Relevant bibliographies by topics / Documentaries (feature films)

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Academic literature on the topic 'Documentaries (feature films)'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Documentaries (feature films)"

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MacDonald, Scott. "Hollywood Outsider-Insider: An Interview with Chuck Workman." Film Quarterly 57, no. 1 (2003): 2–10. http://dx.doi.org/10.1525/fq.2003.57.1.2.

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Abstract Scott MacDonald: “Hollywood Outsider-Insider:An Interview with Chuck Workman.” Scott MacDonald talks with Chuck Workman, who began his career producing advertisements and trailers for low-budget films, then graduated to trailers for big-budget films (Star Wars; Paris, Texas...), and to feature documentaries (Superstar: The Life and Times of Andy Warhol; The Source), dramatic features (most recently, A House on a Hill, to be released later this year), and short and feature-length compilation films, including the historical miniretrospectives that enliven the Academy Awards shows, year
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Kim, Hee-Jung. "Kieślowski’s Film World Seen through Documentary: Focusing on Hospital, Seven Women of Different Ages and Dworzec." East European and Balkan Institute 46, no. 2 (2022): 25–44. http://dx.doi.org/10.19170/eebs.2022.46.2.25.

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Polish film director Krzysztof Kieślowski has directed twenty-one documentaries. His films, which have consistently offered insights into “human” and ontological concerns, began with documentaries. Kieślowski employed his unique ethical sensibility in his move from pure documentary to feature film, and even in his feature films portrays an essential, poignant and detailed portrait of what it means to be “human”. In his early works, Kieślowski explored aspects of ordinary people's lives against the background of the political situation in Poland. In his feature films, he paints a portrait of an
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Suleimenova, A. E., and A. K. Ishanova. "Fact and fiction in documentary films (Using the example of television films about the Great Patriotic War)." BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 141, no. 4 (2022): 56–65. http://dx.doi.org/10.32523/2616-7174-2022-141-4-56-65.

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This article is devoted to the study of methods of transmitting facts and artistic techniques in a documentary on television. The purpose of the scientific research is to determine the characteristic features of these techniques. The object of the study is documentaries about the Great Patriotic War of 1941-1945, released on television in Kazakhstan and Russia. The functional difference in the techniques of constructing a documentary film will allow us to further study the transformation processes in the structure of television documentaries. In addition, marking the boundaries between the met
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Abbatescianni, Davide. "THE ESTONIAN DOCUMENTARY FILM INDUSTRY: INVESTING IN THE CULTURAL GROWTH OF THE COUNTRY." Culture Crossroads 10 (November 10, 2022): 77–84. http://dx.doi.org/10.55877/cc.vol10.143.

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Estonia represents one of the few countries in Europe where short and feature documentaries are produced more than fiction films. According to the latest report published by Cineuropa in 2015, Estonia released 8 fiction features and 12 documentaries. Alongside these, 44 fiction short films, 85 short documentaries and 10 short animations were completed, making a total of 159 films produced in Estonia during 2014. Though it has a limited domestic market, Estonian documentary film industry is vibrant and flourishing. Is it possible for this trend to continue as the country faces demographic decli
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Shyrman, Roman. "Video Surveillance as an Educational Exercise and Artwork." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 28–37. http://dx.doi.org/10.31866/2617-2674.5.1.2022.256949.

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The purpose of the article is to analyze the importance of training exercises in video surveillance for the creative abilities’ development of film and television directors; to prove the necessity and usefulness of such exercises not only for documentarians but also for feature film and animation directors; identify specific methods of the director’s work on video surveillance. The research methodology is based on a theoretical analysis of the work of outstanding film directors, in particular films and evidence on the nature of documentary films by Hertz Frank and Frederick Wiseman and analysi
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Shyrman, Roman. "Video Surveillance as an Educational Exercise and Artwork." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 5, no. 1 (2022): 28–37. https://doi.org/10.31866/2617-2674.5.1.2022.256949.

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<em>The purpose of the article&nbsp;</em>is to analyze the importance of training exercises in video surveillance for the creative abilities&rsquo; development of film and television directors; to prove the necessity and usefulness of such exercises not only for documentarians but also for feature film and animation directors; identify specific methods of the director&rsquo;s work on video surveillance.&nbsp;<em>The research methodology&nbsp;</em>is based on a theoretical analysis of the work of outstanding film directors, in particular films and evidence on the nature of documentary films by
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Pronin, Alexander A. "Feature Film Quotation in a Documentary Portrait: a Functional-Semantic Aspect." Journal of Flm Arts and Film Studies 7, no. 3 (2015): 62–71. http://dx.doi.org/10.17816/vgik7362-71.

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The article analyzes the underresearched practice of using feature film quotations in portrait documentaries. A certain number of contemporary films help to single out the most typical sphere of quotations usage, demonstrate typical means of incorporating film quotations into the new film text, and present a classification of quotation variants according to their functional-semantic aspect.
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Bezruchko, Oleksandr, and Maksym Sukhin. "Animated Documentaries in Modern Cinematic Art: Specifics of Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 241–51. http://dx.doi.org/10.31866/2617-2674.6.2.2023.289310.

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The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison o
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Bezruchko, Oleksandr, and Maksym Sukhin. "Animated Documentaries in Modern Cinematic Art: Specifics of Production." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 6, no. 2 (2023): 241–51. https://doi.org/10.31866/2617-2674.6.2.2023.289310.

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<strong>The purpose of the article </strong>is to analyze the peculiarities of animated documentary films' production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. <strong>Research methodology. </strong>It consists in applying of the following methods: theo
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Dupont, Joan. "Yolande Zauberman." Film Quarterly 76, no. 4 (2023): 54–62. http://dx.doi.org/10.1525/fq.2023.76.4.54.

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Veteran arts reporter and FQ contributing editor Joan Dupont interviews the French director Yolande Zauberman, whose extensive oeuvre spans groundbreaking documentaries and prize-winning feature films including Moi Ivan, toi Abraham (1993), Clubbed to Death (1997), and M (2019).
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Books on the topic "Documentaries (feature films)"

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Pisters, Patricia. Filming for the Future. Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980310.

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Louis Van Gasteren was one of the most prolific filmmakers in the history of the Netherlands, with a resume that includes nearly eighty documentaries and two feature films-to say nothing of artworks and books. Filming for the Future offers an extended exploration of Van Gasteren's work and audio-visual world. Patricia Pisters introduces us to a filmmaker who always had his camera ready and was relentless in filming a wide range of topics and events of national and international importance. Fascinated by technology, deeply engaged with politics, and intensely occupied by the traumatic effects o
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Unit, Film Resource. African film catalogue: A fine selection of features and documentaries from the African continent. Film Resource Unit, 2000.

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Cinquegrani, Alessandro, Francesca Pangallo, and Federico Rigamonti. Romance e Shoah Pratiche di narrazione sulla tragedia indicibile. Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-492-9.

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Over the last 70 years, Holocaust representations increased significantly as cultural objects distributed on a large scale: fictional books, museum sites, artworks, documentaries, and films are only a few samples of those echoes the Holocaust produced in contemporary Western culture. There are some specific patterns in the way the Holocaust has been represented that, however, contrast with the survivors’ account of the same event: for example, the dichotomy between bad and good characters so essential within Holocaust-based media – especially on television and film - does not really match with
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Gerlach, J. Hawaii: From Western Discovery to Statehood. Microcosm Publishing, 2011.

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Garden, Ian. Third Reich's Celluloid War: Propaganda in Nazi Feature Films, Documentaries and Television. History Press Limited, The, 2011.

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Garden, Ian. Third Reich's Celluloid War: Propaganda in Nazi Feature Films, Documentaries and Television. History Press Limited, The, 2016.

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Garden, Ian. Third Reich's Celluloid War: Propaganda in Nazi Feature Films, Documentaries and Television. History Press Limited, The, 2011.

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The Third Reich's celluloid war: Propaganda in Nazi feature films, documentaries and television. The History Press, 2012.

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Rouxel, Mathilde, and Stefanie Van de Peer, eds. ReFocus: The Films of Jocelyne Saab. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474480413.001.0001.

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Jocelyne Saab was one of the most important female filmmakers pioneering a sense of international emancipatory world cinema from early 1970s to her death in 2019. This book is the first English-language study dedicated to her entire oeuvre which consisted of journalism, documentaries, experimental and feature films, as well as photography, art exhibitions and curation and film festival organisation. In this book, a range of international scholars integrates her work into a cohesive study of all aspects of her oeuvre – filmic, activist and artistic – representing the global significance of Saab
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Kealhofer-Kemp, Leslie. Muslim Women in French Cinema. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381984.001.0001.

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Muslim Women in French Cinema: Voices of Maghrebi Migrants in France is the first comprehensive study of cinematic representations of first-generation Muslim women from the Maghreb (Algeria, Morocco, Tunisia) in France. Situated at the intersection of post-colonial studies, gender studies, and film studies, this book uses the multi-layered concept of ‘voice’ as an analytical lens through which to examine a diverse corpus of over 60 documentaries, short films, téléfilms (made-for-television films), and feature films released in France between 1979 and 2014. In examining the ways in which the vo
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Book chapters on the topic "Documentaries (feature films)"

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Baranov, Andrey. "Feature Films and Documentaries on Soviet History as a Means of Constructing Political Identity in Contemporary Russia." In Film and Politics. Institute for Political Studies, 2024. http://dx.doi.org/10.18485/ips_film_politics.2024.ch14.

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Stone, Nora. "A Rising Tide." In How Documentaries Went Mainstream. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197557297.003.0003.

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Abstract Chapter 2 explores how American independent film culture and institutions led to greater support for documentary film. While Hollywood released fewer films, new independent distribution companies and studio classics divisions acquired documentary films. Those documentaries with a music or performance element, like Say Amen Somebody (1982) and Stop Making Sense (1984), proved particularly appealing. At the same time, documentarians extended the do-it-yourself practices of political filmmaking collectives by self-distributing their films, as with Word Is Out (1978), The War at Home (197
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"Liat Steir-Livny, Remaking Holocaust Memory: Documentary Cinema by Third-Generation Survivors in Israel. Syracuse: Syracuse University Press, 2019. 376 pp." In No Small Matter, edited by Anat Helman. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197577301.003.0021.

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This chapter assesses Liat Steir-Livny's Remaking Holocaust Memory (2019). This book is the first comprehensive English-language study of the Israeli Third-Generation engagement with the history of the Shoah in documentary films. In analyzing “how Third-Generation documentaries provide new ideas and concepts to commemorate and preserve the memory for future generations,” Steir-Livny contrasts Third-Generation documentary films with the works of second-generation directors and explores an extensive number of films in five key areas. These key areas include the role of gender; the changing attit
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Mecsei, Monica Kim. "Cultural Stereotypes and Negotiations in Sámi Cinema." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0005.

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This chapter provides a history of representations of Sámi peoples in Norwegian cinema over the past century, from the various remakes of Laila to comedies in the 1960s and 1970s indigenous rights documentaries. Mecsei examines recent developments in film production and Sámi language policies through the opening of the International Sámi Film Center in Guovdageaidnu-Kautokeino, Norway. The chapter outlines the history of the emergence of Sami self-representational film narratives through an analysis of the fiction feature films of Nils Gaup, including his groundbreaking films Pathfinder (1987)
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MacKenzie, Scott. "The Creative Treatment of Alterity: Nanook as the North." In Films on Ice. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694174.003.0015.

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This chapter examines the many re-iterations of Robert Flaherty’s influential film Nanook of the North (1922) to show how this key documentary film has been re-imagined and re-articulated in documentaries such as Claude Massot’s Nanook Revisited (1990), feature length fictional accounts of Flaherty’s journey north such as Massot’s Kabloonak (1994), indigenous media such as the National Film Board of Canada’s Netsilik series (1967), IMAX films like To the Arctic (2012) and experimental cinema such as Philip Hoffman and Sami van Ingen’s Sweep (1995). Through the analysis of these varied works, M
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Norðfjörð, Björn. "The Transnational Imperative." In Light in the Dark. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197762141.003.0008.

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Abstract In addressing the dramatic shift from the local to the global that took place during the 1990s in Icelandic cinema, the chapter emphasizes the pivotal role played by director Friðrik Þór Friðriksson. In doing so, it traces Friðriksson’s career from its roots in experimental cinema and music documentaries to feature films indebted to the aesthetic strategies of the European art film. His key narrative features, including Children of Nature (1991, Börn náttúrunnar) and Cold Fever (1995, Á köldum klaka), are analyzed in detail with an emphasis on their transnational elements, as are many
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Van de Peer, Stefanie. "Ateyyat El Abnoudy: Poetic Realism in Egyptian Documentaries." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0002.

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The first case study deals with the ‘mother’ of Egyptian documentary making Ateyyat el Abnoudy, and traces her career as a lawyer, journalist and filmmaker. As a pioneer of politically engaged and socially preoccupied documentary, she has influenced many young female filmmakers. Since the early seventies, her films, both short and feature length, have been celebrated throughout the world at festivals and retrospectives, but remain controversial in Egypt itself. This case study looks in detail at her early short films, Horse of Mud (1971), Sad Song of Touha (1972) and The Sandwich (1975), as we
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Norðfjörð, Björn. "Iceland in Living Pictures." In Light in the Dark. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197762141.003.0003.

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Abstract This chapter begins with the very emergence of filmmaking in Iceland, by looking closely at the oldest extant Icelandic film, Firemen Practice in Reykjavík (Alfred Lind, 1906, Slökkviliðsæfing í Reykjavík), and the many documentaries about Iceland that were grouped together under the name “Iceland-films” early in the twentieth century. It argues that these films capture the flow of life of the period and are therefore a good example of what Siegfried Kracauer considered to be the essence of cinema. The chapter then shifts the focus to the narrative feature films that emerged in the pe
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Sinwell, Sarah E. S. "Women Make Movies: Chicken & Egg Pictures, Gamechanger Films and the Future of Female Independent Filmmaking." In Indie Reframed. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474403924.003.0002.

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This chapter explores the pioneering and continuing importance of legendary non-profit Women Make Movies, established in 1972 as the first production and distribution company devoted to films by and about women, before focusing on the work of two recently established companies. Created in 2005 to support the work of female nonfiction filmmakers, Chicken &amp; Egg Pictures continues a tradition of activism in which feminist documentaries figure centrally by funding and mentoring filmmakers who address social, political and global human rights issues. More recently, Gamechanger Films was founded
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Areal, Leonor. "O cinema de Fernando Namora." In Medicina e Outras Artes: Fernando Namora no Centenário do seu Nascimento. FLUP-ILC, 2020. http://dx.doi.org/10.21747/978-9895478422/lib23a7.

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This article focuses on Fernando Namora´s long relationship with cinema, carrying out an inventory and study of nine film projects in which the writer was directly involved as screenwriter. Although they have not been produced, due to financial issues, censorship and other problems, these projects attest to the importance of cinema, and of film language, in Namora´s work, of which the script for O Rio Triste (preceding the novel) is a major example. In addition to these, Namora has had, during his lifetime, six feature films adapted to cinema or television, and he was the subject of five docum
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Conference papers on the topic "Documentaries (feature films)"

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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about his
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Reports on the topic "Documentaries (feature films)"

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation an
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