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Artykuły w czasopismach na temat „Filmmakers”

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Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 27 lipca 2024

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1

Canet, Fernando. "Filmmaker‐subject relationship in documentary filmmaking". Catalan Journal of Communication & Cultural Studies 14, nr 1 (1.04.2022): 23–40. http://dx.doi.org/10.1386/cjcs_00058_1.

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This article aims to provide a contextual overview of the filmmaker‐subject relationship in documentary filmmaking. This topic is addressed in those documentary films that require the involvement of the filmmaker in the participants’ everyday lives over a prolonged period, thereby turning their relationship into a central feature of the documentary filmmaking. I argue that the filmmaker‐subject relationship involves a personal engagement that problematizes their professional responsibility as expressed mainly in their commitment to the film project and that it is mainly the personal dimension that informs the ethical decisions made by filmmakers. I begin by considering how long-term relationships allow filmmakers to better understand the reality of participants by earning their trust. I then explore the importance in documentary filmmaking of the calculation of costs and benefits in relation to the film and its participants. Finally, I examine how a filmmaker’s sympathetic and antipathetic attitudes towards a participant determine the nature of their relationship.

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2

White, Patricia. "Introduction: Late Hammer". Camera Obscura: Feminism, Culture, and Media Studies 36, nr 3 (1.12.2021): 84–87. http://dx.doi.org/10.1215/02705346-9349371.

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Abstract This introduction to a dossier of short pieces on Barbara Hammer locates the work of the late filmmaker in the context of feminist film culture and the journal Camera Obscura. It briefly reviews several phases of the artist's career before focusing on the output of the last decade of the filmmaker's life. Diagnosed with terminal cancer, Hammer made work dealing with her body; gave footage she shot over the years to several filmmakers to finish as they wished; set up a grant for lesbian experimental filmmakers; and collaborated with curators, archivists, and her partner, Florrie Burke, to shape her own legacy. Pieces by the collaborators who contributed to this dossier are introduced.

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Balčus, Zane. "FILMMAKERS AS ONSCREEN CHARACTERS IN RECENT LATVIAN DOCUMENTARY CINEMA". Culture Crossroads 18 (31.10.2022): 55–65. http://dx.doi.org/10.55877/cc.vol18.85.

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Since the beginning of the 21st century an increase of films with filmmakers present onscreen can be observed in Latvian documentary cinema. Their stories open up personal issues and family histories, their presence diversifies stylistic approaches to documentary apart from most often used observational form. Issues of formal elements of narrating a story, representation of filmmaker’s self within the film’s narrative, power relations between the filmmaker and the character are at the core of study in documentary film theory, where participatory and performative modes (Bill Nichols), analysis of performative nature of documentary (Stella Bruzzi), and character representation (Carl Plantinga, Thomas Waugh) are explored. The three recent Latvian documentaries discussed in this article present variations of interaction of filmmaker and character/-s in telling the story of the director’s father in “My Father the Banker” (Mans tēvs baņķieris, Ieva Ozoliņa, 2015), disclosing the personality of a friend and an artist in “Forging Condors” (Kondoru kalve, Mārtiņš Grauds, 2018), or questioning the ethical implications of a documentary filmmaker in “Documentarian” (Dokumentālists, Ivars Zviedris, Inese Kļava, 2012). They present various approaches to the issues of representation, choice of formal elements, and interaction between the filmmakers and the films’ characters.

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Green, Cheryl. "Saying “Thank You” for Quality Closed Captions: A Promising Shift in Inviting Access". Canadian Journal of Disability Studies 10, nr 2 (8.10.2021): 255–68. http://dx.doi.org/10.15353/cjds.v10i2.801.

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Even as deaf and hard of hearing filmmakers and activists repeatedly call for quality captions on all video content, many non-deaf filmmakers have managed to remain unaware of the need for and purpose of captions. Implicit biases drive many filmmakers to exclude access from their budgets and their films. These biases include a notion that caption users are not a viable audience, concerns that captions will threaten the beauty of video images by covering part of the screen, and an audist attitude that any level and quality of transcription of spoken dialogue must be adequate. The author is a hearing captioner and filmmaker. In this essay, she reflects on how she advocates for film accessibility through captions. She describes her strategy, how she frames “onscreen real estate,” and responses from filmmakers for captions, including the hopeful way that some say thank you. Quality captions are contrasted against woefully inadequate captions—or “craptions”—provided automatically by YouTube and by companies with cut-rate services. The author considers a focus on inviting access rather than waiting for a compliance-based method of only captioning a film when the filmmaker learns it is required.

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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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6

Charriau, Véronique. "Stratégies populaires et savantes dans le cinéma écossais des années 80 et 90". Recherches anglaises et nord-américaines 40, nr 1 (2007): 163–75. http://dx.doi.org/10.3406/ranam.2007.1344.

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The priority for Scottish filmmakers in the eighties consists mainly in exposing past stereotypes of Scotland on screen. Consequently, Scottish directors in the nineties are more committed to redefining Scottish identity through providing alternative images. Analysing Scottish cinema in sociological terms allows us to understand the role of high and low culture in redefining Scottish identity in films. For instance, a filmmaker’s definition of the Popular varies according to which pole of the field he/she belongs to. At one end of the field, independent filmmakers use a more intellectual discourse to provide a high culture vision of the Scottish working class, while at the other end, mainstream filmmakers use the argument of entertainment and popular culture to justify the conservatism of representations inherited from literature. However, the films of Danny Boyle prove that new cultural representations can emerge from a more mainstream cinema.

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7

Önen, Ufuk. "The Voice as a Narrative Element in Documentary Films". Resonance 2, nr 1 (2021): 6–18. http://dx.doi.org/10.1525/res.2021.2.1.6.

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Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries.

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8

Frølunde, Lisbeth, Øystein Gilje, Fredrik Lindstrand i Lisa Öhman-Gullberg. "Methodologies for tracking learning paths: designing the online research study Making a Filmmaker". MedieKultur: Journal of media and communication research 25, nr 46 (19.06.2009): 13. http://dx.doi.org/10.7146/mediekultur.v25i46.1349.

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The article concerns the design of a collaborative research project (2008-09) entitled Making a Filmmaker, which examines how young Scandinavian filmmakers create their own learning paths in formal and/or informal contexts. Our interest is in how learning experiences and contexts motivate the young filmmakers: what furthers their interest and/or hinders it, and what learning patterns emerge. The aim of this article is to present and discuss issues regarding the methodology and methods of the study, such as developing a relationship with interviewees when conducting interviews online (using MSN). We suggest two considerations about using online interviews: how the interviewees value the given subject of conversation and their familiarity with being online. The benefit of getting online communication with the young filmmakers is the ease it offers, because it is both practical and appropriates a meeting platform that is familiar to our participants.

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9

Ademiju-Bepo, Adediran Kayode, i Solomon Idyo. "Nollywood and the challenge of digital archiving and preservation in the digital era". Nigeria Theatre Journal: A Journal of the Society of Nigeria Theatre Artists 23, nr 2 (7.03.2024): 176–86. http://dx.doi.org/10.4314/ntj.v23i2.6.

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This paper discusses digital archiving and preservation as a challenge that Nollywood must grapple with in the digital era. The paper argues that, in other climes, filmmakers have since understood archiving and preservation as the last steps in the life of a movie; unlike in Nigeria, where many a filmmaker have no plan beyond marketing and distribution. The methodology adopted for the research is the qualitative method, with use of documents and visual media research instrument utilized. This study is anchored on the theory of functionalism to establish the paper’s strong position that, in this era of transition to digital filmmaking, it has become rather pertinent for Nigerian filmmakers to factor in the archiving and preservation of their films as the final phase of the production process, in view of the all-important role it plays in the life of their works. Findings reveal that once the current film is distributed, filmmakers tend to move on with planning for the next big project. Thus, they fail to spend quality time to grapple with the reality of where the product of their hard work will end up in the future. This study concludes that filmmakers should be sensitized to appreciate the gains of the future life of their films that archiving and preservation offer. The National Film, Video and Sound Archive (NFVSA) in Jos should be strengthened and well-positioned to harvest the offerings of Nigerian filmmakers for posterity through digital archiving and preservation is our recommendation.

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10

Townsend, Dana, i Kuldeep Niraula. "Documentary Filmmakers". International Journal of Conflict Engagement and Resolution 4, nr 1 (maj 2016): 28–40. http://dx.doi.org/10.5553/ijcer/221199652016004001003.

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Underwood, Gray. "Interview with Daniel Scarpati, Filmmaker and Author of Gofers". Film Matters 13, nr 3 (1.12.2022): 115–23. http://dx.doi.org/10.1386/fm_00254_1.

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This is an interview with New York-based filmmaker/author Daniel Scarpati about his experiences working on set in various capacities and his writing/self-publishing process in creating Gofers, a guide to life on a film set and beyond for aspiring filmmakers and PAs.

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12

Betancourt, Manuel. "Cineando". Film Quarterly 73, nr 4 (2020): 61–64. http://dx.doi.org/10.1525/fq.2020.73.4.61.

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The release of Chilean filmmaker Patricio Guzman's La Cordillera de los Sueños (Cordillera of Dreams) prompts FQ columnist Manuel Betancourt to reflect upon the reflexive turn in recent nonfiction documentaries from Latin America. Betancourt suggests that Guzmán pioneered the wave of documentary filmmakers in the region whose work marries first-person address with political urgency. Broadening his focus to include Petra Costa and Tatiana Huezo, whose films The Edge of Democracy and Tempestad explore the political collateral damage in Brazil and the violence against women in Mexico respectively, Betancourt argues that these filmmakers' embrace of self-reflexive strategies places them at the forefront of a vital nonfiction tradition that puts personal narratives front and center.

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Bruno, Giuliana. "Passages through Time and Space: In Memory of Chantal Akerman". October 155 (styczeń 2016): 162–67. http://dx.doi.org/10.1162/octo_a_00247.

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Film historian Giuliana Bruno commemorates celebrated filmmaker Chantal Akerman (1950–2015), whose intimate portraits of cities, lands, and homes captured the passing of everyday life and intensified our own sense of time, memory, and space. Akerman's breakthrough film, Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (1975), exposed the strictures of women's time and space while creating a new cinematic language of observation and duration. She continued to experiment with moving images throughout her life, moving easily between fiction and documentary, cinemas and gallery exhibitions. In the mid-1990s, Akerman began to engage in an expanded field of film-based installation art, at an early stage of the cultural movement that still drives today's filmmakers and artists to work between media. Bruno's personal evocation of Akerman's oeuvre highlights the filmmaker's use of the screen as both filter and threshold, in order to convey a relationship between interiority and exteriority, and physical and mental space, a relationship delicately tailored to Akerman's particular version of empathy.

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

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

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Portuges, Catherine. "The Third Generation: Hungarian Jews on Screen". Hungarian Cultural Studies 2 (1.01.2009): 11–17. http://dx.doi.org/10.5195/ahea.2009.21.

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The post-Cold War era, with its redrawn European topographies and renegotiated political and cultural alliances, has witnessed the return of Central European Jews to the screen in fiction features, documentary and experimental films, and new media. A younger generation of filmmakers devoted to speaking out on the Holocaust and its aftermath is opening vibrant new spaces of dialogue among historians, literary and scholars, as well as within the framework of families and audiences. By articulating unresolved questions of Jewish identity, memory and history, their work both extends and interrogates prior narratives and visual representations. My presentation compares recent films by several filmmakers with regard to the contested meanings of Jewish identity; issues of gender and the filmmaker’s voice and subject position; the contextualization of historical evidence; and innovative modes and genres of cinematic representation.

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WEINBERGER, STEPHEN. "The Cyclist (Bicycleran)". Film Quarterly 59, nr 4 (2006): 47–50. http://dx.doi.org/10.1525/fq.2006.59.4.47.

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ABSTRACT Mohsen Makhmalbaf, onetime Iranian revolutionary and self-taught filmmaker and humanist, has made a series of highly acclaimed and deeply personal films. The Cyclist has much in common with the style and content of Vittorio De Sica's neorealist classic, The Bicycle Thief. However, despite the similarities, Makhmalbaf, like his fellow filmmakers, has made neorealism distinctively Iranian.

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Michalik, Yvonne. "INDONESIAN WOMEN FILMMAKERS". Indonesia and the Malay World 43, nr 127 (27.08.2015): 378–96. http://dx.doi.org/10.1080/13639811.2015.1054139.

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Walker, Tamara. "Historian among Filmmakers". Safundi 12, nr 2 (kwiecień 2011): 139–47. http://dx.doi.org/10.1080/17533171.2011.557189.

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Hasan, Renta Vulkanita. "INDONESIAN DOCUMENTARY: A THEORETICAL REVIEW OF TRUTH CLAIMS PERSPECTIVE". Journal of Urban Society's Arts 7, nr 1 (20.09.2020): 15–20. http://dx.doi.org/10.24821/jousa.v7i1.3903.

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Documentary is a type of film that tends to be defined as a recording of reality that embedded in moving images. Documentary cannot be separated from the role of the filmmaker because they constructed reality and issues by assembling footage into narratives. Narratives are that accompanied by the social realm as fact and the role of filmmakers in the documentary brings a notion toward truth claim. Truth claims on the documentary need to be investigated because it involves two aspects: fact and filmmakers. Investigations are conducted to look for possibilities, whether another side of documentary is about trustworthiness. The first step of the investigation is to conduct a theoretical review. Theoretical review is needed in order to find previous research that have notions about truth claim of documentary from another perspective. The method of this investigation is that comparing some previous approaches with cognitive film approach where are from being initially put on the elements of reality and filmmakers, shifted to the perspective placed on the filmic element by engaging the audience. This research has an outcome that is possible to shift perspective from truth claim into trustworthiness through the filmic element that evokes the audience's experience through film clues.

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Wahyuni, Putri, i Hamedi Mohd Adnan. "A New Female Identity in Indonesian Films: A Feminist Critical Discourse on Marlina Si Pembunuh Dalam Empat Babak". Jurnal Komunikasi: Malaysian Journal of Communication 38, nr 3 (30.09.2022): 162–76. http://dx.doi.org/10.17576/jkmjc-2022-3803-10.

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After the New Order Era (1998-present), women's involvement in the Indonesian film industry increased significantly. Previously, Indonesian cinema conceived more unfavourable content toward women. However, nowadays, women are no longer regarded as forceless and dependent in the eyes of men but as the inspirers who are active and highly educated. They serve as producers, directors, trainers, publicists, and distributors behind the camera. This article contended that these women filmmakers develop a distinct female identity from their male counterparts. It further examined how they establish a distinct feminine identity by incorporating a variety of female characters throughout their films. This study applied Robert Stanton and Sara Mills's analysis technique to filmmaker Mouly Surya's Marlina Si Pembunuh Dalam Empat Babak to demonstrate how she deals with the identification of female characters focused on women's concerns, stereotypic phenomena, and how women use movies to express themselves. The results show that women filmmakers represented the women's revolution in filmmaking. They filmed not only to amuse but also to liberate women from stereotypes and to oppose gender-based violence. Besides, films are also considered an ideological tool for combating men's stereotyped images of women and can be used to increase respect for the issues of women’s marginalisation. Keywords: Female identity, women filmmakers, Indonesian film, feminism, patriarchy.

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Ardiyono, Yoppy. "Perkembangan Motif Sineas Film Indie dalam Menghadapi Industri Film Mainstream". Jurnal The Messenger 7, nr 1 (24.03.2016): 9. http://dx.doi.org/10.26623/themessenger.v7i1.284.

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<em>The research aims to review to review determine the effect and its impact raised by motive - a motive the ada in the hearts period travel time history of film short against cinematographer-filmmaker as principal especially filmmakers left path (indie). The used platform theory research hearts singer adopts from theory commodification media vincent mosco. Singer helped shift theory understanding the motive filmmakers working hearts differences fundamental basis of political pressure economic happens under with demands regime. The method used is descriptive qualitative research methods. Data collection techniques through observation of the environment of an independent film live and in-depth interviews with speakers including mr. Yang prayer orangutan direct contact 'with realm of research. Coupled with study to review the literature references adding insight research. And that was concluded change appears motif among indie film cinematographer it is true the situation is closely linked to the mainstream industry, konstilasi politics, and the orientation of capitalism. Necessary their one thing is clear and systematic regulation from the government to the future movement of currents sidestream (indie) more with good operates professionally arranged, the air so that the contribution of indie cinema film land for progress can feels good to yourself indie filmmakers as well as those of its main industries.</em>

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Wu, Helena. "The making of the citizen-spectator in postmillennial Hong Kong: Authorial and spectatorial engagement with independent documentary films". Asian Cinema 33, nr 2 (1.10.2022): 191–207. http://dx.doi.org/10.1386/ac_00055_1.

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Established by several independent filmmakers in Hong Kong in 1997, Ying E Chi (YEC) has facilitated the production and the distribution of Hong Kong independent films by means of VCD/DVD releases, video streaming, film festivals and community screenings. The non-profit body has played a key role in aiding local independent filmmakers’ projects, seeking film distribution opportunities locally and transnationally and building community networks in its home city. As the organizer of the Hong Kong Independent Film Festival since 2008, YEC has demonstrated its fluid translocal positioning by not just promoting the works of local filmmakers, but also introducing worldwide independent cinema to Hong Kong audiences. In retrospect, the development of YEC has reflected the transforming cultural landscape of Hong Kong to different degrees. From cinephiles and academics to the public, the audiences YEC has developed over the years indicates an ever-changing spectatorship in the making, bespeaking the various responses to the social environment under which these films were made, shown and watched. This article will use YEC as a case study to explore the mutual impacts between documentary films and their spectatorship which have shaped independent filmmakers’ production and distribution strategies continuously in postmillennial Hong Kong, particularly in the wake of the 2014 Umbrella Movement and the 2019 Anti-Extradition Law Amendment Bill Movement. The article will draw on interviews with local independent filmmakers, in order to understand how industry practices and dynamics have responded to identification, social events and audience behaviours over time. In this regard, spectatorship is understood as not just an embodied experience of film viewing, but also a series of affinities between the filmmaker, the audience and the film work. As a whole, the article will probe how the idea of citizen-spectator has evolved and has become inscribed in spectatorial engagement with independent documentary films, which has oscillated between audiences’ approval and authorities’ disapproval in postmillennial Hong Kong.

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Ribke, Nahuel. "Documentary Filmmakers as Characters". Projections 17, nr 3 (1.12.2023): 64–82. http://dx.doi.org/10.3167/proj.2023.170304.

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Abstract Despite the increasing documentary filmmakers’ on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers’ on-screen presence and performance, making three central assumptions. First, documentary filmmakers’ on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in the film. Second, documentary filmmakers’ characters are generally shaped and constructed throughout the filmmakers’ careers, much like fiction film stars. Third and last, the salience of filmmakers as characters should be understood as the outcome of major cultural, technological, and economic shifts shaping and affecting the documentary film production patterns and stylistic devices.

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이원덕. "Study on Location Sound for Independent Filmmakers －Focus on DSLR Filmmakers－". journal of the moving image technology associon of korea 1, nr 23 (grudzień 2015): 23–41. http://dx.doi.org/10.34269/mitak.2015.1.23.002.

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Swaradesy, Rufus Goang, i Dara Bunga Rembulan. "The Existence of Woman Filmmakers in Film Ecosystem of Bandung". Mudra Jurnal Seni Budaya 39, nr 2 (29.04.2024): 203–10. http://dx.doi.org/10.31091/mudra.v39i2.2289.

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The art of filmmaking is a creative process that involves collaboration from various parties and aspects. This also inspired women filmmakers to create their own works. Many women filmmakers have successfully addressed important issues through their films. The number of women filmmakers in Bandung is still relatively low. Based on data obtained from film communities in Bandung, women filmmakers account for only about one-third of the total number. However, women filmmakers have achieved various notable accomplishments on both national and international levels. This research was conducted to understand the presence of women filmmakers in Bandung within the scope of the national film. Data were obtained in collaboration with Bandung Film Commission (BFC). The informants were women filmmakers who are originally from Bandung and have made contributions to the national film industry. This paper represents a qualitative descriptive study. The research subjects were women filmmakers in Bandung, and the selection of informants was done using purposive sampling techniques. The results of the research indicate that the presence of women filmmakers does not happen instantly. There are internal and external factors that support the development of skills in filmmaking. The level of filmmaking activity in the region is crucial, making the presence of film communities in Bandung highly supportive of the emergence of women filmmakers on the national stage. The existence of women filmmakers is marked by their works, attitudes, and professions. To sustain the existence of women filmmakers, harmony between the realms of education, the professional world, and film associations is essential.

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Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films". Hypatia 23, nr 2 (czerwiec 2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.

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Shepard, David H. "Film Study and Filmmakers". Cinema Journal 24, nr 4 (1985): 43. http://dx.doi.org/10.2307/1224897.

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Blaetz, Robin. "Women Filmmakers: Refocusing (review)". University of Toronto Quarterly 74, nr 1 (2004): 371–73. http://dx.doi.org/10.1353/utq.2005.0096.

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Lawton, Ben, i John J. Michalczyk. "The Italian Political Filmmakers". Italica 66, nr 2 (1989): 230. http://dx.doi.org/10.2307/478941.

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Wilson, Emma. "Contemporary French women filmmakers". French Studies 59, nr 2 (1.04.2005): 217–23. http://dx.doi.org/10.1093/fs/kni132.

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Bao, Hongwei. "In Queer Memory: Mediating Queer Chinese History in Digital Video Documentaries". Panoptikum, nr 29 (30.06.2023): 94–114. http://dx.doi.org/10.26881/pan.2023.29.06.

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This article examines the digital and cinematic mediation of queer memory in four independent Chinese documentaries: Queer China, “Comrade” China (dir. Cui Zi’en 2008), Our Story (dir. Yang Yang, 2011), We Are Here (dir. Shi Tou and Jing Zhao, 2016) and Shanghai Queer (dir. Chen Xiangqi, 2019). All these films have been made by queer identified filmmakers and have used the digital video documentary format as an activist strategy; all have strived to record China’s queer history in the post-Mao era. However, because of the filmmakers’ gender and sexual subjectivities, together with the historical and social contexts in which these films were made, the four documentaries remember China’s queer history in different ways. Together, these documentaries contest a heteronormative and a homonormative narrative of Chinese history by constructing alternative memories; they also insert queer people’s voices and experiences into that history. All these mediations testify to the heterogeneity of queer people’s experience, as well as the overdetermination of queer memory as a result of a contingent assemblage of factors such as time, place, technology and filmmaker’s gender and sexual subjectivities.

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Zykova, Irina V. "Linguocognitive bases for the integration of the poetic text into cinematic discourse". Slovo.ru: Baltic accent 15, nr 2 (2024): 124–43. http://dx.doi.org/10.5922/2225-5346-2024-2-8.

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The article delves into the intricacies of integrating poetic texts into the discourse of authorial cinema. It begins by examining the multifaceted interaction between cinema and poetry within contemporary artistic culture, framing author cinematography through the lens of the poetic concept. Intermediality and interdiscursivity are explored as intrinsic properties of cinema, serving as tools for shaping the unique style and aesthetics of filmmakers. Two films, “Stalker” by Andrei Tarkovsky and “Ugly Swans” by Konstantin Lopushansky, are selected as primary sources for analysis due to their continuity and innovative qualities. The research employs a comprehensive methodology, including parameterization of linguistic creativity, corpus annotation, and conceptual analysis of verbal and non-verbal elements that contribute to the films’ poetics. Data processing techniques are then applied to interpret the findings. The study uncovers both similarities and differences in the approaches of the two filmmakers to incorporating poetic material into their works. It concludes that the integration of poetic texts into films serves as a mechanism for eliciting a unique psycho-emotional response from viewers, facilitating their engagement with the filmmaker’s ideological concepts.

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Felando, Cynthia. "Editor’s Introduction". Short Film Studies 13, nr 2 (1.09.2023): 81–83. http://dx.doi.org/10.1386/sfs_00094_2.

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The ‘Editor’s Introduction’ notes the interviews and articles in Issue 13.2. The interviews are with Egyptian filmmaker Maggie Kamal about Microbus and Marco Calvani about The View from Up Here. The articles include those that address the goals and programming practices at the Internationale Kurzfilmtage Winterthur festival and its commitment to Ukrainian shorts and filmmakers; Peggy Rajski’s groundbreaking LGBTQ+ short Trevor; Peggy Ahwesh’s experimental horror short Nocturne; and four essays that focus on the issue’s featured short The View from Up Here.

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Abbasian, Kaveh. "Illuminationist cinema: How Islamic mysticism inspired Morteza Avini’s Sacred Defence documentaries of the Iran–Iraq War and his attempt at constructing a film theory". Alphaville: journal of film and screen media, nr 25 (30.08.2023): 5–23. http://dx.doi.org/10.33178/alpha.25.01.

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"‘Sacred Defence cinema’ is the official title given to Iranian pro-establishment war films concerning mainly the Iran-Iraq War [1980-1988]. The most prominent figure of this filmmaking movement who both made films and wrote about them was the documentary filmmaker, Morteza Avini [1947-1993]. In his search for a new Islamic inspired cinematic language, Avini argued that Islamic mysticism could inspire a mode of filmmaking which he called ‘illuminationist cinema’. He used this term mainly in order to reflect on the filmmaking techniques he developed and used during the making of his own documentaries, but also proposed it as a filmmaking method to be adopted by other Islamic filmmakers. Avini’s early death in 1993 put a stop to his theorisation of ‘illuminationist cinema’; however, his films and his writings continue to inspire new generations of Iranian propaganda filmmakers. In this paper, by analysing Avini’s films and writings, I lay out a definition of his ‘illuminationist cinema’ and explain what aspects of Islamic mysticism inspired which filmmaking techniques developed and theorised by him. "

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Labandeira, Sibley. "Labour-Intensive Filmmaking: An interview with Su Friedrich". Alphaville: journal of film and screen media, nr 27 (2.07.2024): 283–92. http://dx.doi.org/10.33178/alpha.27.28.

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In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes her experience researching unusual archives, her views on the current media landscape, and the satisfaction of creating Edited By, a website dedicated to honouring the many women who revolutionised film editing, playing a key role in cinema history that has yet to be fully recognised.

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Rembulan, Dara Bunga, i Rufus Goang Swaradesy. "SRIKANDI IN THE DOCUMENTARY FILM: NUSANTARA DOCUMENTARY ASSOCIATION’S REKAM PANDEMI". Capture : Jurnal Seni Media Rekam 13, nr 2 (17.03.2022): 120–31. http://dx.doi.org/10.33153/capture.v13i2.4084.

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Gender inequality persists in the documentary film genre. It is assumed that women in the documentary field face so many obstacles that it contributes to the shortage of female documentary filmmakers. This research aims to examine the potentials of female filmmakers in the TVRI's Pandemic Recording program. This study is qualitative descriptive research. The research subjects were female filmmakers who participated in the TVRI's Pandemic Recording program and selected a purposive sampling technique. The data collection techniques relied on structured interviews. The analysis was carried out through data reduction, data presentation, conclusion, and verification. The findings indicate that the selection of female filmmakers in TVRI's Pandemic Recording Omnibus program reflects the achievements and potentials of female filmmakers, including "multitasking," a more feminist perspective, feeling and instinct, and a connection to the subject at hand.

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Kostina, Anastasia. "“Documentary Filmmaking Is an Absolute Delight”". Film Quarterly 77, nr 3 (2024): 79–85. http://dx.doi.org/10.1525/fq.2024.77.3.79.

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Vitaly Mansky is an internationally recognized documentary filmmaker whose writings, films, and programming practice have actively shaped the Russian documentary scene since the early 1990s. As a filmmaker, he has directed over thirty documentary productions that impress in their thematic scope and stylistic diversity. As the president of the ArtDocFest film festival, Mansky gave hundreds of independent filmmakers an opportunity to reach a broader audience. As a public figure, he has been vigorously promoting documentary cinema in his speeches and writing. In this interview with Film Quarterly, Mansky speaks about his path to documentary filmmaking, thoughts on documentary film form, the past and the future of Russian documentary cinema, his work as a curator and programmer, and his most recent documentary The Eastern Front (2023).

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Benson-Allott, Caetlin. "Wes Craven: Thinking Through Horror". Film Quarterly 69, nr 2 (2015): 74–76. http://dx.doi.org/10.1525/fq.2015.69.2.74.

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Wes Craven (1939–2015) wrote and directed horror films that changed the genre for audiences and filmmakers. The Last House on the Left (1972) and The Hills Have Eyes (1977) engage savage violence to critique a self-satisfied complacent culture, while A Nightmare on Elm Street (1984) and Wes Craven's New Nightmare (1994) uncover new philosophical significance in the slasher subgenre. Craven has often been dismissed as merely a genre filmmaker, yet his effect on his genre was profound, precisely because he established genre conventions instead of following them.

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Oliveira, Janaína. "With the Alma no Olho". Film Quarterly 74, nr 2 (2020): 32–38. http://dx.doi.org/10.1525/fq.2020.74.2.32.

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In an impressionistic, episodic appreciation, Janaína Oliveira reconsiders the legacy of Black Brazilian filmmaker Zózimo Bulbul. She argues that Bulbul’s status as a pioneer for black Brazilian cinema does not reside in historical chronology, but rather in the aesthetic and narrative advances accomplished by his short film, Alma no olho (Soul in the Eye), in which he also starred. Having endured almost forty years of neglect by the Brazilian film establishment, Alma no olho is now being taken up again as a reference point by a new generation of Black Brazilian filmmakers.

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Packard, Dennis, Preston Campbell i Jason McDonald. "A Biblical Poetics for Filmmakers". Religions 5, nr 2 (19.06.2014): 502–21. http://dx.doi.org/10.3390/rel5020502.

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Cook, Jno. "Experimental Filmmakers Meet in Chicago". Afterimage 13, nr 3 (1.10.1985): 4. http://dx.doi.org/10.1525/aft.1985.13.3.4a.

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Schmidt, Nancy J. "African Filmmakers and Their Films". African Studies Review 37, nr 1 (kwiecień 1994): 175. http://dx.doi.org/10.2307/525118.

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Geshekter, Charles L., i Francoise Pfaff. "Twenty-Five Black African Filmmakers". African Economic History, nr 19 (1990): 232. http://dx.doi.org/10.2307/3601937.

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Valenti, JoAnn M. "Indie filmmakers showcase environment issues". Applied Environmental Education & Communication 15, nr 3 (czerwiec 2016): 197–98. http://dx.doi.org/10.1080/1533015x.2016.1181461.

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Hughes-Freeland, Felicia. "Book review: Indonesian Women Filmmakers". South East Asia Research 24, nr 2 (czerwiec 2016): 312–15. http://dx.doi.org/10.1177/0967828x16649537.

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Baliani, Patrick. "Review: The Italian Political Filmmakers". Forum Italicum: A Journal of Italian Studies 22, nr 1 (marzec 1988): 149–51. http://dx.doi.org/10.1177/001458588802200136.

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Blaetz, Robin. "Women Filmmakers in Early Hollywood". Historical Journal of Film, Radio and Television 29, nr 2 (czerwiec 2009): 258–60. http://dx.doi.org/10.1080/01439680902890845.

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Zammit, Katina. "“We’re all real serious filmmakers”". English Teaching: Practice & Critique 17, nr 4 (12.11.2018): 371–86. http://dx.doi.org/10.1108/etpc-11-2017-0161.

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Kenawi, Mohamed, Alexander Kronemer i Jason Welle. "Two Filmmakers Reflect on Francis". Muslim World 109, nr 1-2 (marzec 2019): 119–25. http://dx.doi.org/10.1111/muwo.12280.

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Angela, Ika. "Self-Storytelling Phenomenon in Social Media". IMOVICCON Conference Proceeding 1, nr 1 (3.07.2019): 155–66. http://dx.doi.org/10.37312/imoviccon.v1i1.17.

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In this era of technology, the emergence of social media affects people behavior. They can make their self- storytelling using some features in social media to show their existence, achievement, and happiness in life. These people include filmmaker. If in the past every filmmaker was only seen behind the scenes, now they can show their activities through photos and videos (moving images) in public. Therefore this paper aims to find out whether or not this self-storytelling phenomenon is also experienced by filmmakers in Indonesia. The method that will be used in this paper are literature study and a case study analysis of Indonesian filmmaker, Anggy Umbara, and Fajar Bustomi. Both of them are the filmmaker who managed to make their films become the top two films with the highest number of viewers in Indonesia. Social media that used to conduct this research is Instagram. The results shows that their Instagram post fulfill four important component of storytelling (perspective, narrative, interactivity and medium), thus they also experienced the phenomenon of self-storytelling in social media.

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