Relevant bibliographies by topics / Autobiographic documentary

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  2. Dissertations / Theses
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Academic literature on the topic 'Autobiographic documentary'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Autobiographic documentary"

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De Diego, Estrella. "Three Women in a Garden. Alice Austen’s Pictures and the Paradox of Documentary Photography." Anales de Historia del Arte 28 (September 25, 2018): 147–62. http://dx.doi.org/10.5209/anha.61609.

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That so very difficult question about “truth”, frequently posed in relation to both autobiographical artefacts and documentary photography, is no doubt the key query concerning Alice Austen’s whole oeuvre. Taking that question as a starting point for discussion, this article explores Austen’s autobiographical and documentary work as part of the same strategy, since Austen’s autobiographical photography “documents” the life of New Women and the class that she belonged to. But if her autobiographic production is documentary, why not consider her documentary work autobiographical? The article wor
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Park, Jinhee. "Departure and Repatriation as Cold War Dissensus: Domestic Ethnography in Korean Documentary." Journal of Korean Studies 22, no. 2 (2017): 433–57. http://dx.doi.org/10.1215/21581665-4226514.

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Abstract This article examines autobiographic documentaries about families that expose “dissensus” in the mapping of transborder migration and diasporic desire that were the results of the Cold War in North Korea, South Korea, and Japan. Jae-hee Hong (dir. My Father’s Emails) and Yong-hi Yang (dir. Dear Pyongyang and Goodbye Pyongyang) document the ongoing Cold War in their fathers’ histories through their position as a “familial other,” who embodies both dissensus and intimacy. Hong reveals that anticommunism in South Korean postwar nation building reverberated in the private realm. Yang docu
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Kerr, Paul. "Authorship, Autobiography and the Archive." VIEW Journal of European Television History and Culture 4, no. 8 (2015): 67. http://dx.doi.org/10.18146/2213-0969.2015.jethc094.

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In 2004, documentary theorist Michael Renov described ‘the recent turn to filmic autobiography’ as ‘the defining trend of “post-verite” documentary practice...’ In 2008 Renov went further still, suggesting that ‘the very idea of autobiography challenges/reinvents the VERY IDEA of documentary.’ Archive based autobiographical filmmaking, meanwhile, is even more problematic for documentary theory. Indeed, a number of recent documentaries, because of their status somewhere in the spectrum between biography and autobiography, have prompted the construction of an entirely new conceptual category, de
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Pekaniec, Anna. "Nie Tylko Dzienniki. Oryginalne Warianty Kobiecej Literatury Dokumentu Osobistego (Na Wybranych Przykładach) / ‘Not Only Diaries’: Original Variations of Women’s Memoirs (A Selection of Women‘s Autobiographical Documentary Literature)." Ruch Literacki 53, no. 4-5 (2012): 451–63. http://dx.doi.org/10.2478/v10273-012-0029-8.

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Summary This article is concerned with some 20th-century women’s autobiographies whose authors do not play according to the rules of the genological model of autobiography and even go round its fundamental assumption that the autobiographical pact between writer and reader is impossible outside the conventional diary narrative. The three memoirs discussed in the article (written by Bronisława Ostrowska Grabska, Zuzanna Rabska, and by the poetic duo of Maryla Wolska and Beata Obertyńska) exhibit a freshness and unconventionality which make them perfect examples of Jennifer A. Gonzáles’s subgenr
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Gorelova, Olga Olegovna. "Literary-documental narrative in the fictional autobiographic novel “My Secret History” by Paul Theroux." Litera, no. 5 (May 2020): 39–49. http://dx.doi.org/10.25136/2409-8698.2020.5.32908.

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This article raises the problem of differentiation between authorial fiction and factual information in the fictional autobiographic prose that interfere with each other. The object of this research is the fictional autobiographic prose as a peculiar type of text with structure containing system codes of diverse narrative nature. The subject of this research is the characteristics and features of the literary-documental narrative in a fictional autobiographical text. The goal consists in demonstrating the dual nature of the fictional biographic prose on the example of literary-documental novel
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Kusek, Robert. "Scholar – Fictionist – Memoirist: David Lodge’s Documentary (Self-)Biography in Quite a Good Time to be Born: 1935–1975." Studia Anglica Posnaniensia 51, no. 1 (2016): 115–31. http://dx.doi.org/10.1515/stap-2016-0005.

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Abstract Over the last decade or so, David Lodge has become not only a reader but also an avid practitioner of “fact-based writing” - be it the biographical novel (The Master of 2004 and A Man of Parts 2011), the autobiographical novel (Deaf Sentence of 2008), the biographical essay (Lives in Writing of 2014) and - finally - a proper autobiography (Quite a Good Time to Be Born of 2015). The aim of this paper is to analyse Lodge’s recent turn to life narratives and, in particular, his autobiographical story of 2015; and, consequently, to address the following questions: Does Lodge’s memoir offe
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Eriks Cline, Lauren. "Epistolary Liveness: Narrative Presence and the Victorian Actress in Letters." Theatre Survey 60, no. 2 (2019): 237–60. http://dx.doi.org/10.1017/s0040557419000061.

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In an influential essay on the place of autobiography in theatre history, Thomas Postlewait puts Fanny Kemble's memoirs at the crux of a historiographical problem. The literary sensibility of Kemble's work appears to Postlewait an instance of both the theatrical memoir's cultural richness and its limitations as biographical evidence: although Kemble's “epistolary mode of self-representation” gives her autobiography Records of a Girlhood “a documentary quality,” for example, even her “earliest letters reveal a calculated literary style” that signals her awareness of the “traits and conventions”
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Banchenko, Aleksandra. "The Poetic Concept of Art of L.F. Dostoevskaya." Dostoevsky and world culture. Philological journal, no. 3 (2020): 270–91. http://dx.doi.org/10.22455/2619-0311-2020-3-270-291.

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L.F. Dostoevskaya’s oeuvre consists of short stories and two novels, together with a biography of F.M. Dostoevsky. Her fiction is perceived by researchers as largely autobiographical; her book about F.M. Dostoevsky as a father is considered the least reliable source of biography. Therefore a mixture of genres can be considered: her prose displays features of the poetics of autobiography; her documentary contains fiction, while the author’s discourse dominates the character of the book. This article discusses some features of the poetics of fiction and the documentary prose of L.F. Dostoevskyay
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Zhigun, Snizhana. "(Not) woman’s autobiography: Olena Pchilka about herself." LITERARY PROCESS: methodology, names, trends, no. 15 (2020): 43–48. http://dx.doi.org/10.28925/2412-2475.2020.15.6.

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The subject of the proposed study is the gender peculiarities of creating an autobiographical presentation, the attention to which is paid to demonstrate the author’s strategies for shaping own identity by the outstanding Ukrainian folk writer Olena Pchilka (Olga Kosach). Achieving this aim required the use of feminist studies as a research methodology. The theoretical basis of the study is the works by M. Mason, E. Yelinek, L. Gilmore, A. Pekanets. As a result, it is found out that Olena Pchilka’s autobiography was created according to the “man’s” model. The main strategies of similarity are1
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Shсhedrina, Nellya M. "Autobiography and Self-Reflection in Alexander Solzhenitsyn’s “The GULAG Archipelago”." Proceedings of Southern Federal University. Philology 2021, no. 1 (2021): 124–34. http://dx.doi.org/10.18522/1995-0640-2021-1-124-134.

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“The GULAG Archipelago” is based on historical and autobiographical material. Autobiography is a key feature of the works of Alexander Solzhenitsyn. This style trait manifests itself in the plot, composition, is expressed in the ways of self-reflection, methods of self-identification, in the functions and role of the author-narrator. The retrospective component, as well as the identity of the author and the narrator, the identity of the author and the character, are of fundamental importance. The type of narration chosen by Solzhenitsyn for “The Archipelago” opened up inexhaustible possibiliti
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Dissertations / Theses on the topic "Autobiographic documentary"

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Santos, Ana Cecília Costa. "Documentário em primeira pessoa: relatos íntimos no audiovisual." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4405.

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Made available in DSpace on 2016-04-26T18:11:46Z (GMT). No. of bitstreams: 1 Ana Cecilia Costa Santos.pdf: 72900964 bytes, checksum: 5f8578618ee65dcb91a65d9e6a9583de (MD5) Previous issue date: 2012-06-22<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>The research First person documentary: audio-visual intimate narratives aims to study first person documentaries, works in which the author tells his history. By approaching reality through a personal perspective, the artist shifts the narrative focus from the outer world to his subject´s private world, placing himself
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Hookham, John Henry. "Lives are led: autobiographical film and the new documentary." Queensland University of Technology, 2004. http://eprints.qut.edu.au/16170/.

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This thesis consists of two parts: an autobiographical documentary film and a written exegesis. The film, My Lovers Both, is a record of two journeys back to my native South Africa wherein I confront aspects of my past. These two trips offer a means to explore a personal history around the experiences of immigration, displacement and exile. In the exegesis, I argue that autobiography is changing and rather than offering catalogues of public achievement, contemporary personal histories deal with sites of trauma and challenge dominant narratives of official memory. Likewise, the New Documenta
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Goursat, Juliette. "Mises en « je » : autobiographie et film documentaire." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0056.

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Cette thèse est née du constat qu'il n'existe pas vraiment d'analyse d'ensemble de l'autobiographie filmée, en dépit de l'enthousiasme, certes relativement récent, qu'elle suscite. Afin de limiter notre corpus, nous nous concentrons prioritairement sur des films à la fois fortement autobiographiques et documentaires, qui placent l'existence de leurs réalisateurs au premier plan, donnent à voir des échanges verbaux, programment la « lecture documentarisante », et s'inscrivent dans une tradition documentaire, en particulier du cinéma-vérité. Qu'est-ce que l'autobiographie et le documentaire nous
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Hyung, Daejo. "Case study : the ethical dilemma of autobiographical documentary - theory and practice." Thesis, Royal Holloway, University of London, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500065.

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Dowmunt, Tony. "A whited sepulchre : autobiography and video diaries in 'post-documentary' culture." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/11053/.

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This is a PhD project partly about my class and ethnic background and consciousness: how I have lived them as a white man and a documentary filmmaker, and how they are connected to the ghost of my great-grandfather, who was a soldier in the British Army in Sierra Leone in the 1880s. But it is also a project about autobiographical documentary filmmaking, and is submitted for examination in two main components: the first a video-diary based film (A Whited Sepulchre) in which I investigated the form/genre of the video diary by making one myself - filmmaking as a research method; the second, a tex
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Godoy, Mauricio. "Alias Alejandro y Sibila, retrato familiar del conflicto armado interno en el Perú." Conexión, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/114716.

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Among the political documentary cinema in Latin America, Peru documentary has been focused in its internal conflict since the last fifteen years. This subject has been on the core of different analysis and publications. However, the subjective turn has not been taking importance along these works. In this article the author discusses about the importance on the subjectivity through the analysis of the films Alias Alejandro (Cárdenas, 2005) and Sibila (Arredondo, 2012), in which ones with an autobiographical approach results in a complex final product, taking distance of the apparent “truth” re
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Doeren, Catherine Wallace. "Harbor: The Act of Autobiography." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc2225/.

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This written thesis accompanies a sixteen-minute documentary video, Harbor, in which the filmmaker explores her relationship with her father who has suffered a stroke. Detailed accounts of the pre-production, production and post-production of the video allow the reader to understand the challenging and rewarding process of making an autobiographical documentary. Theoretical issues are also discussed, including the validity, criticisms, artistic nature and ethical concerns of autobiographical filmmaking. The filmmaker stresses the universality of her story, and how, despite the film's very pers
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Masetti, Sara. "The Ocean in Between." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500079/.

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Centered on the universal search for home, The Ocean in Between is an autobiographical documentary about my bicultural identity and sense of guilt as a first generation Italian emigrant daughter. As I embark on a journey between Italy and the United States, I attempt to reconcile my American aspirations with my Italian roots. Using observational footage, direct interviews, and narration, this film provides a poetic and intimate look at family relations, love and death, bicultural identity, and sexuality.
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Porteous, Carol. "The Making of 'Annabelle Blue': A Peircean Semiotic Analysis of the Creative Process." Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31739.

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The paper discusses how the semiotic relationships involved in the process of creating a documentary, interconnect and affect the documentary's truth claims from the perspective of Peirce's semiotic theory. To do this, I created an autobiographical film called 'Annabelle Blue' and then analyzed the experience. The making of 'Annabelle Blue' involved a number of representations, each of which involved the interplay of iconic, indexical and symbolic elements and each of which had a substantial influence on how the process continued. It is my contention that documentary's truth claims must be eva
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Mourão, Catarina. "The Wolf's Lair : dreams and fragmented memories in a first-person essay film." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25710.

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This PhD by practice is an attempt to understand personal archives through filmmaking, and the kind of knowledge we can extract from them as well as how we can connect them to a wider social and political context. These questions are the core of my research and are explored in their different ways through both the film/practice and dissertation. I have chosen to make a film about my absent grandfather and his lost relationship with my mother during Fascist Portugal between the 1940s and the 1960s. Family archives have been largely used in films as a way of documenting realities, in the same wa
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Books on the topic "Autobiographic documentary"

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The autobiographical documentary in America. University of Wisconsin Press, 2002.

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Dean, Ken. Queen: A visual documentary. Omnibus Press, 1991.

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Pink Floyd: A visual documentary. 2nd ed. Omnibus Press, 1988.

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Ingrid, Becker-Ross-Troeller, ed. Antifaschist, Anarchist, Journalist: Gordian Troeller berichtet ; eine Autobiographie. Pro Business, 2009.

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Lewis Carroll Beyond Wonderland: A Documentary Volume. Gale Cengage Learning, 2015.

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Lewis Carroll's Alice's Adventures in Wonderland: A Documentary Volume. Gale, Cengage Learning, 2014.

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Tella, Andrés Di. Andrés Di Tella: Cine documental y archivo personal : conversación en Princeton. Siglo XXI, 2006.

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Kelly, Jackson David, ed. The Poe log: A documentary life of Edgar Allan Poe, 1809-1849. G.K. Hall, 1987.

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Weisser-Gleissberg, Janine. Mein Film über mich: Regisseure vor und hinter der Kamera. Avinus, 2014.

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Bravo, Manuel Alvarez. Documentary & anti-graphic photographs by Cartier-Bresson, Walker Evans & Alvarez Bravo: Une reconstruction de l'exposition de 1935 à la Galerie Julien Levy de New York = a reconstruction of the 1935 exhibition at the Julien Levy Gallery in New York. Steidl, 2004.

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Book chapters on the topic "Autobiographic documentary"

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Di Summa, Laura T. "The Autobiographical Documentary." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_27.

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Beattie, Keith. "The Camera I: Autobiographical Documentary." In Documentary Screens. Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-0-230-62803-8_7.

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Hart, Phoebe. "Aberrancy and Autobiographical Documentary." In Documentary and Disability. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59894-3_6.

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Lattanzi, María Laura. "Beyond Autobiography: Rethinking Documentary Production by the Children of the Disappeared." In Latin American Documentary Film in the New Millennium. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_13.

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Rondot, Sarah Ray. "Against a Single Story: Diverse Trans* Narratives in Autobiographical Documentary Film." In Trans Narratives. Routledge, 2021. http://dx.doi.org/10.4324/9781003199465-5.

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Letort, Delphine. "The Many Lives of Ida B. Wells: Autobiography, Historical Biography, and Documentary." In Women Activists and Civil Rights Leaders in Auto/Biographical Literature and Films. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77081-9_6.

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Piedras, Pablo. "The Contemporary Documentary Road Movie in Latin America: Issues on Mobility, Displacement, and Autobiography." In The Latin American Road Movie. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58093-1_11.

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"Life and Times: Diaries‚ Letters and Autobiographies." In Documentary Research. Routledge, 2004. http://dx.doi.org/10.4324/9780203464588-13.

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Wells, Paul. "Never Mind the Bollackers: Here’s the Repositories, Sites and Archives in Nonfiction Animation." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0007.

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Paul Wells offers a critical-autobiographical account, augmented by a consistently surprising and thought-provoking range of cross-disciplinary case study examples, of his active and path-breaking engagement in animated documentary theory and production since the early 1990s. Wells engages with the critical literature surrounding the concept and practice of animated documentary but focuses more on the ways in which animation can act as an enabling conduit for a range of visual and/or narrative arts, offering a creative toolbox that supports practitioners engaged in documentary work across a range of disciplines. This chapter advances three central insights: the increasingly multi-disciplinary nature of contemporary visual, literary and popular cultures; the notable aesthetic and ideological potentialities possessed by polyvocal, multi-disciplinary and multi-register creative practices and strategies; and animated documentary’s privileged position at the forefront of present-day re-theorisations of a range of foundational documentary concepts, such as the repository, the record and the archive.
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Goursat, Juliette. "Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0008.

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This chapter analyzes how four films containing a strong autobiographical dimension break with the consensual and normative image the transition fashioned out of the past: En Algún Lugar del Cielo (dir. Alejandra Carmona, 2003), Calle Santa Fe (dir. Carmen Castillo, 2007), Mi Vida con Carlos (dir. Germán Berger-Hertz, 2010), and El Edificio de los Chilenos (dir. Macarena Aguiló, 2010). It argues that the rupture lies in the work of memory these films bring to the foreground. Whereas the transition passively referred to the past and evoked it without question, these filmmakers not only receive an image of the past, they search for it. In this quest, the autobiographical form plays a decisive role, allowing them to reveal the work of remembering and sometimes to undertake a critical scrutiny of memory, as Carmen Castillo does in Calle Santa Fe.
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