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Hilliard, James Patrick. "The elements of filmmaking". CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3014.
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Presents an educational multimedia development project created to teach novice learners about the various elements of the film making process. The multimedia web site designed for this project was created using Macromedia Flash 8. The process involved surveying people to determine learner needs and alpha and beta testing the final project to gather data regarding functionality and learner satisfaction.
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Shetti, Vishwanand Venkatesh. "Developing visual associations through filmmaking". Texas A&M University, 2008. http://hdl.handle.net/1969.1/86070.
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Associations are embedded in many aspects of filmmaking. It is this artist's goal
to analyze visual associations in the process and product of an original narrative video
piece called Discretion. Character relationships and plot structure are examples of nonconcrete
visuals developed in preproduction. Family trees and plot diagrams provide a
structural map for the film and are helpful tools to communicate with the cast and crew.
Art direction and wardrobe are examples of concrete visuals developed during
production. For example, wardrobe with certain colors may be assigned to each
character in the film. Editing and compositing allow further development in the
postproduction phase. Juxtaposing scenes and imagery results in a more complex web
of connections for the viewer to discover. In effect, this thesis is meant to explore the
filmmaking process with a special emphasis given to visual associations. In this
discussion, the video will be referred to as a film to relate concepts to other films and to
the filmmaking process. However, it is important to note that interchanging these words
is a common practice that is not acceptable in many industry settings.
3
Lemon, Nicole E. "Previsualization in Computer Animated Filmmaking". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1345569188.
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Markus, Richard. "Washington, D.C. Center for Filmmaking". Thesis, Virginia Polytechnic Institute and State University, 1993. http://hdl.handle.net/10919/52132.
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The Washington, D.C. Center for Filmmaking is placed in the middle of a growing area of different uses, on the block bordered by 8th, 9th G and H streets. Across G street, the old Patent Office now houses the national Museum of American Art and the National Portrait Gallery. Churches, schools, and other buildings for study exist in the blocks directly surrounding the proposed buildings and the Martin Luther King Library. The Washington Convention Center and Techworld allow space for large exhibitions and trade shows. Also, office space and the shops and restaurants of Chinatown are just one block east. Access to the site by Metro is across G street at the Gallery Pace Metro stop.
The Center for Filmmaking addresses the street with commercial store-fronts of shops or restaurants, accessible from the street as well as from the interior gathering space. The building attempts to embrace the framework of the city openly. The main entry into the gathering space is off the major street of the site, 9th Street. Service access is off of the least traveled street, 8th Street.Master of Architecture
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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia". Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.
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Devereux, Anne Catherine. "A triangular approach to science filmmaking". Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/devereux/DevereuxA0510.pdf.
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The discipline of film studies is often limited by its own obsessions. Approaches designed to illuminate how we view films, and make films, often limit our thinking, instead. It is not surprising that the analysis of such an extraordinary medium presents endless arguments, debate and inspires the critic or theorist to narrow the field of view in order to make it manageable. Recent work in the fields of cognitive psychology and neuroscience which, when applied to our critical analyses of film, is changing the discipline of film studies. In conjunction with traditional narratology, this interdisciplinary approach enables us to reconfigure the relationship between narrative and spectacle, creating a triangular relationship that draws attention to discourse. This triangular approach affords a more nuanced and comprehensive analysis of how science documentaries affect viewers. In turn, these analyses encourage science filmmakers to recognize discourse as a means of creating more emotionally powerful, aesthetically coherent, and memorable science films. Like a great mind, the discipline of film studies flourishes most when it remains open. The creation of this triangular analytical relationship is merely one way of enhancing our ability to study the effects films have on an audience, on the future of the medium, and on aesthetics as a whole. In seeking an academic and theoretical basis for the gut level notion that films affect us both emotionally and intellectually, it is critical to chart an interdisciplinary course.
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Sutton, Jason. "Re-imaging a Career in Filmmaking". Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/6026.
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The purpose of this project was to learn every aspect of the film business, and to do so within the guidelines of an ultra-low budget digital format. This meanty creating a project that could be written, produced, and directed all for fewer than fifty thousand dollars. All of the money had to be raised by me as well. The process began day one in the classroom, learning every step of the way.M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Hiemenz, Vanessa Serrao. "Reflexive filmmaking for wildlife and nature films". Thesis, Montana State University, 2009. http://etd.lib.montana.edu/etd/2009/hiemenz/HiemenzV0809.pdf.
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Historically, wildlife and nature filmmakers have embraced the expository mode of filmmaking and a realistic style, attempting to influence their audience with compelling arguments. However, while their scripts may call for activism, their expository, realistic style, with hidden production methods, an authoritative tone, and pristine visuals, instead encourages voyeurism. In addition, standard theater and television distribution methods offer no outlet for action to viewers who do feel inspired. I offer a different model for influence in my wildlife series Nature Break: reflexive filmmaking. In this series I use such reflexive strategies to critique the voyeuristic way in which spectators consume wildlife and nature films. However, critiquing passive spectators with reflexivity is not the same as creating active spectators. Therefore, with Nature Break I go beyond simply making and distributing a film. Additionally, I will create a related website on the Internet as a platform for viewers to post their own films, discuss issues inspired by films on the site, and coordinate activism efforts. Through Internet distribution, the Nature Break series can finally live up to the reflexive filmmaker's goal of creating an art that leads to activism.
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Косташ, Дмитро Олександрович. "How game industry will change filmmaking forever". Thesis, Київський національний університет технологій та дизайну, 2020. https://er.knutd.edu.ua/handle/123456789/15312.
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Vandenberg, Cody J. "MINUTEMAN: THE CREATIVE PROCESS OF SHORT FILMMAKING". Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1340303337.
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Lawrence, Andy Richard James. "Confusion and catharsis in filmmaking for fieldwork". Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.664565.
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This thesis provides a commentary on three films that I have made on the subjects of childbirth and death; Born (Lawrence 2008); The Lover and the Beloved: A Journey into Tantra (Lawrence 2012); The One and the Many (Lawrence 2013). I discuss these films as practice-based research within the discipline areas of anthropology, media and performance in order to suggest an innovative way in which intersubjectivity may be explored and evoked through a method of ethnographic filmmaking. After a brief summary of the content of each film, I present my research methodology and associated techniques of filmmaking for fieldwork. I identify these as being different to those employed by Robert Gardner in his much discussed film about death, Forest of Bliss (1985). I elaborate on the methodological importance of intersubjectivity in filmed fieldwork by using two words, ‘confusion’ and ‘catharsis’, borrowed from reviewers of my film, Born. I argue that these words help to explain how the dual processes of perception and expression operate for all parties involved in the filmic encounter, including here the filmmakers, the subjects and the audiences. Drawing on ideas about how subjective experience is narrated by Turner (1986); intersubjectivity in ethnographic story telling by Jackson (2002; 2012); the conditions under which a film might provoke a cathartic response from a viewer by Scheff (2001); I consider how a filmmaking method can focus on the confusion in human experience, to become a new but related experience for the audience of a film. The objective of this methodology is to understand how subjective confusion becomes narrative coherence through the empirical lenses of childbirth and death. These ideas provide a basis to explain four areas of filmmaking technique that I use to produce anthropological films. The first relates to proximity: here I describe how I become a participant as well as an observer in action as it is unfolding and thus also a part of the story myself. The second looks at ways in which camera and microphone movement produce an “expression of experience by experience” (Sobchack 1995, p. 37). Thirdly, I outline a technique for the close examination of field experiences as they unfold and before they are fully comprehended that can also facilitate the production of high quality recorded material from which to craft a film. Lastly, I look at how reflexivity enhances the role of all the film’s subjects, including myself, to develop a useful context by which viewers of a film can engage with the protagonists of a story. In conclusion, I evaluate the success of these techniques in realising the methodological objectives of the work.
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Friedman, Yael. "Palestinian filmmaking in Israel : negotiating conflicting discourses". Thesis, University of Westminster, 2010. https://westminsterresearch.westminster.ac.uk/item/905x4/palestinian-filmmaking-in-israel-negotiating-conflicting-discourses.
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In recent years Palestinian cinema is evidently growing, as more films emerge from diverse sites of production: the Palestinian Authority, the different Palestinian diasporas and inside Israel. While scholars have often discussed Palestinian cinema without necessarily differentiating between the various sites of production, this thesis offers an in-depth analysis of Palestinian filmmaking inside Israel by Palestinians citizens of Israel. It addresses a lacuna in the research of Palestinian cinema by examining in detail the context of production of Palestinian films within the Israeli film industry, outlining the structural conditions and the discursive environment within which Palestinian filmmakers in Israel work. Moreover, through a close reading of key films, and references to others, this thesis identifies shared thematic characteristics of this body of work, and discusses the ways in which the films relate to both the Zionist and the Palestinian national discourses. Broadly, my analysis shows that while as with Palestinian cinema at large the films discussed in this thesis engage with issues of history, space and resistance they are nuanced in ways which relate to the specific circumstances of Palestinians in Israel. Concerns of ‘belonging’ and identity consume much of the films’ production and distribution processes as well as their thematic focus. Their production within Israel problematises the categories of both Israeli and Palestinian cinemas as ‘national’ cinemas, since their hybridity on the one hand exposes the ambivalence of the Zionist discourse and disturbs notions of Palestinian national resistance on the other. Thematically, many of the films’ narratives, especially of the younger generation, feature processes of ‘becoming’, as the films’ subjects search for places of belonging and identity positions. In so doing, the films often functioned as ‘sites’ through which conflicting discourses of identity, culture and politics were negotiated. In the films, and through the process of making the films, the filmmakers examined, scrutinized and often positioned themselves in relation to dominant Palestinian and Israeli/Zionist discourses, within the wider cultural trajectories of East and West.
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Carrillo, Quiroga Perla. "Embodiment and the senses in travelogue filmmaking". Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8yyz3/embodiment-and-the-senses-in-travelogue-filmmaking.
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This practice-based research presents an analysis of the representation of embodied experience in the travelogue film genre. It reflects upon the embodied and synaesthesic nature of the cinematic experience by tracing a shift in travelogue filmmaking from the ocular realism characteristic of early travelogue films to the emergence and proliferation of subjective approaches. Moreover, it analyses experimental travelogue films and the capacity of non-linear and non-narrative structures to express sensuous, embodied perception. 9 Meditations is the practice component of this thesis. It is an experimental travelogue film. Through its production this research explores the translation of embodied experience as a multi-sensory process into filmmaking practice. In the field of film studies, the travelogue has not been widely discussed outside historical approaches, and it has certainly never been discussed in relation to phenomenology and embodied sensation. This research articulates a new conceptual framework for both the production and theorisation of the travelogue film, as a form that is intrinsically related to performance, subjectivity and embodied perception. Moreover, this research concerns both the production process in filmmaking practice and the cinematic experience as grounded in synaesthesic, embodied perception. This approach brings to the forefront the capacity of audiovisual practice to both encode and produce sensuous knowledge.
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Yang, Mei. "Cinematic realism and independent filmmaking in China". Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11633.
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xii, 315 p.Independent filmmaking in China, with the directors' reiteration of literary and cinematic realism carried on from May Fourth, reflects the nation's social uneasiness triggered by the enlarging division between the enlightenment indenture and the unidirectional modernization project. Resisting the national allegories and Hollywood-style big budget fantasies made by the Fifth Generation, independent filmmakers bring back to the screen the unadorned life of city inhabitants. The meaning of "independent" and "alternative" does not exclusively lie in the production and distribution venues but is galvanized by film directors' perception and cinematic depiction of what constitutes the social realities of contemporary China. The locality of hometown and the corporeality of the filmed subjects help to sustain a legitimate image-space for the socially underrepresented, at a time when the Party co-opts the discourse of nation-state to renew their regime. Directors employ the politics of sexuality, where body is the only thing remaining in their control, to usher in a redefinition of the Party and reassure the agency of Chinese intellectuals who were betrayed during the June Fourth massacre. The exegesis of the independent generation extends to the digital video (DV) filmmakers, whose cinematic language features the increased sense of interrogation between the camera and the characters. For the directors' claims of neither representing the people nor wrestling against the Party, nonetheless, DV films retreat to a safe but enclosed space, in which the aggrandized size of the body on screen displays a fractioned and diminished self cutting off from the outside world and falling short of its full potential. Independent filmmaking in China derives its policy-shaping capacity from its increasing participants (domestic audiences, amateur filmmakers, critics, and scholars) and multiplying operative channels (film funds, online forums, and non-official archives), collectively converting filmmaking from a privilege exclusive to the state apparatus and its elite delegates to a right of self-expression belonging to each individual.
Committee in charge: Alison M. Groppe, Chairperson; Tze-Lan Sang, Member; Alisa D. Freedman, Member; David Li, Outside Member
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Cetin, Hasan Okan. "Fundamentals Of Architectural Design In Comparison To Filmmaking". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12607669/index.pdf.
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The relation between architecture and cinema has begun with the first steps of the technology of moving images at the beginning of the 20th century and it has continued progressively until now by importing various intellectual, representational, and practical devices from each other in order to reconfigure their own systems of knowledge. In this investigation, the fundamental elements of architectural design and principles of their organization are used in the field of cinema as a methodological tool to analyze the compositional features of narrative, mise-en scene and editing/montage. First of all, the end products of both domains are conceived as a form of composition, and in this respect, the compatibility of their design dynamics is examined. Secondly, the fundamental design elements and principles of both architecture and cinema are defined. Finally, in order to redefine the design process of a film and to reveal the existence of fundamental principles of architectural design in the process of filmmaking, a comprehensive and comparative analysis is made between the two fields.
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Hjorth, Isis Amelie. "Networked cultural production : filmmaking in the Wreckamovie community". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:c5baae87-6667-463a-bef2-b22d25c75896.
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This thesis challenges core assumptions associated with the peer production of culture using the web-based collaborative film production platform Wreckamovie to understand how peer production works in practice. Active cultural participation is a growing political priority for many governments and cultural bodies, but these priorities are often implemented without a basis in empirical evidence, making it necessary for rigorous scholarship to tackle emerging networked cultural production. Existing work portrays peer production efforts as unrealistically distinct from proprietary, market-based production, incorrectly suggesting that peer production allows distributed, non-monetarily motivated, collaboration between self-selected individuals in hierarchy-free communities. In overcoming these assumptions, this thesis contributes to the development of a consolidated theoretical framework encompassing the complicated and multifaceted nature of networked cultural production. This theoretical framing extends Bourdieu’s theory of cultural production and reconciles it with Becker’s Art Worlds framework, and further embeds and draws on Benkler’s notion of commons-based peer production. Concretely, this research tackles the emergence of new collaborative production models enabled by networked technologies, and theorizes the tensions and challenges characterizing such production forms. Secondly, this thesis redefines cultural participation and considers the divisions of labour in online filmmaking materializing from the interactions between professional and non-professional filmmakers. Finally, this study considers the social economies surrounding networked cultural production, including crowdfunding, and characterizes associated conversions of capital, such as the conversion of symbolic capital into financial capital. Methodologically, this thesis employs an embedded case study strategy. It examines four feature film productions facilitated by the online platform Wreckamovie, as well as the online community within which these productions are embedded. The four production cases have completed all production stages, and have resulted in completed cultural goods during the course of data collection. This study’s findings were derived from two and half years of participant observations, interviews with 29 Wreckamovie community and production members, and the examination of archived production-related discourses (2006-2013). Ultimately, this study makes concrete proposals towards a theory of networked cultural production with clear policy implications.
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Zhang, Yu. "Developing a Cinematic Language for Virtual Reality Filmmaking". Thesis, Griffith University, 2020. http://hdl.handle.net/10072/399975.
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Many international film festivals, such as those held in Venice, Cannes and Melbourne, have recently established award categories for Cinematic Virtual Reality (CVR) films. However, short videos and animation works still dominate the global CVR film industry and full-length CVR feature films remain largely unsupported. This study aims to contribute to the promotion of the CVR feature film as a viable narrative format. As the focus of this investigation, CVR film represents not only an exciting nexus between computer technology and filmic creativity but also a transformation in the way films are produced and consumed. Filmmakers aspiring to engage with this medium are faced with its significant innovative potential and consequently, with negotiating a new CVR language, production methods and techniques.
The main purpose of this research is to contribute to the development of a cinematic language that can be applied to CVR filmmaking. The present study has made much progress to that end, focusing on three aspects of CVR filmmaking: CVR cinematography, cutting and editing and composition and spatial narrative. The outcomes of this study can be applied in the form of a toolbox to assist would-be CVR film directors in mastering the shooting and associated production techniques specific to CVR film production.
Employing a Practice-Based Research (PBR) methodology, I have documented the progress of this research from conception to completion via a reflective journal. The main components of the PBR include a study of traditional film techniques, from which a series of CVR previsualisation (previs) experiments were conducted utilising key scenes from selected well-known films for CVR simulation. The results of these experiments were in turn used as the foundation for the second component of this research – the production of an original experimental CVR feature-length film that I directed, titled Calling. The final component of this research is a suite of new creative methods garnered from the previs experiments, culminating in a glossary of 23 new CVR-specific terms and production techniques.
As research on CVR film language and techniques is still emerging, traditional filmmakers are especially motivated to better understand the potential of this novel genre and production mode. Unlike conventional filmmaking cameras, CVR cameras have multiple lenses, which demand different shooting and production methods. Additionally, the CVR space that this form of filmmaking captures breaks the flat picture frame of conventional film. Therefore, traditional filmmakers must transcend their reliance on long-standing principles of “flat film” if they are to leverage the new and innovative storytelling potentials of the CVR medium.
One of the major findings of this study is that although traditional film language is able to be partially applied to the production of CVR film, traditional filmmakers need to be strategically mindful of the differences, both large and small, between “flat film” and CVR film. In particular, CVR film directors must be willing to reconceptualise their own roles in the overall filmmaking process as the CVR film is much less director-centered than traditional film and thus more audience-centered. From this reconceptualisation, CVR filmmakers need to shift their narrative-centric mode of thinking to a spatial thinking mode if they are to embrace the full creative possibilities of this emerging filmic medium.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Griffith Film School
Arts, Education and Law
Full Text
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Ryan, Michael C. "65 lessons learned the hard way while making The hunter's apprentice". ScholarWorks@UNO, 2005. http://louisdl.louislibraries.org/u?/NOD,258.
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Thesis (M.F.A.)--University of New Orleans, 2005.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications"--Thesis t.p. Vita. Includes bibliographical references.
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Shoemaker, Jennifer Anne. "Networked empowerment the internet as medium for environmental filmmaking /". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/shoemaker/ShoemakerJ1207.pdf.
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Tarpley, Matthew Neyland. "Architecture beyond the frame filmmaking and the adjacent space". Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/103487.
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Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2016.Cataloged from PDF version of thesis.
Filmmaking operates behind the closed doors of the studio system. Entire compounds of private space are devoted to the practice of film. Generic city streets, practical sets, a digital environments have had a long history of substituting for real locations. My thesis proposal examines the inversion of this concept. What if the city were to be the new studio backlot for student filmmaking? How would filmmakers and designers frame the urban context with cinematic motion? Greater London has its own film history, playing home numerous period, fantasy, drama and action set pieces. Its privatized industry hosts six major film studios as well as a multitude of smaller studios. More importantly, the city has a large number of performing arts and film academies spread throughout. The proposal approaches cinema through ascending scalar operations. A series of instruments explore design's agency within the scope of student filmmaking. One, a helmet that incorporates a director's toolkit. Two, a diffuser for grips to light a scene to desired effect. Three, a set of participatory devices that facilitate paradigmatic cinematography in public space. The final component of the proposal is a pop-up infrastructural framework that facilitates camera choreography. The dispersion of this framework across London's iconic fabric provides a platform for students do any number of camera set-ups with enormous amounts of production value. The intent of this new framework is to provide new opportunities for ephemeral contexts, stages and sets. The instigator of each of framework is site and a scenario that shares common visuals with action, fantasy, drama and romantic comedy genres.
by Matthew Neyland Tarpley.
M. Arch.
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Schneider, Bernice K. (Bernice Karen). "Direct cinema : filmmaking style and its relationship to "truth"". Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/70174.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990.Title of videocartridge: Harlem. Videocartridge is U-matic format.
Includes bibliographical references (leaves 28-31).
by Bernice K. Schneider.
M.S.V.S.
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Buckle, Luke. "Contemporary Neorealist principles in Abbas Kiarostami's filmmaking (1997-2005)". Thesis, University of Hertfordshire, 2012. http://hdl.handle.net/2299/9036.
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Iranian film has in recent decades comprised an increasingly important and influential cinema. The Iranian Islamic Revolution of 1979 paved the way for freedom of artistic and literary expression, communicating a new generation of unheard voices in Iranian society. More specifically Iranian cinema has progressed in maintaining an identity that reflects both a contemporary nation and auteuristic cinematics. Abbas Kiarostami is one of the more recent and leading film directors rewarded with critical and filmmaking acclaim out of Iran, producing contemporary snapshots of society and culture. His filmmaking methods and ideals are very much reflective of the style of post Second World War Italian Neorealism. In context and filmmaking principles Kiarostami adapts the conventions of Neorealism in exploring contemporary Iranian socio-cultural problems in a similar manner. This project aims to explore the relationship between the style and context of his filmmaking in terms of mise-en-scène, themes and socio-cultural concerns. It shows how Kiarostami creates a distinctive form of Neorealist filmmaking to get at the ‘truths’ of contemporary Iranian life in a particular way. In doing so an emergent strand of a modern-Neorealism becomes apparent.
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Daniels, Jill. "Memory, place and subjectivity : experiments in independent documentary filmmaking". Thesis, University of East London, 2014. http://roar.uel.ac.uk/3929/.
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The research in this doctoral thesis focuses on the mediation of place, memory and identity in experimental western documentary films and contains film theory and film practice components. It is comprised of the production of two experimental documentary films ─ Not Reconciled (41 minutes) (2009) and The Border Crossing (47 minutes) (2011) ─ and a 50,000 word written exegesis that analyses those films and films made by others. The key analytic approaches I deploy are located within the framework of film studies, trauma and memory studies and theories of space, landscape and spectatorship. My aim is to advance a critical understanding of the opportunities and limitations in the cinematic strategies that are available to experimental documentary filmmakers in the mediation of place and memory, including trauma and autobiography. The goal of the experimental film is to offer alternative and different ways of thinking to mainstream films about methods deployed in the mediation of the historical event. The notion of experimental begins and ends with uncertainty rather than verisimilitude. Experimental documentary film aims to open the window of uncertainty a little wider to offer an expanded discussion of the subject of the exploration. My thesis contextualises my discussion of experimental documentary filmmaking by outlining the history and development of independent filmmaking in Britain, with a specific focus on my own development as an independent experimental filmmaker. I argue that where subjects live and where their identities are formed, are central to memory and experience. Place may be represented in experimental documentary films, therefore, not as an adjunct to space or as a support to subjectivities but as a character that is foregrounded and interacts with memory and subjects. Subjectivities, including autobiography through the filmmaker’s voice as subject and [iii] filmmaker, are central in my cinematic mediation of memory and traumatic experiences and I devote specific focus to spectatorial engagement with films. I argue that there are difficulties in the mediation of traumatic experiences and that therefore strategies of evocation are needed. I argue that there are similar difficulties in relying on classical linear narrative in articulating memory and narratives of association may be more effective. Finally, I argue in this thesis that an experimental documentary film may deploy disparate filmic strategies such as realism, metaphor, allegory and fiction, yet still remain identifiably a documentary film.
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Tzioumakis, Yannis. "The cinema of David Mamet : independent filmmaking in Hollywood". Thesis, Sheffield Hallam University, 2004. http://shura.shu.ac.uk/20466/.
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This thesis examines the cinema of David Mamet with particular reference to the five films he made between 1987 and 1997. Its objectives are: to explore Mamet's distinct approach to filmmaking; to analyse the ways in which this approach shaped the formal organisation of his films; and to account for the specific aesthetic effects produced. The central argument advanced is that Mamet's filmmaking practice, which has, to a large extent, been influenced by practices he adopted during his long standing service to American theatre, is markedly different from dominant models of filmmaking in contemporary US cinema. As a result, his films have consistently demonstrated evidence of an idiosyncratic visual style, which has attracted considerable - mostly negative - criticism. This thesis also considers a number of institutional parameters that have impacted on Mamet's cinema. Particular emphasis has been placed on the role of independent distributors such as Orion Pictures and The Samuel Goldwyn Company who allowed the filmmaker to maintain his distinct aesthetic vision, despite his lack of success at the US box-office. Mamet's close association with the institutional apparatus of American Independent Cinema is examined throughout the thesis. My approach to Mamet's cinema takes place within a number of critical contexts that Film Studies uses to discuss both individual films and the work of a filmmaker as a whole. These contexts include: the classical/post-classical Hollywood cinema debate; auteur criticism; performance studies; film adaptation studies; and genre criticism. I use these frameworks to examine particular aspects of Mamet's cinema and also to establish fresh critical perspectives which will enhance our understanding of some of his films. One such perspective involves the proposal that Mamet utilises the generic form of the 'con-artist film,' a film genre previously unexplored within genre studies. This thesis challenges some of the established critical assumptions about David Mamet's cinema and bestows upon it the attention it deserves.
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Watkins, Fred P. "Independent Feature Filmmaking: the Historical Development of Current Methods". Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500788/.
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The historical development of independent filmmaking has led to a situation in which an independent filmmaker must do two important things to achieve distribution and success. The filmmaker should continue study and mastery of the skills and methodologies needed in development, pre-production, production, post-production, and distribution. These skills and methods help the filmmaker to produce a quality film. The most important thing the filmmaker can do is to see that the film conforms to the Hollywood narrative standard. This standard is ingrained in a majority of the audience and deviation usually meets resistance. The standard not only includes story structure, but the use of name actors and some elements of physical action.
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Neal, Geoffrey Lawrence. "Love of Choice:A Student’s Development in Short Narrative Filmmaking". Ohio University Honors Tutorial College / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1460584935.
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Smith, Dyanna Innes. "Piglets and Perspectives: Exploring Sustainability Communication Through Participatory Filmmaking". Antioch University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1472497394.
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Kennedy, Addison F. "Producing Nature(s): A Qualitative Study of Wildlife Filmmaking". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1589201321354644.
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Ardal, Dui. "A Collaborative Previsualization Tool for Filmmaking in Virtual Reality". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-262722.
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Previsualization is a process within pre-production of filmmaking where filmmakers can visually plan specific scenes with camera works, lighting, character movements, etc. We developed and assess a prototype for previsualization in virtual reality for collaborative purposes where multiple filmmakers can be present in a virtual environment to share a creative work experience, remotely. The costs of computer graphics-based effects are substantial within film production, using previsualization, these scenes can be planned in detail to reduce the amount of work put on effects in the later production phase. By performing a within-group study on 20 filmmakers, our findings show that the use of virtual reality for distributed, collaborative previsualization processes is useful for real-life pre-production purposes. These results provide insights on how to best design collaborative, virtual reality-applications used for remote work, and highlights the pitfalls of certain design choices.Previsualisering är en process inom filmskapande där filmskapare visuellt kan planera specifika scener med kamerafunktioner, belysning, karaktärsrörelser, etc. I denna uppsats utvärderas en prototyp för previsualisering i virtual reality för samarbete där flera filmskapare kan vara närvarande i en virtuell miljö för att dela ett kreativt arbete i realtid. Kostnaderna för datorgrafikbaserade effekter är betydande inom filmproduktion. I och med previsualisering kan dessa scener planeras i detalj för att minska mängden arbete som påverkar den senare produktionsfasen. Genom att utföra en studie med 20 filmskapare visar resultaten att användningen av virtual reality för distribuerade previsualiseringsprocesser för samarbete är användbart för verkliga scenarion. Dessa resultat ger insikter om hur man bäst utformar virtual reality-applikationer som kan användas för distribuerat arbete och lyfter fram fallgropar inom vissa designval.
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Campos, Darshan Elena. "Sovereign imaginations : independent women of color filmmaking as political critique /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2006. http://uclibs.org/PID/11984.
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Shepard, Cassim (Cassim Cauldwell). "Evocative and evidentiary : interpreting the city through non-fiction filmmaking". Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/42063.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 2007.This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
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Includes bibliographical references (p. 150-158).
This thesis interrogates the relationship between non-fiction film and urban discourse. It outlines intellectual and visual strategies at play in a selection of non-fiction films that actively assign meaning to the mutual influence of urban form and social processes. In so doing, I identify two overlapping traditions, the evocative and the evidentiary, which classify the applications of filmmaking to the interpretation of cities. The research focuses on two American urban planning films that represent radically different ways of organizing their visual content in order to advocate a specific kind of urban reform: The City (1939) by Willard Van Dyke and Ralph Steiner and The Social Life of Small Urban Spaces (1980) by William H Whyte. Each case requires a thorough contextualization and location with urban studies, planning and film histories. The thesis, therefore, is arranged as a chronological exploration of the antecedents and turning points that explain the difference between these two films' formal strategies and philosophical positions. My analysis begins by linking the kinetic and fragmentary qualities of modernity in art and theory to the earliest experiments in creating moving images on film. It goes on to explore in greater depth the development of a formal cinematic vocabulary for the evocation of urban space. The adaptation of evocative techniques to the political subject matter of regional planning introduces an extended historical and formal analysis of The City that demonstrates how it draws from the diverse elements discussed in the previous chapters and applies them to the planning agenda of Lewis Mumford and the Regional Planning Association of America.
(cont.) Evidentiary techniques developed as methods of resistance to the top-down planning philosophies espoused by films like The City; the oppositional practices that emerged during the 1960s gave rise to a mentality of learning a city through looking at it, proceeding from the particulars to the general. The pioneering film work of William H. Whyte -- the most overt application of filmmaking to a specific urban planning agenda -- advances this inductive position to an instrumental use of images to support empirically a series of normative goals for the form of urban public space. The thesis concludes with a call for a productive synthesis of the two modes, a proposition that include a work-process narrative of my own attempts to represent urban dynamics on video and some initial implications of filmmaking's interpretive potential for urban planners and designers. Such as synthesis, I argue, requires recuperating the ability of montage to evoke the abstract essences of urban experience while maintaining the investigative order of operations -- learning through looking -- of the evidentiary tradition.
by Cassim Shepard.
M.C.P.
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Mackay, Jem. "www.swarmtv.net : non-hierarchy through open source approaches to distributed filmmaking". Thesis, University of the Arts London, 2015. http://ualresearchonline.arts.ac.uk/8756/.
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An increasing number of filmmaking projects borrow approaches from open source programming methodologies in the practical process of film production. The potential benefits of open filmmaking include fast development times, customizable storytelling, less-biased reportage and a rich learning environment for future filmmakers, among others. There has been very little academic study about the challenges of this approach and the opportunities it affords for distributed filmmaking. This thesis explores the possibility of incorporating open source programming methodologies into the practice of distributed filmmaking. It develops a number of emergent policies and procedures that relate to this practice, and tests them out using an interactive website called “Swarm TV”. This online environment acts as a prototype for these policies and procedures, as well as functioning as a probe, testing their effectiveness in the filmmaking projects. Data is collected from the website and has been used from a number of projects over the last nine years, to reflect on how these emergent policies and procedures affect the dynamics of a filmmaking community. From the context of open source programming, the digital revolution has emphasized three main characteristics that are significant in open source methodologies: Openness, Non-hierarchy & Collaboration. These concepts are explored in this thesis to define guidelines for distributed filmmaking projects where open source methodologies are implemented. Analysis of the effectiveness of these policies and procedures is provided for filmmaking projects using Swarm TV, and conclusions are developed focused on the effectiveness of open source approaches to filmmaking projects in distributed communities. The practical research in this thesis demonstrates the extent to which open source methodologies are effective for the filmmaking process, and also, identifies the emergent policies and procedures that might facilitate distributed filmmaking in an online environment.
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Thomason, Justin Cain. "The making of the taxidermist". ScholarWorks@UNO, 2004. http://louisdl.louislibraries.org/u?/NOD,97.
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Thesis (M.F.A.)--University of New Orleans, 2004.Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications."--Thesis t.p. Vita. Includes bibliographical references.
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Lundh, Heinstedt Johan. "Using crowdsourcing as a production method in filmmaking – a case study". Thesis, KTH, Medieteknik och interaktionsdesign, MID, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-214428.
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As our consumption behaviours of media and entertainment change in the age of new media technologies, the means of production change with them. Filmmaking usually follows a set procedure (often with clear hierarchy and specialised roles in the crew) and the flow of the narration has traditionally followed a one-way direction, from the producing part (the producer/director) to the receiving part (the audience). But since the arrival of the internet, its disruption of the industry has opened up for an increased dialogue between the two, turning the receiving part to a contributing one. This has resulted in a wider democratisation of the medium, where the once passive audience now becomes more involved in the creative production process. Crowdsourcing, already used frequently in service industries and product design processes, has become an alternative method of creative content creation. Made possible through the use of social media channels, entire films are now being created with material submitted by its audience. This study aims to answer the research questions: “What is required in order to use crowdsourcing successfully in filmmaking?”, as well as the sub-questions “What role has social media played in the making of crowdsourced films?” and “Is there a future in crowdsourcing within filmmaking?” Six cases of film and series productions, each of different formats, were analysed; two documentary films, three web series and one TV show. In this study, the production approach for each case has been investigated, in order to see how they have used crowdsourcing in their processes. Five qualitative semi-structured interviews were conducted and each interviewee had held key positions in the making of their respective production. The findings showed the strong need for having an already well-established community in place before undertaking a crowdsourced endeavour. The use of social media also appears to be one of the fundamentally enabling factors for these types of projects, since it provides a platform for an immediate dialogue between the two parties. Using crowdsourcing in film will presumably continue, but the method has still considerable unexplored potential. Because of it’s ingrained dependence on social media, future research could benefit from exploring interdisciplinary collaboration between filmmaking and interactive media technologies.Samtidigt som att våra beteendemönster i hur vi konsumerar media förändras i takt med att nya medieteknologier uppstår, förändras också sättet media produceras. Filmskapande följer många gånger en särskild process (ofta med en tydlig hierarki av specialister inom produktionsgruppen) och berättelsen har traditionellt sett berättats från en part till den andre – från producenten/regissören till publiken. Men internets intåg har i många avseenden förändrat filmindustrin, vilket har öppnat upp för en ökad dialog mellan dessa två parter, vilket har omformat publikens position till en mer medskapande sådan. Detta har resulterat i enstörre demokratisering av filmmediet, där den en gång passiva publiken nu involverar sig mer i den kreativa filmskapandeprocessen. Crowdsourcing, som redan är vanligt förekommande inom exempelvis produktdesign och serviceindustrier, har blivit en alternativ metod för att skapa kreativt innehåll. Med sociala medier som en möjliggörande faktor skapas hela filmer endast med hjälp av material inskickat från den framtida publiken. Denna studie ämnar svara på problemformuleringarna: "Vad krävs för att framgångsrikt använda crowdsourcing inom filmproduktion?", samt delfrågorna "Vilken roll har sociala medier spelat i skapandet av crowdsourcadefilmer?" och "Finns det någon framtid för crowdsourcing inom filmskapande?" Sex stycken film- och serie-produktioner av olika format har analyserats: två dokumentärer, tre webbserier och en TV-show. Denna studie har undersökt hur varje produktion har använt sig av crowdsourcing i dess produktionsprocess. Utöver det har en kvalitativ undersökning genom fem semistrukturerade intervjuer genomförts, där varje intervjuobjekt har haft nyckelpositioner inom respektive produktion. Resultaten visade på ett starkt behov av att ha en redan väletablerad skara av följare eller ambassadörer innan man startar en crowdsourcing-kampanj. Sociala medier visade sig också vara en fundamental beståndsdel i möjliggörandet av detta, eftersom de skapar en omedelbar tvåvägskommunikation mellan producenten och publiken. Användandet av crowdsourcing kommer förmodligen att fortsätta, och metoden har fortfarande en ansenlig outforskad potential. Med anledning av metodens beroende av sociala medier, kommer fortsatt forskning inom området troligtvis att gynnas av att utforska samarbeten mellan filmskapande och interaktiva medier.
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Asquith, Daisy. "This is not us : performance, relationships and shame in documentary filmmaking". Thesis, University of Sussex, 2019. http://sro.sussex.ac.uk/id/eprint/81595/.
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This thesis investigates performance, identity, representation and shame in documentary filmmaking. Identities that are performed and mediated through a relationship between filmmaker and participant are examined with detailed reference to two decades of my own practice. A reflexive, feminist approach engages my own films - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of filmed participants using social media to contest their image on screen. In the space between documentary confession and the reception of a story by the audience, a dangerous moment comes, in which shame can be received, perceived, projected, internalised or imagined. The point of this research is to offer to existing documentary theory a practitioner's understanding of the processes which produce shame and to establish for documentary filmmakers some practical ways to resist and prepare against the rupture in identity that representation can cause those they film. Engaging both theory and practice in pursuit of the same research questions, I make a self-reflexive investigation into the ethics, affect and impact of representing others, employing the mediums and methods of fans to answer their complaints. All the films, artwork, documentation of the installation, sources, written work, appendices and past documentaries referred to in this thesis can be best experienced online at https://daisy-asquith-xdrf.squarespace.com, the website hosting this PhD, but are also provided on the accompanying USB drive.
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Weys, Daniël Jan. "Responsible filmmaking: ethics and spectatorship through the lens of Michael Haneke". Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/24933.
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My dissertation uses, as starting point, an interview with Michael Haneke in which the Austrian filmmaker criticises Downfall and Schindler's List for manipulating audiences and for generating entertainment from real-life and unspeakable horrors. He argues that filmmakers have a responsibility to enable audiences to form their own opinion regarding a film and its subject matter. I set forth to engage, theorise and develop Haneke's call for responsibility by asking the following questions as I move chronologically through his films: why is responsible filmmaking important, how does Haneke approach his own filmmaking and how does a responsible approach to filmmaking influence the position of spectators. Firstly, I draw from Stanley Cavell's film theory to read our current experience in a media saturated society, describing the ways in which the media positions and influences the characters' understanding of the world and their relationships with each other in The Seventh Continent, Benny's Video and 71 Fragments of a Chronology of Chance. Thereafter, I discuss Haneke's use of genre in Funny Games, the long take and continuity editing in Code Unknown, music in The Piano Teacher and sound in Time of the Wolf to analyse Haneke's approach to filmmaking. My readings are underpinned by Cavell's understanding of automatism and the manner in which Haneke uses and reflects upon film's automatisms. Finally, I illustrate Levinas' concept of responsibility for the Other through a reading of Georges and Majid's relationship in Caché, Kelly Oliver's work on witnessing in The White Ribbon and Judith Butler's work on responsibility in Amour in order to demonstrate how Haneke's responsibility ensures the audience's response-ability.
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Sommerlad, Jordan N. "The Feeling of Falling:A Student Filmmaker's Approach to Short Narrative Filmmaking". Ohio University Honors Tutorial College / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1368503096.
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Flynn, James. "Making 10 Months: An Application of the Auteur Theory of Filmmaking". Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1110914891.
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Sheridan, Mary Ann. "A descriptive analysis of a case study : integrated curriculum through filmmaking /". The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486463321626322.
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Vickery, Farah Leigh. "Behind the Lens: the Pride and Politics of Filmmaking in Ghana". Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/6772.
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This research looks at the production of media in Ghana, specifically, film produced in the “Glamour” style or Western-style tradition that originates in its capitol of Accra. The film industry in Ghana, known as Ghallywood, is a vibrant and prolific field in which content is produced and distributed throughout the country for local consumption. Research on production practice, rather than content, can show cross-cultural differentiation in visual media production and also offers a lens through which to explore Ghanaian culture. The following research questions frame this study: What are the production practices of Ghanaian video films? How do Ghanaians communicate the process of creating Ghanaian video films? How do the practice and discourse of the video film production work to create and reinforce messages from the producers to the audiences? This research necessarily departs from looking primarily at the content of films, instead exploring the processes behind the creation of those products. Nick Couldry recognizes practice as an emerging theme in media research and this work focuses on his theory of media practice, in which the focus shifts from a content analysis to what people are actually doing in relation to media and its production.
Using visual techniques and on-camera interviews, this work supplements a documentary about Ghanaian filmmaking and the voices that characterize the industry. This research and its visual product show the processes and conflict within the industry, including several different players who are often at odds with one another: students learning film from either academic or trade institutions, professional filmmakers who are either academically trained or self-taught, as well as scholars who provide their perspective on the industry as a whole. This research shows that filmmaking in Ghana is characterized by many competing elements, including a rift in what is known as “Ghallywood.” Two separate industries actually exist: the Accra “glamourwood” industry and its highly localized “kumawood” counterpart based in Kumasi, Ghana. This research also introduces concepts of how Ghanaians see the world and reproduce it in film, with the use of long takes and wide shots.
This work illustrates the value of understanding production practices of media products cross-culturally as a departure from the more traditional approach to media studies of content. The attention given to a supplementary visual product in the form of a documentary aims to raise awareness of visual methodology and the value of visual and public anthropology in research and its applications to dissemination to mass audiences beyond academia.
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Melzer, Kym M. "Impact and Documentary Filmmaking: Ethical Reflections On A Practice Based Study". Thesis, Griffith University, 2019. http://hdl.handle.net/10072/387285.
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In this exegesis I examine my creative project, a series of seven short documentary films
entitled The Ripple Effect of PTSD (Melzer 2016a), and its impact on community, on the
film participants, and on me as a filmmaker. The films document the experience of
caregivers and family members of veterans with Post-Traumatic Stress Disorder (PTSD).
The exegesis is framed by the literature on ethics and documentary film. In the first data
chapter, I detail the work of building a community for my films, engaging with impact
partners and producing a series of educational videos about PTSD. Also catalogued in
this chapter is the success of the films. They were selected for film festivals, elicited
positive feedback from the general public and were shared multiple times online. The
following chapter discusses the impact of the creative project on the participants,
highlighting their agency and empowerment as well as vulnerabilities. The discussion
reveals the complex and multifaceted nature of power in documentary filmmaking. From
impact on participants I move to consider the impact of the filmmaking process on me as
a filmmaker drawing on the notions of ‘vicarious trauma’ and ‘emotion work/emotional
labour’. I demonstrate that the fraught subject matter of the films, the distress of
participants, and my novice status as a filmmaker exposed me to vicarious trauma. I
further explain how different aspects of the filmmaking process, such as accessing and
interviewing participants, and negotiating with the military, necessitated significant
emotional labour. In the concluding chapter of the exegesis I highlight the key findings
of research. Of particular importance is my illumination of the emotional dimensions of
film production. I argue that quality documentary production requires significant
emotional labour on behalf of a filmmaker, but the implications of this emotion work are
rarely acknowledged in the literature. As such, I argue for the importance of expanding
documentary filmmaking and ethics research to include a focus on the emotional health
and wellbeing of the filmmaker.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
Full Text
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Floyd, David C. Mr. "Making "The Gray Area": Transitioning from Print Journalism to Documentary Filmmaking". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/honors/390.
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In my senior year at ETSU I produced a documentary about opioid abuse in East Tennessee. In 2016, two local health care providers and a university collaborated on a project that would bring an opioid treatment center to Gray, Tennessee. The center includes a methadone clinic, an addition that piqued the concern of many citizens living in Gray. The film evaluates the concerns citizens had about the clinic and explores the issue of opioid abuse in East Tennessee.
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Hegedus, Peter. "Towards a Model for Autobiographical and Socially Conscious Cinematic Documentary in Australia". Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365761.
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The Australian film and television industry is currently undergoing a major transformation, which ultimately will have significant impact on its practitioners. As an Australian filmmaker whose interest and ambition lie in more idiosyncratic and autobiographical films for cinema, I believe a close examination of these filmmaking aspirations in relation to the current codes and practices of the Australian film industry is necessary.
Apart from some festivals and media interviews, for filmmakers there is little room for self-reflection. Having the opportunity to conduct a critical and in-depth examination of my work is vital for my professional development, as it signals a necessary shift from emerging filmmaker to the platform of a more mature and established filmmaking practice.
The objective of this research work is to investigate whether socially conscious autobiographical cinematic documentary can be a viable filmmaking practice in Australia. This process of investigation is driven by a self-reflexive analysis of my studio projects, challenged, shaped and developed by the work and experience of other film practitioners and documentary theorists whose ideas relate closely to the problem at hand...Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Queensland College of Art
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Hara, Hiroko. "The art of becoming : filmmaking and performance on Cambodian postcoloniality and diaspora". Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/43398.
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Focusing on visual culture and artistic practice/performance, this study examines how individuals of Cambodian heritage living in Canada, Japan, and Cambodia sustain networks beyond borders through the application of technology, and what forms of expression using digital and non-digital media are actively practiced on a daily basis. Drawing on the concept of “heterotopia” by Michel Foucault (2002) and Trinh T. Minh-ha (1994)’s version of the notion of “hybridization”, I aim to attain the following three conceptual objectives: (1) to uncover the research participants’ (re)actions to the dominant meaning and representation of Cambodia, the people, and culture created by the media (i.e., TV, newspapers, magazines, etc.); (2) to show various forms of artistic practice and performance by the participants (e.g., photographing, filming, performing, painting, blogging, writing books, and teaching art); and (3) to propose a novel approach for education and research, which brings a critical lens in dealing with the issues of immigration and taking into account the significance of the arts for the daily lives of people living in the digital age.
This study employs interviews and video recordings conducted in Ottawa, Tokyo, Hiratsuka, and Phnom Penh—the cities where the study participants reside. I apply a “speaking nearby” position as practiced by Trinh (1982) and incorporate film production and performance within the film. From the attempt to interweave these research methods and merge the boundary between the text and the image emerge not only diverse perspectives and forms of expression of the research participants in regards to his/her-story, home, food, language, education, time, space, and dwelling, but also intricate and heterogeneous modes of being and becoming of people in the globalizing times.
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Blum-Ross, Alicia Lorna. ""It made our eyes get bigger" : youth filmmaking and citizenship in London". Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:36f70f07-8747-4fd0-89b3-9fd733c04a03.
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This thesis explores the ways in which discourses of citizenship are circulated and incorporated into the practice of non-formal educational filmmaking initiatives for young people in London. I utilise an ethnographic approach focusing on young participants, adult facilitators and funders to demonstrate how youth filmmaking facilitates an exploration of abstract conceptions of citizenship with the on-the-ground reality of young peoples’ “practice” as citizens. To provide context for this material, I present both a theoretical overview of the heady yet labile term “citizenship” and a historical narrative of youth filmmaking, particularly in its relationship to wider political economies of funding and youth policy. Although discourses of citizenship in youth filmmaking have changed subtly over time, the youth filmmaking programmes considered here marshal three central conceptions of citizenship; “engagement,” “empowerment” and “belonging.” To explore each of these notions, I draw on case studies to show how these citizenship discourses become operationalised. First, I consider the Reelhood project for young Muslims, which aimed at encouraging “political engagement.” I demonstrate how young people challenge notions of “disengagement” and operate as “justice-oriented” citizens, in contradistinction to the premise of the funding source itself. Second, I use the example of the This is My Story project, amongst other films that dealt with youth violence, to explore discourses of “empowerment.” Using the metaphor of the “shot/reverse shot” sequence, I demonstrate how youth filmmaking projects situate themselves as an alternative to the representation of young people in mainstream press. Finally, I describe the River Lea project in which the sensory and technological processes of filmmaking became a means for young people to “focus in” and attune their sensory and perceptive faculties to the experience of “place-making.” Each of these case studies exhibits how the creative, social and technical processes of filmmaking provide a challenge to or re-interpretation of citizenship discourse.
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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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Baker, Jeremy Charles. "Observational Animation: An Exploration of Improvisation, Interactivity and Spontaneity in Animated Filmmaking". The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1357315576.
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Kuo, Yen-Ting. "Social Responsibility and Aesthetics: The Function of Documentary Filmmaking in Contemporary Taiwan". Thesis, Griffith University, 2013. http://hdl.handle.net/10072/367473.
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Since the lifting of martial law in 1987, documentary production in contemporary Taiwan has experienced considerable change. Arguably, the most significant of these changes — the development of an independent documentary sector — can be understood as part of wider social, economic, political and cultural developments in the Republic of China. From 1949 until the late 1980s, most documentary production in the Republic had reflected the ideologies and didactic nature of the paternalist
Nationalist Party government. During these years, the documentary typically functioned to glorify the government in the eyes of the population and, while there were a small number of exceptions, most of these productions were, in essence, little more than propaganda. While documentary filmmaking in Taiwan is still subject to social, political and economic constraints, since 1987 it has demonstrably displayed more diverse approaches in production and aesthetics. Increasingly, the documentary
film has been regarded as an instrument to enlighten the outlook of the people and to pave the way for dialogue between the officials, filmmakers and citizens. Arguably, these changes reflect a movement away from bureaucratic insecurity towards a more dynamic representation of the possibilities of Taiwanese democracy and social reform.
This research explores the experiences and strategies of nine independent documentary filmmakers who have operated in Taiwan during this period of demonstrable change. The research, which combines a written dissertation and a body of video-documentation, sets out to investigate how these shifts in documentary style, function and project may be characterised and to consider how these changes have been influenced by and contributed to the development of social critique in
contemporary Taiwan. It has also created a set of audiovisual interviews and transcripts available for other researchers in the field. The study aims to add to the growing literature on Chinese independent documentary filmmaking and contributes to an international literature on the dynamic variety of the documentary project.Thesis (Professional Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Kupfer, Stephanie. "Female auteurs in evolution: the filmmaking of Claire Denis and Catherine Breillat". Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6452.
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According to the latest Celluloid Ceiling Report, conducted by the Center for the Study of Women in Television and Film at San Diego State University, only 7% of all directors working on the top 250 films in the United States in 2014 were women. These bleak statistics no doubt replicate the condition of women in countless other national cinemas. It is, therefore, critical that more attention be given to the women who do manage to succeed in the male-dominated film industry. In my dissertation, I examine the work of two major French women filmmakers, Catherine Breillat and Claire Denis, who have resisted the kind of marginalization and even erasure of women’s presence which this data represents, achieving along the way distinction not just in the French, but in the global cinema context. I analyze their work primarily through the lens of auteur theory and the Cixousian notion of the feminine.
For the purpose of this work, I define an auteur as a filmmaker who has established a distinctive but evolving style as well as a set of thematic preoccupations across a significant number of films and a considerable span of time and whose films are recognizable no matter the subject they treat or the context in which they are made. At its inception, auteur theory signaled a radical break with the tradition of film adaptations and literary screenplays that either did not understand or did not care to exploit the specificity of the filmic medium. Yet, in spite of the revolutionary aspects of auteurism, it has remained somewhat regressive in its recognition of and engagement with gender problematics. The putative gender neutrality of auteurism is, in practice, an assumption of masculinity. Female film directors who achieve auteur status (a minority compared to the number of men given the same consideration) are then marked by their difference, they are not simply auteurs but female auteurs. While this designation is potentially limiting, I assert that it is, in fact, a valuable designation, since it has opened up a space for female filmmakers to rewrite dominant cultural narratives and from a feminine perspective. Claire Denis and Catherine Breillat consistently practice a feminine form of filmmaking, that is, filmmaking that opposes through form and representation, the logical, teleological narratives and adherence to patriarchal values associated with traditional filmmaking. While traditional, masculine filmmaking is designed to halt the proliferation of meaning, feminine filmmaking allows for ellipses, creates a space for the unsaid and the unknowable; it asks questions but does not answer them; it allows the reader or viewer to participate in the production of meaning. These are the kinds of films that Denis and Breillat are making and they need to be recognized for their exemplary artistic contributions as well as the space they have created for others to challenge the status quo in the film industry.
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Osborne, Freddie. "The Black Market : an application of the sound system model to independent filmmaking". Thesis, Kingston University, 2015. http://eprints.kingston.ac.uk/35022/.
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The Black Market research project takes an existing underground model from Black British popular culture, namely, the sound system, and transposes it to a filmmaking context to see if it is possible to achieve mainstream distribution, build an audience, and earn a living from filmmaking in a commercial sense using classical filmmaking techniques and a home grown, underground approach to making and disseminating films. The project was developed along two strands: an independent comedy series Mandem on the Wall, and the creation of a documentary archive examining the origins, development and current state of sound system culture, which evolved into the feature documentary Carnival Through the Eyes of Gladdy Wax. This thesis places this work within the context of the history of Black British filmmaking and my own personal trajectory and experience of the sound systems culture and its influence on my filmmaking. Historically, the representation of Black British culture in film and television has been controlled by commissioning editors at broadcasters like the BBC and Channel 4, and public funders, such as the British film Institute (BFI). Reflecting on the past struggles of Black British filmmakers with these institutions to get their voices heard, this project adopted a ‘for us by us’ (FUBU) approach as an alternative tactic, creating our own opportunities outside the traditional commissioning process, using the ad-supported, free-to-view YouTube platform to take Black youth culture to the mass market and build a loyal audience online. The methodology used in the production of the online comedy series is built on the audio-visual model of the sound system culture, this model is applied to a visual-audio platform like YouTube and generating cultural and social capital by building a hard-to-reach young black audience. This soon attracted the attention of the traditional gatekeepers, like Universal and Channel 4, and public institutions, like the Tate and the Home Office. However, having broken through into the mainstream, what are the subsequent implications for the Black market model?