Log in

Relevant bibliographies by topics / Autobiographic documentary / Journal articles

To see the other types of publications on this topic, follow the link: Autobiographic documentary.

Journal articles on the topic 'Autobiographic documentary'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Autobiographic documentary.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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”

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

“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

APA, Harvard, Vancouver, ISO, and other styles

11

Scafirimuto, Guglielmo. "Introduction to the diasporic autobiographical documentary." Journal of Global Diaspora 1, no. 1 (2020): 107–22. http://dx.doi.org/10.1386/gdm_00007_1.

Full text

Abstract:

This article aims to introduce a new film genre that I call ‘diasporic autobiographical documentary’ that I have been working on during my last years of research, first in France and now in a broader context. In this genre, diasporic cinema and autobiographical documentary meet and create an original ensemble, especially produced in the last twenty years, in order to give place to the search for identity by individuals belonging to more than one nation and culture. In the first part, the present text exposes the principal axes of definition of this body of work, following Raphaëlle Moine’s the

APA, Harvard, Vancouver, ISO, and other styles

12

Abrasowicz, Gabriela. "O scenicznym ożywianiu i potencjałach autobiograficznego archiwum na przykładzie wybranych chorwackich spektakli teatralnych." Poznańskie Studia Slawistyczne, no. 19 (February 23, 2021): 253–71. http://dx.doi.org/10.14746/pss.2020.19.12.

Full text

Abstract:

Autobiographism has been noticeably conquering the Croatian theatre which results in specific artistic projects, mainly falling into the category of theatre of the real. This material calls for a description of strategies, functions and potentials. The most important here is the freedom to (re)construct identity – performativity – communication and interaction. The styling of an autobiographical archive and its extension into action allows adopting a new view and interpreting historical events and current social problems differently. This phenomenon is manifested in selected performances which

APA, Harvard, Vancouver, ISO, and other styles

13

Wysocka, Aneta. "The autobiographical “self” in Ryszard Kapuściński´s empathetic journalism." Human Affairs 31, no. 3 (2021): 335–47. http://dx.doi.org/10.1515/humaff-2021-0028.

Full text

Abstract:

Abstract The article investigates the autobiographical aspects of Ryszard Kapuściński’s reportage pieces. The journalist’s complete works provide the material for this study. Autobiographism is understood here broadly, not only as the presence of a selfnarrative in the documentary accounts, but also as the implicit influence of the foreign correspondent’s life experiences on his interpretation of the events he reports. Kapuściński’s work early was primarily influenced by the experiences of poverty during the Second World War and the post-war period, the post-war loss of his little homeland as

APA, Harvard, Vancouver, ISO, and other styles

14

Kuvač-Levačić, Kornelija. "Metafore sebstva u autobiografskom diskursu Vesne Parun." Nova prisutnost XIV, no. 2 (2016): 184. http://dx.doi.org/10.31192/np.14.2.9.

Full text

Abstract:

By using the concept of the Self as the human personality in its totality, as defined by Carl Gustav Jung and furthered by P. Ricoeur (the theory of narrative identity, the Self defined as an identity constructed by narrative configuration, the dialectics of the discovery of the other in one’s own Self and one’s own Self in the Other), this work will focus in the analysis of metaphors which express the Self of the auto-diegetic narrator as can be found in the autobiographical discourse of Vesna Parun. The corpus of this research is to be found in selected texts from her volume Noć za pakost. M

APA, Harvard, Vancouver, ISO, and other styles

15

Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

16

Haleta, Olena. "Instead of a Novel." Aspasia 14, no. 1 (2020): 78–103. http://dx.doi.org/10.3167/asp.2020.140107.

Full text

Abstract:

This article focuses on the life and literary strategies of Sophia Yablonska (1907–1971), a self-identified Ukrainian camerawoman, photographer, and writer. While working for a French documentary production company, traveling around the world, and living in Morocco and China, Yablonska published three books of travelogues supported by hundreds of photos (The Charm of Morocco, 1932; From the Country of Rice and Opium, 1936; and Distant Horizons, 1939) that combine autobiographical and anthropological approaches and transgress poetic and narrative conventions. In her travelogues, Yablonska exami

APA, Harvard, Vancouver, ISO, and other styles

17

Pugsley, Bronwen. "Ethical Madness? Khady Sylla's Documentary Practice in Une Fenêtre ouverte." Nottingham French Studies 51, no. 2 (2012): 204–19. http://dx.doi.org/10.3366/nfs.2012.0020.

Full text

Abstract:

The Senegalese artist Khady Sylla, most celebrated for her writing, is a highly accomplished filmmaker whose innovative and challenging autobiographical documentary on mental health, Une Fenêtre ouverte (2005), has been the subject of very little academic interest. This paper will read Une Fenêtre ouverte as a poetic, performative, and reflexive autobiographical documentary, focusing in particular on the ethical implications and formal innovations of Khady Sylla's documentary practice. My reading of this film will therefore be primarily informed by the points of tension and ambiguity in the re

APA, Harvard, Vancouver, ISO, and other styles

18

Fiołek-Lubczyńska, Bogumiła, and Agnieszka Barczyk-Sitkowska. "The Condition of Polish Autobiographical Documentaries – More Similar to a Reality Show?" Acta Universitatis Lodziensis. Folia Litteraria Polonica 35, no. 5 (2017): 177–84. http://dx.doi.org/10.18778/1505-9057.35.14.

Full text

Abstract:

The autobiographical documentary has a number of elements which resemble those of a reality show. Such documentaries can be considered to be young directors’ responses to this TV genre and its celebration of voyeurism. The purpose of this article is to outline the similarities and differences between these two genres. The article consists of four parts: the first discusses the essence of the autobiographical documentary, the second focuses on the reality show, the third analyses the movie Moje dwadzieścia okrążeń by Łukasz Konopa, and the fourth is a summary of the considerations made in the t

APA, Harvard, Vancouver, ISO, and other styles

19

Rondot, Sarah Ray. "Against aSingleStory: Diverse Trans* Narratives in Autobiographical Documentary Film." a/b: Auto/Biography Studies 34, no. 1 (2019): 89–110. http://dx.doi.org/10.1080/08989575.2019.1542826.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Gabara, Rachel. "Mixing Impossible Genres: David Achkar and African AutoBiographical Documentary." New Literary History 34, no. 2 (2003): 331–52. http://dx.doi.org/10.1353/nlh.2003.0018.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Koch, Arne. "The autobiographical turn in Germanophone documentary and experimental film." Journal of Contemporary European Studies 24, no. 3 (2016): 431–32. http://dx.doi.org/10.1080/14782804.2016.1203624.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Mitcheson, Katrina. "Truth, Autobiography and Documentary: Perspectivism in Nietzsche and Herzog." Film-Philosophy 17, no. 1 (2013): 348–66. http://dx.doi.org/10.3366/film.2013.0020.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Rieser, Klaus. "First-Person Documentary Film and Self-Life Narration." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (2020): 144–47. http://dx.doi.org/10.47060/jaaas.v1i1.75.

Full text

Abstract:

In lieu of an abstract, here is the first paragraph of this forum contribution: My contribution to this forum on life writing contemplates life narrative practices in documentary film and proposes two theses that also bear relevance for other fields and media under discussion here. Firstly, it problematizes the concepts of autobiography and life writing for their applicability to (documentary) film, arguing with Alisa Lebow for a notion of "first person film."[1] Secondly, it contends that representations of the self in documentary film are more appropriately comprehended as a discourse rather

APA, Harvard, Vancouver, ISO, and other styles

24

Forceville, Charles. "THE SOURCE–PATH–GOAL SCHEMA IN THE AUTOBIOGRAPHICAL JOURNEY DOCUMENTARY." New Review of Film and Television Studies 4, no. 3 (2006): 241–61. http://dx.doi.org/10.1080/17400300600982023.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Wistreich, Richard. "PHILIPPE DE MONTE: NEW AUTOBIOGRAPHICAL DOCUMENTS." Early Music History 25 (August 17, 2006): 257–308. http://dx.doi.org/10.1017/s0261127906000167.

Full text

Abstract:

In a letter written in the year he died, the novelist Italo Calvino spoke of his unease with the writing of the story of his own life: ‘Each time I see my life fixed and objectified I am seized with anxiety, especially when it is notes that I myself have supplied … by repeating the same things [but] using different words I always hope to get round my neurotic relationship with autobiography.’ Such testimony from a still-living creative artist is a valuable reminder of the historiographical conundrums of even the most apparently ‘authentic’ biographical narrative. Those of us who read, research

APA, Harvard, Vancouver, ISO, and other styles

26

Dow Adams, Timothy. "Borderline Personality: Autobiography and Documentary in Susanna Kaysen's Girl, Interrupted." Life Writing 2, no. 2 (2005): 119–37. http://dx.doi.org/10.1080/10408340308518292.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

Botha, R. "Die mutasie van feit tot fiksie: die faksionele kode in 'Die jonkmanskas' van Koos Prinsloo." Literator 10, no. 2 (1989): 1–15. http://dx.doi.org/10.4102/lit.v10i2.825.

Full text

Abstract:

Documentary realism is a marked characteristic of Afrikaans literature in the eighties. This article looks critically at the techniques used by the author of the story “Die jonkmanskas” in his attempts to present an external, factual realm within a fictional framework. The term faction is defined in this article as documentary realism, where the text, through the agency of specific narrative techniques, transforms the document, or documentary material, into a new type of narrative material altogether. Particular attention is paid to autobiographical insertions, as well as techniques of authent

APA, Harvard, Vancouver, ISO, and other styles

28

Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.

Full text

Abstract:

The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films

APA, Harvard, Vancouver, ISO, and other styles

29

Anderst, Leah. "The Self as Evidence and Collaborative Identity in Contemporary Autobiographical Documentary." a/b: Auto/Biography Studies 32, no. 2 (2017): 255–57. http://dx.doi.org/10.1080/08989575.2017.1288030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Daniels, Jill. "Blurred boundaries: remediation of found footage in experimental autobiographical documentary filmmaking." Journal of Media Practice 18, no. 1 (2017): 73–82. http://dx.doi.org/10.1080/14682753.2017.1306338.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Dowmunt, Tony. "Memory, Place and Autobiography: Experiments in Documentary Filmmaking, by Jill Daniels." Alphaville: Journal of Film and Screen Media, no. 20 (January 27, 2021): 270–73. http://dx.doi.org/10.33178/alpha.20.25.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

Moodie, Megan. "Unrest: Gender, Chronic Illness, and the Limits of Documentary Visibility." Film Quarterly 71, no. 4 (2018): 9–15. http://dx.doi.org/10.1525/fq.2018.71.4.9.

Full text

Abstract:

Unrest is the story of diagnosis and partial recovery: part detective story, part autobiography, and part documentation of an illness-based social movement. While conducting research on her own worsening symptoms, filmmaker Jennifer Brea learns that she is not as unusual as she has been led to believe. Unrest calls upon its audience to respond to Brea's ordeal and, in the spirit of all political film, to do something about the social injustice and human suffering it presents. Through her careful attention to the historical context of her own illness, Brea admirably makes visible the deep misog

APA, Harvard, Vancouver, ISO, and other styles

33

Okech, Awino. "Screening Winnie and African Feminist Herstories." Radical Teacher 119 (April 17, 2021): 71–74. http://dx.doi.org/10.5195/rt.2021.855.

Full text

Abstract:

This teaching note offers reflections on the screening of Winnie an autobiographical documentary about the life of Winnie Mandela, South African liberation struggle actor. I explore the pedagogical decisions I made in screening this film which deals with the history of apartheid South Africa to a mixed audience at a university in London.

APA, Harvard, Vancouver, ISO, and other styles

34

Macedo, Isabel, and Rosa Cabecinhas. "DIASPORIC IDENTITY(IES) AND THE MEANING OF HOME IN AUTOBIOGRAPHICAL DOCUMENTARY FILMS." Revista Lusófona de Estudos Culturais 2, no. 1 (2014): 54–71. http://dx.doi.org/10.21814/rlec.55.

Full text

Abstract:

Reconstructed in social contexts, the memories of forced migration experiences such as those lived by filmmakers Diana Andringa and António Escudeiro – who had to leave Angola, the country where they had been born and raised – are now being highlighted, shared, and negotiated in the current audiovisual context. The documentaries analyzed in this work, Escudeiro’s Goodbye, Until Tomorrow (2007) and Andringa’s Dundo, Colonial Memory (2009), allow us to reflect on how these memories of migration experiences are portrayed in contemporary Portuguese cinema. In this article, we argue that autobiogra

APA, Harvard, Vancouver, ISO, and other styles

35

Hermann, Lukas. "Autonom autobiografisch: Zu Thomas Manns Die Entstehung des Doktor Faustus." arcadia 55, no. 1 (2020): 83–99. http://dx.doi.org/10.1515/arcadia-2020-0003.

Full text

Abstract:

AbstractIn its peritext, Thomas Mann’s Entstehung des Doktor Faustus is described as a “Roman eines Romans”. The essay reasons that this description of its genre as well as structural aspects of its composition mark it as an autobiographical text. Instead of following most studies on the Doktor Faustus, which regard the Entstehung simply as a documentary source for exposing autobiographical intricacies of Mann’s novel, textual evidence for the Entstehung’s autonomy is given. The analysis focuses first on the structural frame of the Entstehung in order to show Mann’s central techniques of autob

APA, Harvard, Vancouver, ISO, and other styles

36

Rothmüller, Ninette. "Unknown Roads (poem)." Borders in Globalization Review 1, no. 2 (2020): 99–101. http://dx.doi.org/10.18357/bigr12202019573.

Full text

Abstract:

Solidarity researcher and artist Ninette Rothmüller is a visiting scholar from Germany at Smith College, Massachusetts. With a background in Cultural Studies, Social Work and Interdisciplinary Arts, her practice-led and theoretical work is concerned with who humans are to, and with, each other under various circumstances, such as severe crisis. Her autobiographical documentary poetry reflects experiences of forced immobility and displacement across borders and languages.

APA, Harvard, Vancouver, ISO, and other styles

37

Guo, Chunning, and Baishen Yan. "The story of first-person: Recovering autobiographical memory through the animated documentary Ketchup." Animation Practice, Process & Production 6, no. 1 (2017): 115–36. http://dx.doi.org/10.1386/ap3.6.1.115_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Kempster, Peter A., and Helene L. Roberts. "Scriptwriter's amnesia: Autobiographical memory loss in the documentary film Unknown White Male (2005)." Cortex 46, no. 8 (2010): 1065–68. http://dx.doi.org/10.1016/j.cortex.2010.01.010.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Dudrah, Rajinder. "ReadingThe Stuart Hall Project." Journal of British Cinema and Television 12, no. 3 (2015): 383–401. http://dx.doi.org/10.3366/jbctv.2015.0271.

Full text

Abstract:

How might we be able to read and appreciate John Akomfrah's documentary The Stuart Hall Project? This article explores the film from a combined film and cultural studies approach, inspired by the intellectual work of Professor Stuart Hall himself. It situates the documentary about the life and work of Hall in terms of a development of Akomfrah's earlier work and in particular provides a close reading of the film as it deals with issues of biography and autobiography, identity and travel, and how it leaves us with an intriguing possibility of a conjunctural ending. It is argued that these topic

APA, Harvard, Vancouver, ISO, and other styles

40

Jacobs, Matthew. "This Is How I Remember: The Beaches of Agnès, Documentary Narration, and Building a Self in Film." Film Matters 10, no. 2 (2019): 23–32. http://dx.doi.org/10.1386/fm_00004_1.

Full text

Abstract:

The Beaches of Agnès (Les plages d'Agnès, Varda, 2008) could be described as a film essay, a memoir, an autobiography, or categorized as a documentary; while each of these may be accurate, the film pushes at the edges of these terms, playing with ideas of truth, fictionality and methods of re-creation. There is a constant tension in the film between La Varda the legendary French New Wave filmmaker, Agnès Varda the human director, and Agnès Varda the subject of investigation. From a narrative theory standpoint, there is a constant tension between the Narrated-I (the Varda being investigated as

APA, Harvard, Vancouver, ISO, and other styles

41

Mańka, Monika. "Sylwiczność „Tajnego dziennika“ Mirona Białoszewskiego." Prace Literackie 59 (December 11, 2020): 99–122. http://dx.doi.org/10.19195/0079-4767.59.5.

Full text

Abstract:

The article is an attempt to prove that Miron Białoszewski’s Secret Diary can be treated as a silva rerum, implementing its genre principles in drafting space, opening the text to the possibility of various content transformations and creative continuation. Open composition, illusiveness, hybridization and disintegration of literary ways of shaping the text, allows Białoszewski’s Secret Diary to be placed between what is literally institutionalized, subjected to the strategy of proper formation of artistic objects, and the sphere of autobiographical-documentary, paraliterary writing, drawing o

APA, Harvard, Vancouver, ISO, and other styles

42

Bonesso, Amandine. "Marie de l’Incarnation d’après Jean-Daniel Lafond : l’amour d’une sainte contre la barbarie actuelle." Dialogues francophones 21, no. 1 (2015): 185–97. http://dx.doi.org/10.1515/difra-2015-0009.

Full text

Abstract:

Abstract The contribution examines the documentary Folle de Dieu (2008) and the play Marie de l'Incarnation ou La déraison d'amour (2009), Jean-Daniel Lafond’s adaptations of Marie de l’Incarnation’s (1599-1672) autobiographical texts. The study demonstrates that the two works, the last in a long biographical tradition, construe the nun’s life as a humanitarian model through the theme of love. In this manner, the film-maker encourages the current society not to give way to the bellicose violence of the last century and to rethink the future as a possible happiness.

APA, Harvard, Vancouver, ISO, and other styles

43

Argod, Pascale. "Le carnet de voyage audiovisuel ou cinématographique." Téoros 30, no. 1 (2012): 119–27. http://dx.doi.org/10.7202/1012115ar.

Full text

Abstract:

Compte rendu du témoignage vécu du voyageur, le carnet de voyage se déclinerait aussi sous diverses formes audiovisuelles : l’émergence des arts graphiques dans l’oeuvre cinématographique, des séries télévisuelles de carnets de voyage, du documentaire de création d’un périple à la quête ethnographique ou encore du reportage d’expéditions naturalistes à visée « scientifique ». Par son regard sensible sur le monde et le voyage, le carnet de voyage interroge le réel dans son ambivalence entre documentaire de création et fiction. Autobiographie filmée d’un périple original, le carnet de voyage cin

APA, Harvard, Vancouver, ISO, and other styles

44

Krstić, Igor. "A foreigner in one’s own tongue: Jonas Mekas, minor cinema and the philosophy of autobiographical documentary." New Cinemas: Journal of Contemporary Film 15, no. 1 (2017): 97–117. http://dx.doi.org/10.1386/ncin.15.1.97_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Kraenzle, Christina. "The Autobiographical Turn in Germanophone Documentary and Experimental Film ed. by Robin Curtis and Angelica Fenner." German Studies Review 41, no. 1 (2018): 216–18. http://dx.doi.org/10.1353/gsr.2018.0037.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Zhuchkova, A. V. "When everyone became a god. The literature of the early aeon." Voprosy literatury, no. 4 (August 22, 2019): 57–74. http://dx.doi.org/10.31425/0042-8795-2019-4-57-74.

Full text

Abstract:

It has become mainstream in the 21st c. for literature to shift its focus from ideology to the way of life and the person, towards a symbiotic coexistence of fiction and memoirs. The article considers several variations of the contemporary ‘literature.doc’: from autopsychological prose, with E. Limonov as its likely founder, to in-between genres originating in Facebook posts and sketches of real life. In her comparison of different invariants of modern documentary and semi-documentary literature, the author finds that, from the artistic viewpoint, autopsychological prose has a structure unlike

APA, Harvard, Vancouver, ISO, and other styles

47

Buskirk, Emily Van. "Recovering the Past for the Future: Guilt, Memory, and Lidiia Ginzburg's Notes of a Blockade Person." Slavic Review 69, no. 2 (2010): 281–305. http://dx.doi.org/10.1017/s003767790001500x.

Full text

Abstract:

In this article, Emily Van Buskirk uses archival manuscripts to peel back layers of Lidiia Ginzburg's palimpsestic Notes of a Blockade Person. She finds in Notes the fragmentary, distanced, and carefully contained traces of Ginzburg's “A Story of Pity and Cruelty,” an intense narrative about guilt and remorse. Relying on Ginzburg's own scholarship, Van Buskirk argues that the author's transformations of experience across multiple texts were inspired by Aleksandr Herzen. Herzen provided a model for developing—out of a family tragedy, personal failure, guilt, and remorse—an elevated memoir that

APA, Harvard, Vancouver, ISO, and other styles

48

Anderst, Leah. "“I'VE SPENT A LOT OF TIME LOOKING at these images”: The “Viewing 'I” in Contemporary Autobiographical Documentary." a/b: Auto/Biography Studies 28, no. 2 (2013): 212–41. http://dx.doi.org/10.1080/08989575.2013.10846828.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Mukhida, Leila. "Book Review: Robin Curtis and Angelica Fenner (eds): The Autobiographical Turn in Germanophone Documentary and Experimental Film." Journal of European Studies 45, no. 3 (2015): 278–80. http://dx.doi.org/10.1177/0047244115595745o.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Ryzhakov, P. B. "Notes on Easter in Ansali [Paskha v Enzeli]." Voprosy literatury, no. 2 (May 27, 2019): 94–106. http://dx.doi.org/10.31425/0042-8795-2019-2-94-106.

Full text

Abstract:

The article provides an extensive commentary of V. Khlebnikov’s poem Easter in Ansali [Paskha v Enzeli ]. The author discovers and analyses two major plotlines: a documentary (or autobiographical) one and a Stepan Razin-inspired one, both developed in parallel to each other in terms of the metaphors chosen for the poem. The documentary level is concerned with Khlebnikov’s visit to Persia, on board of the steamboat Kursk (hence the poem’s numerous mentions of kursky, korskoye), while the covert, Razin-related level transpires as a memory of the captive Persian girl: in 1669, Razin’s fleet defea

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!