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Relevant bibliographies by topics / Definition of documentary film

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Academic literature on the topic 'Definition of documentary film'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Definition of documentary film"

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Palúch, Martin. "The Problem of Form and the Relavitization of the Status of Documentary Film in Contemporary Slovak Authorial Production." Slovenske divadlo /The Slovak Theatre 65, no. 1 (2017): 49–62. http://dx.doi.org/10.1515/sd-2017-0004.

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Abstract The present study offers a critical reflection of contemporary Slovak authorial production. Focusing on three films, the author analyses the authors′ approaches to representing reality from a formal point of view. The author claims that all of them relativize the status of documentary film, using as a tool of critical analysis Carl Plantiga’s definition of documentary film, included in his concept of “asserted veridical representation”. The films under analysis use three formally different approaches of relating to social reality. One relies on an acted form, the second takes the form of a historicizing essay, and the third promotes the author’s subjective views through a cut collage of motifs stemming from reality.

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Brick, Shannon. "Identifying Documentary; Against the Trace Account." Film and Philosophy 24 (2020): 63–83. http://dx.doi.org/10.5840/filmphil2020245.

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This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out version of the Trace Account collapses into Carroll’s own, rival definition of documentary. I then consider how advocates of the Trace Account might attempt to rescue the theory by reframing it as an account of a genre or as a theory of evaluation and argue that neither attempt would succeed. Given this, we ought to embrace Carroll’s own account of documentary, according to which a film is documentary if and only if it is a film of presumptive assertion.

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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.

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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.

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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.

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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.

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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 theory of film genre. In the second part, it deals with two concepts necessary to understand the main issues of this genre: the diasporic subject and the origin. In the search of their lost origin and of their collective memories, diasporic subjects negotiate their identity through the subjective enunciation of the documentary, and offer an important work of reflection on today transnationalism and multiculturalism.

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Tabernero, Carlos, Isabel Jiménez-Lucena, and Jorge Molero-Mesa. "Colonial scientific-medical documentary films and the legitimization of an ideal state in post-war Spain." História, Ciências, Saúde-Manguinhos 24, no. 2 (2016): 349–69. http://dx.doi.org/10.1590/s0104-59702016005000025.

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Abstract This paper explores the role of film and medical-health practices and discourses in the building and legitimating strategies of Franco’s fascist regime in Spain. The analysis of five medical-colonial documentary films produced during the 1940s explores the relationship between mass media communication practices and techno-scientific knowledge production, circulation and management processes. These films portray a non-problematic colonial space where social order is articulated through scientific-medical practices and discourses that match the regime’s need to consolidate and legitimize itself while asserting the inclusion-exclusion dynamics involved in the definition of social prototypes through processes of medicalization.

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Summerhayes, Catherine. "Translative Performance in Documentary Film: Bob Connolly and Robin Anderson's Facing the Music." Media International Australia 104, no. 1 (2002): 19–29. http://dx.doi.org/10.1177/1329878x0210400105.

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Facing the Music (2001) is a film that performs at many levels. While its primary narrative is about the effects of government funding cuts to universities, and specifically the effect on the University of Sydney's Music Department, the film also weaves other more generic stories about people and how they interact with each other. Connolly's and Anderson's complex and confronting style of observational film-making is examined in the context of this film for the ways in which it ‘assumes' that film can ‘translate’ the details of people's everyday lives into a broad discussion of particular social issues and conflicts. As with all translations, however, some meanings inadvertently are lost and others added. Drawing on Walter Benjamin's idea of ‘translatability’ and Brecht's concept of gest, this paper describes how particular cultural meanings which are embedded within the documentary film, Facing the Music, can be accessed through the ways in which the audiovisual text ‘melodramatically’ presents people and profilmic events. Thomas Elsaesser's definition of classic fictional melodrama, as a ‘closed’ world of ‘inner’ violence where ‘characters are acted upon’, becomes a guide to understanding the film's secondary narratives about the operation of particular stereotypical, binary representations: men and women; artists and ‘the rest of the world’; academics (‘gown’) and other people (‘town’). Using Laura Mulvey's further distinction of ‘matriarchal’ and ‘patriarchal’ melodramas. Facing the Music is described as a ‘matriarchal’ documentary melodrama. The film's selective translation of how people live their lives in a particular social situation is thereby discussed as a further translation into the broader discourses of gender and power relations in a society.

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Carta, Silvio. "Visual anthropology and sensory ethnography in contemporary Sardinia: A film of a different kind." Modern Italy 17, no. 3 (2012): 305–24. http://dx.doi.org/10.1080/13532944.2012.658154.

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This article reads David MacDougall's Tempus de Baristas (1993) as an instance of the rejection of the didacticism of documentary films driven by the logic of the written text. This ethnographic film about the life of three goat-herders is one of the films that allows the Sardinian-speaking subjects a space and, therefore, a far more prominent role in the total cinematic construction than has usually been the case. Tempus marks the definitive departure from the transmission of written socio-anthropological knowledge that is typical of expository documentaries. The article concludes that the filmic approach of which Tempus is a landmark produces a corporeal and emplaced knowledge that counterbalances the abstract vision of many documentaries about the author's native island and questions traditional forms of scholarly communication, opening up new areas of ethnographic understanding.

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Greenberg, Slava. "Disorienting the Past, Cripping the Future in Adam Elliot’s Claymation." Animation 12, no. 2 (2017): 123–37. http://dx.doi.org/10.1177/1746847717716255.

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Acclaimed Australian animator Adam Elliot dedicated his career to illustrating the experiences of people with disabilities. Elliot’s first trilogy – Uncle (1996), Cousin (1999) and Brother (2000) – is a black and white claymation accompanied by narration reminiscing beloved family members with disabilities. The article intersects disability studies, phenomenology and film studies in an analysis of the disabled body in Elliot’s claymations and the crip ethics they may evoke in spectators. The author argues that Elliot’s clayographies disorient the past by yearning for it and crip the future by criticizing the marginalization of people with disabilities, and focusing on the desire for life ‘out-of-line’. The hybridity of the trilogy is an infusion of documentary ‘domestic ethnography’ or home videos, centering familial ‘others’ with fictional film-noir that allows entrance into the dark realm of recollection. The viewers are offered bodily experiences that emphasize the body’s vulnerability and perishability, presented not in a tragic or inspirational fashion, but as inseparable from human existence. By conjuring these oppositional cinematic styles and genres in clay, disability is represented as the definition of the human experience through an ethical remembrance.

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Waterson, Roxana. "Testimony, trauma and performance: Some examples from Southeast Asian theatre." Journal of Southeast Asian Studies 41, no. 3 (2010): 509–28. http://dx.doi.org/10.1017/s0022463410000287.

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This paper is a reflection on a number of theatre performances held in Singapore, each of which probed problematic or traumatic historical events occurring either in Singapore itself or in other parts of Southeast Asia. These avant-garde performances were inspired by or built around actual testimonies of individuals in ways which, for this author, suggest a striking fluidity in the boundaries between testimony and performance, one that raises difficult questions about performance ethics and the processes by which collective memories are shaped. The plays also made use of visual media: one had been recorded on video while others incorporated photographic and video materials into the actual performance. At the time I witnessed these plays, I had already become interested in the way that, over the course of the twentieth century, documentary films had come to play an increasingly important role in the recording of testimony concerning traumatic events. Testimony on film, I have argued, functions simultaneously as evidential trace, and as performative event. Films of testimony develop their own trajectories as they enter into the realms of public remembering. They preserve and extend the record of personal experiences, thereby adding them to the pool of collective memory about an event. Theatrical performances, too, develop their own trajectories through repetition, as Marvin Carlson's statement (cited above) suggests. But what exactly might be different when testimony is performed as drama before a live audience? What are the purposes of such performances, and what might be their possible effects upon both participants and audiences? Is the trace left by a live theatre performance inevitably more ephemeral than those captured on film, or might it be in some respects even more powerful? These are some of the questions I raise – without necessarily being able to present definitive answers – in what follows. I conclude by arguing that in the Singapore context, because censorship laws place very specific constraints on the making of documentary films with openly political content, in recent years theatre has been able to offer a slightly greater space than film as a medium for critical reflection. How theatre directors and actors have tried to use this space is a subject correspondingly deserving of our close attention.

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Dissertations / Theses on the topic "Definition of documentary film"

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Fergusson, Annie. "Modes of engagement in theatrical documentary." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16415/.

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This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

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Kaminskaitė, Jūratė. "Šiuolaikinis Lietuvos dokumentinis kinas: tarp realybės ir vizijos (herojus, struktūra, novatoriškumas)." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2006~D_20110709_151348-14193.

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Magistro darbo objektas – šiuolaikinis Lietuvos dokumentinis kinas. Darbo tikslas – darbo objektą išanalizuoti komunikaciniu bei kultūriniu aspektais. Pagrindiniai darbo uždaviniai – nustatyti dokumentinio filmo definiciją, ištirti dokumentinį kiną herojaus vaizdo vaidmenimis, įvardinti lietuviškų dokumentinių filmų struktūrų bei novatoriškumo tendencijas. Naudojantis kino bei fotografijos teksto kokybinės analizės metodu bei pasirinktomis komunikacijos ir kultūrų teorijomis, prieita prie išvados, kad senoji dokumentikos kaip tikrovės atspindžio definicija nebeatitinka reiškinio empirikos, todėl teikiamas naujas apibrėžimo variantas; taip pat, – kad tam tikri protagonistų vaidmenys yra būdingi tik tam tikriems dokumentikos žanrams; ir kad mūsų dokumentikos specifiką sąlygoja nacionalinis kūrėjų charakteris bei kultūrinis pagrindas. Atlikus tyrimą nustatyti trys pagrindiniai komponentai: žanrinis lietuvių dokumentinio kino laukas, jo struktūrinės sąrangos bei jame veikiančių herojų tipai. Naratyvai suskirstyti į dvi – uždarojo ir atvirojo pobūdžio struktūras. Toks struktūravimas patvirtino prielaidą, jog pasirinktas filmo naratyvas lemia vaizduojamųjų vaidmenis, jų santykį su tikrove, verbaliką. Išsiaiškinta, jog lietuvių dokumentikos kontekste tarp kitų figūruoja du žanrai: publicistika bei poetika; pirmasis jų suvokiamas sklandžiai, nes primena televizinį produktą, antrojo percepcija yra kur kas sudėtingesnė dėl nekonvencionalaus turinio, todėl jam priimti būtina speciali... [toliau žr. visą tekstą]<br>The paper deals with the analysis of contemporary Lithuanian documentary film in the field of communication and culture theories, where “contemporary” film is considered to be made more or less in the last ten years. It analyses the object in the terms of innovation of definition, iconography of the protagonist and structures of narratives. The definition of documentary film is examined on the one hand from the journalistic point of view, characterizing it as a fact-based film that depicts actual events and persons; on the other hand, in the film theory sight it is considered to be a manipulative narration of the story, taken out of reality. A central question is if characteristics of factuality is remaining the main one talking about the documentary film, as the examples of Lithuanian poetic documentaries are far-off exposing of reality. That is why this study suggests a new definition of the object, putting a director’s role in the narrative above actual reflection of factuality: a documentary is called here a director’s viewpoint (in the case of Lithuanian poetic genre – a meditation) on the phenomena of the objective reality. Qualitative film text analysis and the communicational approaches of John Fiske, Marshall McLuhan and Jean Baudrillard’s ideas provide the theoretical framework for the study. Documentary films are analyzed as the object of science of communication. It is focused on reading the communicational codes and conventions in different genres of documentary... [to full text]

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Palmer, G. E. "Basil Wright : definitions of documentary." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2150.

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A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.

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Lange, Shara K. "Documentary Film Engagement." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/3651.

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Lange, Shara K. "Documentary Production & Documentary Problems." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3666.

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Petty, Laurel Ann Levin C. Melinda. "Documentary film Accidental Shakespeare /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3628.

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Petty, Laurel Ann. "Documentary Film: Accidental Shakespeare." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3628/.

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According to the American Heritage College Dictionary, the word “community” derives from the Latin roots: communitas and communis meaning “fellowship” and “common,” respectively. The word “amateur” derives from the Latin roots: amator meaning “lover.” A community of amateurs, who love to put on plays, exists within the Denton Community Theatre. Their first attempt at classical theatre was the January 2006 production of Romeo and Juliet, directed by Brad Speck. The film follows two actors (through observational shooting) - Kevin Wickersham, a waiter who is trying theatre for the first time, and Jeffrey Johnson, a theatre college student trying Shakespeare for the first time - as they relate to a process and community that is new to them.

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Meiser, Cory. "Documentary Film: Love's Story." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5312/.

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Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

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Bell, Leah Helanie. "Documentary Film: Access Denied." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5329/.

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Sculptor Eric McGehearty incorporates dyslexia, a learning disability, into his artwork to express his challenges with his limited ability to recognize and understand the written word. The film Access Denied focuses on Eric and his disability. Recognized in 1896, dyslexia has been studied and researched by scientists and educators. New assistive technology is now available to aid dyslexics in reading and writing. Specialized schools provide techniques to improve student learning. However, some options are not readily available to the general public; therefore, information about how to deal with the disability is not easily accessed. The aims of this documentary are to raise awareness of available resources to assist with learning as well as to demonstrate a relationship between art and dyslexia.

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Dunn, Geoffrey. "Deconstructing documentary : theory and practice in documentary film and photography /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2004. http://uclibs.org/PID/11984.

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Books on the topic "Definition of documentary film"

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Roy, Carole. Documentary Film Festivals. SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0.

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Documentary film classics. Cambridge University Press, 1997.

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Winston, Brian, ed. The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1.

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The documentary film makers handbook. Continuum International Publishing Group Inc., 2007.

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Brylla, Catalin, and Mette Kramer, eds. Cognitive Theory and Documentary Film. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3.

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Vallejo, Aida, and Ezra Winton, eds. Documentary Film Festivals Vol. 1. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17320-3.

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Vallejo, Aida, and Ezra Winton, eds. Documentary Film Festivals Vol. 2. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1.

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A journey through documentary film. Kamera Books, 2012.

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Belgesel film üstüne yazılar. Babil, 2005.

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American documentary film: Projecting the nation. Edinburgh University Press, 2011.

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Book chapters on the topic "Definition of documentary film"

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Ros, Veerle, Jennifer M. J. O’Connell, Miklós Kiss, and Annelies van Noortwijk. "Toward a Cognitive Definition of First-Person Documentary." In Cognitive Theory and Documentary Film. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_13.

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Hole, Kristin Lené, and Dijana Jelača. "Documentary." In Film Feminisms. Routledge, 2018. http://dx.doi.org/10.4324/9781315618845-6.

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Rosenstone, Robert A. "Documentary." In History on Film/Film on History. Routledge, 2017. http://dx.doi.org/10.4324/9781315113654-5.

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Benyahia, Sarah Casey, John White, and Freddie Gaffney. "Documentary film." In A Level Film Studies. Routledge, 2020. http://dx.doi.org/10.4324/9780429324628-19.

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kydd, Elspeth. "Documentary Film." In The Critical Practice of Film. Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34527-0_4.

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Dixon, Mark. "Documentary film." In Essential Revision for A Level Film Studies. Routledge, 2021. http://dx.doi.org/10.4324/9781003119241-18.

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Chanan, Michael. "Music, Documentary, Music Documentary." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_38.

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Franco, Eliana P. C. "Documentary film translation." In Translation in Context. John Benjamins Publishing Company, 2000. http://dx.doi.org/10.1075/btl.39.27fra.

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Lesage, Julia. "Feminist documentary." In Contemporary Radical Film Culture. Routledge, 2020. http://dx.doi.org/10.4324/9781351006385-3.

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Pullen, Christopher. "Documentary Identity." In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_32.

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Conference papers on the topic "Definition of documentary film"

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Prasetyaningsih, Sandi. "Creative Editing in Documentary Film." In The Second International Conference on Social, Economy, Education, and Humanity. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009121902650271.

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Prasetyaningsih, Sandi, and Gretchen Coombs. "Continuity Editing in Documentary Film." In The International Conference on Applied Engineering. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0010351200270033.

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Ardianto, Deny, Bedjo Riyanto, and Putut Pramana. "Suprapto Suryodarmo’s Silent Path a Documentary Film." In Proceedings of the 1st Conference of Visual Art, Design, and Social Humanities by Faculty of Art and Design, CONVASH 2019, 2 November 2019, Surakarta, Central Java, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.2-11-2019.2294938.

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Magal, Slavomir. "Theory of Documentary Film in the Modern Age." In Annual International Conference on Journalism & Mass Communications (JMComm 2016). Global Science & Technology Forum (GSTF), 2016. http://dx.doi.org/10.5176/2301-3710_jmcomm16.69.

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Jones, Katie Baker. "Mything in action: Fashion designers in documentary film." In Pivoting for the Pandemic. Iowa State University Digital Press, 2020. http://dx.doi.org/10.31274/itaa.11857.

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Bartindale, Tom, Guy Schofield, and Peter Wright. "Scaffolding Community Documentary Film Making using Commissioning Templates." In CHI'16: CHI Conference on Human Factors in Computing Systems. ACM, 2016. http://dx.doi.org/10.1145/2858036.2858102.

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Magal, Slavomir. "THEORY OF DOCUMENTARY FILM IN THE NEW MEDIA LANDSCAPE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/41/s16.034.

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Mityagina, Vera. "Image Of Russia In Documentary Film Text: Transcultural Focus." In X International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.113.

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Camellia, Kurnisar, and Edwin Nurdiansyah. "The Development of Documentary Film Media in Civics Education Subject." In 1st International Conference on Character Education (ICCE 2020). Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210204.005.

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Ling, Loh Yoke. "Media Literacy Of Sarawak Youth Towards The Official Documentary Film." In 7th International Conference on Communication and Media. European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.06.02.6.

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Reports on the topic "Definition of documentary film"

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Rhee, Jongeun. Exploring the Impact of a Documentary Film on Young Consumers' Understanding of Sustainable Apparel Consumption and Behavioral Changes. Iowa State University, Digital Repository, 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1558.

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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, 2014. http://dx.doi.org/10.5783/rirp-7-2013-02-05-24.

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Girona, Ramón, and Jordi Xifra. The Ramparts We Watch: film documentary discourse in the field of Public Relations / The Ramparts We Watch: el discurso del cine documental en el campo de las Relaciones Públicas. Revista Internacional de Relaciones Públicas, 2014. http://dx.doi.org/10.5783/rirp-7-2014-02-05-24.

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