framework for the consideration of drama\documentary texts. Locating selected examples of realist compositional strategies within an account of contemporary thinking in the field of reality, this thesis traces the development of the form and shifts in conceptions of the real that have impacted upon it. Two contrasting historical moments are established as a means of demonstrating the shift in consciousness and strategies of authentication from the realisms of the post-war period to the post-structural discourse of the postmodern era. A comparative analysis of specific texts is placed in the context of this shift, foregrounding its impact on features of textual composition, faith in television discourse, and changing reading dispositions. The significance of these texts does not lie simply in the relationship between dramatic and documentary modes and the extent to which either has been employed, but also in the which dramatic forms are used or documentary traditions referenced, and to what effect, within a specific historical context. This thesis argues for a historically situated approach to the medium of drama\documentary and suggests that codes and conventions deployed within given texts are always relative to time. This is evidenced through the concept of "reality status", which asserts that guarantors of truth and strategies of authentication within the drama\documentary text are drawn from the truth-telling strategies of the era.
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Bevins, Thomas Levin Ben. "Street chords and the truth a street level view of country music /". [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-6134.
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Bevins, Thomas. "Street Chords and the Truth: A Street Level View of Country Music". Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc6134/.
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Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.
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Smith, Elizabeth Ann. "Ecstatic Truth through Fiction: Re-framing the Science Film to Engage a Wider Audience". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/smith/SmithE0507.pdf.
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Americans obtain a majority of their information about science through science films, primarily in the form of documentaries on television. However, despite the recent proliferation of these films, there is much discussion in the science filmmaking community about how ineffective these films have been lately at informing the public about science and compelling viewers to act. It is time to look at the underlying definitions of the genre from a different perspective and determine whether the current standards are the best way to successfully convey messages about science to the widest audience. To explore the possibilities for increasing the effectiveness of science filmmaking, one needs to look at the basic assumptions that come into play during the process of producing science films by re-framing the major components of the science film: goals, subject matter, audience, and format. This new set of paradigms reveals the possibility of another avenue - fiction.
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Drummer, Aurora. "Unconventional story-weavers and their "Ecstatic Truth": An analysis of voice-overs in documentary film". Master's thesis, University of Cape Town, 2014. http://hdl.handle.net/11427/12877.
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Includes bibliographical references.This dissertation takes theories of voice-over narration that are typically applied to fiction film and applies them to documentary film. It looks at issues of representation and truth values in the documentary films of Werner Herzog, John Marshall, Luis Buñuel and Karin Jurshcick. It argues that the choices filmmakers make regarding types of voice-over affect these issues and are therefore worthy of study. It argues that the unconventional story-weavers in documentaries like those of Marshall and Herzog‘s can inadvertently marginalise their subjects. It looks at Buñuel‘s Land Without Bread as an extreme example of an (intentionally) manipulative narrator. It suggests that a voice-over narrator that follows Chion‘s conceptualisation of the complete acousmêtre encourages audiences to engage on a more critical level. Finally, it argues that even a seemingly traditional narrator as seen in Jurshick‘sIt Should Have Been Nice After That can be unconventional and reveal an - ecstatic truth.
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Lang, Ian William, i n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
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Jørgensen, Christine Sander. "Ethical Issues in Documentary Filmmaking - A Case Study of DR's Generation Hollywood". Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22615.
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This thesis focus on ethical issues within documentary filmmaking in the largest broadcasting institution in Denmark. It is a case study of the documentary serial Generation Hollywood, produced by Danmarks Radio (DR) in 2016. DR has produced many documentaries, using same style and format as in Generation Hollywood. But something is different with this one, and the thesis aims to find out why this one stands out, from the presumption that ethical issues are involved. It examines the participants’ motives and expectations, DR’s intentions and how ethical issues affected the final product. In the attempt to understand the complexity of ethics, a small sample of interviews are conducted and analyzed and presented together with a partial content analysis. The notions of truth, authenticity, and representation are applied as the theoretical framework to understand: not merely ethical procedures, but underlying feelings possessed by the participants.The thesis brings to light that ethical issues are not only embedded in already established procedures but also caused by unforeseen circumstances and participants’ motives in relation to the project. The research shows how ethical issues affect the final representation, especially concerning authenticity. It also shows how a discrepancy between intentions and expectations, and the understanding of truth (in its start-up phase) impacts the process. Furthermore, it concludes that entertainment demands and modern technology can affect how filmmakers treat people when representing them and it explains how the line between the modern ‘everyday life’ documentary and Reality TV is seemingly blurred.
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Jacoway, Paul R. "Are Documentaries Journalism? The Gap Between a Shared Truth and Verification". Ohio University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1406801661.
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Reckman, Brent Williams. "The Use of An Inconvenient Truth as a Pedagogical Tool for Teaching Peace through Environmental Justice in the 21st Century". University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226329341.
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Borges, Leandro Martins. "O falso documentário como enunciador de ruídos no regime de verdade". Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4616.
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Previous issue date: 2014-05-15This research investigates in which way the documentary, understood here as a regime of truth, is contested by the documentary production known as fake documentary. This genre appropriates the esthetic/narrative documentary forms in order to tell a fictional story. We consider that it is possible to criticize the very construction of the regimes of truth in a subversive way through its mimicry. This approach the subversive power within the fake documentary is not found in the few studies on the subject. Jane Roschoe s and Alexandra Juhasz s books, along with Matheus Barbosa Emérito s dissertation analyze the fake documentary from its formal aspects, seeing it as a parody or a deconstruction of the documentary. Our proposal is to build a film analysis of two fake documentaries chosen for their capability to generate a double critique of the regime of truth, present both in the cinematographic aspect and in the subject of the movies. From the theories of discourse and the concepts developed by Foucault, i ek and Lacan, relating regime of truth, falseness and ideology, we analyze the films Exit Through The Gift Shop and Opération Lune. As an expected result there is the possibility of perceiving how a film genre, typically associated with its commitment to the truth, can be paradoxically a means used subversively to generate noise in the regimes of truth. This paper intends to analyze the cinematographic resources that make a movie being classified as a documentary possible, and how the fake documentary uses the same resources to carry out a subversive critique of the regimes of truth related to the subject of each film
Esta pesquisa investiga de que forma o documentário, aqui entendido como um regime de verdade, é contestado pela produção documentária conhecida como falso-documentário. Esse gênero se apropria das formas estético/narrativas documentárias, para narrar uma história ficcional. Consideramos que ao se mimetizar um regime de verdade, seja possível realizar uma crítica, de forma subversiva, à própria forma de construção de regimes de verdade. Esse enfoque na potência subversiva presente no falso documentário não é encontrado nos poucos estudos sobre o assunto. Os livros de Jane Roschoe, Alexandra Juhasz e a dissertação de Matheus Barbosa Emérito, analisam o falso documentário a partir da questão formal, compreendendo-o como uma paródia ou uma desconstrução do documentário. Nossa proposta é construir uma análise fílmica de dois falsos documentários selecionados por sua capacidade em gerar uma dupla crítica ao regime de verdade, presente tanto no aspecto cinematográfico, assim como no tema de seus filmes. A partir das teorias de discurso e dos conceitos desenvolvidos por Foucault, i ek e Lacan, relacionando regime de verdade, falso e ideologia, analisaremos os filmes Exit Through the Gift Shop e Opération Lune. Como resultado esperado, se coloca a possibilidade de perceber como um gênero cinematográfico, comumente associado ao seu compromisso com a verdade, pode ser, paradoxalmente, um meio usado de forma subversiva para gerar ruídos nos regimes de verdade. Este trabalho visa a análise dos recursos cinematográficos que possibilitam que um filme possa ser classificado como um documentário, e como o falso documentário se utiliza desses mesmos recursos, para realizar uma crítica subversiva aos regimes de verdade relacionados ao tema de cada filme
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Lilljedahl, Carl-Magnus, i Oscar Borg. ""Expropriation without compensation" : En kritisk diskursanalys av representationer i den folkfinansierade internetdokumentären Farmlands". Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Medie- och kommunikationsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-42922.
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Den här studien analyserar Lauren Southerns dokumentärfilm Farmlands, som skildrar konflikten mellan vita och mörkhyade om äganderätten till mark i Sydafrika. Vi analyserar Farmlands utifrån dess språkliga och visuella representationer av den vita respektive mörkhyade befolkningen. Filmen är producerad med hjälp av folkfinansiering (crowdfunding) och distribuerad på Youtube. Syftet är att undersöka vilka diskursiva medel som används och vad dessa har för konsekvens för hur de två grupperna framställs. För att undersöka detta har fyra sekvenser ur filmen valts ut och analyserats med kritisk diskursanalys (CDA) med multimodala inslag som teori och metod. Utöver CDA används teorier gällande dokumentärfilmens logik och förhållande till sanning och verkligheten. Resultatet av analysen visar att Farmlands diskursivt driver ett tydligt vi och de-narrativ som framställer den vita gruppen i rollen som offer och den mörkhyade gruppen som förövare. Filmen erbjuder tittaren en empatisk och personlig relation till de vita individerna medan de mörkhyade diskursivt avpersonifieras och distanseras.This study analyses Lauren Southern’s crowdfunded doumentary Farmlands, which depicts the ongoing land disputes between the black and white population of South Africa. The analysis focuses on the various representations of the white and black population in South Africa. The production of the documentary was made possible with the help of crowdfunding before it was published on Youtube. The purpose of this study is to identify which discoursive tools Southern utilizes and how those tools shape the representations of the white and black population of South Africa. In order to do this we selected four sequences from the documentary which we then analyzed using critical discourse analysis (CDA) with multimodal features as both the method and theory. In addition to CDA, we also used theories of documentary logic and the relationship documentary film has with the concept of truth and reality. The result of the analysis shows that Farmlands discoursively enforces a we and them narrative which paints the white population as the victims and the black population as the perpetrators. The documentary offers the viewer an emphatic personal relationship with the white individuals seen in the documentary, while the black people in the documentary are, through Southern’s use of discoursive tools, dehumanized and made difficult to relate to.
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Alcalá, Anguiano Fabiola. "Lo irónico-sublime como recurso retórico en el cine de no-ficción de Werner Herzog. El caso The Withe Diamond, Grizzly Man y The Wild Blue Yonder". Doctoral thesis, Universitat Pompeu Fabra, 2010. http://hdl.handle.net/10803/7266.
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El objetivo de esta Tesis es el estudio de lo irónico-sublime como figura retórica en tres filmes de no-ficción de Werner Herzog: The White Diamond, Grizzly Man y The Wild Blue Yonder. El texto esta dividido en dos partes: la primera, en la que se plantea un recorrido por los distintos contextos históricos, teóricos y artísticos que nos permiten reconocer cuáles son las características de este tipo de cine de no-ficción; una propuesta en la que lo real juega un papel más poético, y en la que la verdad que se persigue no es una verdad congruente con unos hechos determinados sino con una estética más universal.
En la segunda parte, se analiza de qué forma opera lo irónico-sublime (la principal característica del cine de no-ficción de Werner Herzog) en las distintas partes que conforman las tres películas que nos ocupan. Humor y belleza serán la clave para interpretar estas tres historias sobre el hombre, la naturaleza y sus límites.
The objective of this Thesis is to study the ironic-sublime as a rhetorical figure in three nonfiction films by Werner Herzog: The White Diamond, Grizzly Man and The Wild Blue Yonder.
The text is divided in two parts: the first one, is a review for different historical, theoretical and artistic contexts that allow us to recognize which are the characteristics of this type of non-fiction cinema; an offer in which the real plays a more poetical role, and the truth that is prosecuted is not true with a few certain facts but with a more universal aesthetics.
In the second part, it is analyzed how works the ironic-sublime (the principal characteristic of the non-fiction cinema of Werner Herzog) in the different parts that shape three movies that occupy us. Humor and beauty will be the key to interpret this three histories about man, nature and his limits.
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Martínez, Muñoz Pau. "La cinematografía anarquista en Barcelona durante la Guerra Civil (1936-1939)". Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7526.
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La tesi doctoral tracta sobre la producció cinematogràfica realitzada pel moviment anarcosindicalista a Barcelona durant la Guerra Civil espanyola (1936-1939). Un corpus total de vuitanta tres títols, malgrat a l'actualitat només es conserven quaranta i quatre cintes i no totes complertes.La investigació està centrada en la recopilació i catalogació exhaustiva de tota la filmografia existent: reportatges de guerra, documentals de propaganda i pel·lícules de ficció. Se ha realitzat l'anàlisi de tots els films i s'ha elaborat una classificació cronològica i temàtica per establir una caracterització de la filmografia anarquista en els seus aspectes temàtics i estilístics. Finalment, s'ha fet una valoració del interès i la seva singularitat de en relació amb la cinematografia de la Guerra Civil.
La tesis doctoral trata sobre la producción cinematográfica realizada por el movimiento anarcosindicalista en Barcelona durante la Guerra Civil española (1936-1939). Un corpus total de ochenta y tres títulos, aunque en la actualidad sólo se conservan cuarenta y cuatro cintas, no todas ellas completas.
La investigación se centra en la recopilación y catalogación exhaustiva de toda la filmografía existente: reportajes de guerra, documentales de propaganda y películas de ficcción. Se ha realizado el análisis de todas las películas y se ha elaborado una clasificación cronológica y temática para poder establecer una caracterización de la filmografía anarquista en sus aspectos temáticos y estilísticos. Finalmente, se ha hecho una valoración sobre el interés y la singularidad de los filmes en relación con la cinematografía completa de la Guerra Civil.
The subject of this dissertation is the film production carried on by Anarcosindicalist movement in Barcelona during the Spanish Civil War (1936-1939). It represents a total of eighty three titles, but only forty are found today, and not all of them completed.
The investigation is centered in the recollection and exhaustive catalogation of the total existed filmography: war reports, propaganda documentaries and fiction films. The study includes an analysis of all the films and a chronological and thematic classification of the anarquiste filmography, in order to be able to establish its thematic and stylistic aspects. Finally, the dissertation also includes an evaluation of the interest and uniqueness of the films in relation to the total filmography produced during the Civil War.
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Koba, Siyabonga. "Truth, lies and fiction: exploring the boundaries of documentary". Thesis, 2011. http://hdl.handle.net/10539/10447.
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Like all filmic modes documentaries are ideological artistic constructions and according to Bill Nichols (2001: 38) they carry more influence than fiction because we assume that documentary sounds and images are authentic. According to John Ellis (2005: 1) documentaries work because they generate in us a belief of truth that what we see on the screen can be trusted. Through its ability to elicit trust from its audiences, the documentary has set itself apart from the fiction which has also been termed “fabrication” (Renov, 1993: 7). Unlike fiction, the documentary does not stage, fabricate or create life but simply represents it (Nichols, 2001: 20). Fiction therefore becomes the antithesis of documentary and documentary becomes the antithesis of the fiction and all that it is known for: fabrication and falsification. Carroll Noel agrees that (1996: 255) the fiction/nonfiction dichotomy is used to “commend or disparage items as true or false.” Drawing from the complimentary film component as a case study and a framework of theoretical ideas, this paper suggests that without such perceived conditions of difference and associations of truth the documentary film by itself might be no more truthful than fiction. What separates these two forms is the way we look at them.
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Wong, Yen-Ting, i 翁嬿婷. "The Seen But Unspoken Truth: A Study of Contemporary Chinese Independent Documentary (2000 - 2015)". Thesis, 2015. http://ndltd.ncl.edu.tw/handle/hpf28g.
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碩士國立臺灣大學
新聞研究所
103
Since 2000, the rising popularity and accessibility of DV and editing equipment in China made contributions to the arrival of Personal-image era, which marked the beginning of self-authorization. Particularly, journalists, artists and intellectuals took the lead in the making of independent documentary, which encouraged ideas of civic awareness. However, since 2012, Xi Jinping strengthens the blockade of Internet, and suppresses all kinds of civic activities, which leads to an intensive social atmosphere. Ideological state apparatuses were imposed upon the media, and the government tightens its control, especially on independent documentary workers. Based on particpating and interviewing people in five major Chinese cities, this study argues the development of independent documentary as an important factor in promoting democratic thinking in China. This paper focuses on independent documentary workers’ agency, outlining their survival trenched in political and economical hardships, as well as their stressful mental state and life-threatening condition as they break through obstacles to record and sound their voice. This essay reconstructs their experience through interviews. It will not only allow the audience to understand their sufferings, and experience their unrelenting persistence, but also have an in-depth understanding of Chinese social pulsation.
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Rodrigues, André Marques. "A valoração da prova em Processo Civil". Master's thesis, 2020. http://hdl.handle.net/10362/97555.
Pełny tekst źródłaStreszczenie:
The following report was written as a result of an internship in the central civil
court of Lisbon, as part of the Masters in Forensic Law and Arbitration, carried out
between September 2019 and February 2020. The internship consisted in accompanying
the day to day work of a state judge, taking attendance to preliminary and final hearings,
studying civil cases and debating relevant civil procedure theoretical questions. Some
practical activities were carried out in the form of simulating sentences/verdicts and
preparation of preliminary hearings (elaborating the written part of the hearing); lastly,
the intervention of the judge during all the procedure was broadly simulated.
The final verdict depends on the facts that were considered proved; the facts are
in controversy when the parts first bring them to court; the judge must decide what
corresponds to the truth and decide based on that judgment. The report has examples that
go along with the theoretical explanation of legal concepts and is the product of a better
understanding regarding evidence in Civil Procedure. This was made possible by the
direct contact with the way evidence was considered by the judge
The report is divided into two main groups.The first aims to explain essencial
concepts in regard to evidence and the two systems of judging evidence in Civil
Procedure, also aiming to demonstrate the current state of evidence law. In the second
group the focus is shifted to specific types of evidence (by confession, documental,
inadmissibility of witness deposition and ad substantiam documents), taking into account
the law, authorities and case law on the subject. All is taken into account to formulate a
critical evaluation and to ponder the conflict between material and formal truthO presente relatório tem em vista apresentar o estágio curricular realizado no Juízo Central Cível de Lisboa, desenvolvido no âmbito do Mestrado Forense e Arbitragem. O estágio realizou-se entre setembro de 2019 e fevereiro de 2020 e consistiu em acompanhar o dia a dia de um Juiz de Direito assistindo a audiências prévias e finais, consultando processos e debatendo questões processuais, sobretudo. Foram realizados alguns trabalhos práticos, como projetos de sentenças e despachos, simulando-se a intervenção que o juiz tem no processo desde a preparação da audiência prévia até a decisão de mérito. Qualquer sentença de mérito pressupõe a decisão sobre factos que, no momento da sua alegação, são controvertidos; depois da produção de prova sobre eles, cabe ao juiz valorá-la; os factos provados, com base nos quais cabe decidir, são o resultado dessa valoração. O contacto constante com a produção e valoração de prova durante o estágio contribuiu para completar o relatório com exemplos práticos e permitiu uma melhor compreensão do direito probatório, da forma como é entendido pela doutrina e aplicado pelos Tribunais. O relatório divide-se em duas partes. Na primeira enunciam-se conceitos teóricos basilares sobre a prova e explicam-se os diferentes sistemas de valoração da prova, assim demonstrando em que termos é visto atualmente o direito probatório. Na segunda parte, focamos a nossa atenção na prova por confissão, prova documental, nos casos de inadmissibilidade da prova testemunhal e nos documentos ad substantiam. A abordagem a estes temas tem por base a lei, doutrina e jurisprudência sobre os mesmos, com que fundamentamos a nossa apreciação crítica global e, de forma mais abstrata, o confronto entre verdade material e formal.