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

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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2

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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3

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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4

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 </em>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. <em>The research methodology </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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7

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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10

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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SZEMAN, IMRE. "Crude Aesthetics: The Politics of Oil Documentaries." Journal of American Studies 46, no. 2 (2012): 423–39. http://dx.doi.org/10.1017/s0021875812000151.

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How does the problem of oil appear in documentary film? I provide an answer to this question by examining the narrative and aesthetic choices through which the problem of oil is framed in three recent “feature” documentaries: Basil Gelpke and Ray McCormack's A Crude Awakening (2006), Joe Berlinger’s Crude: The Real Price of Oil (2009), and Shannon Walsh's H2Oil (2009). My aim is to understand not only the specific politics enacted through the formal and aesthetic choices made in each film, but to map out what these documentaries tell us about the social life of oil today, and the capacity for

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Zhang, Ling. "Rabbit In and Out of the Moon: A Retrospective of Emiko Omori." Film Quarterly 71, no. 1 (2017): 42–50. http://dx.doi.org/10.1525/fq.2017.71.1.42.

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Attention to alternative methods for creating, promoting, and discussing films can function as both a meaningful gesture of resistance and advocacy for diversity. Nonmainstream, noncommercial, low-budget independent films have long been an effective means for filmmakers marginalized by ethnicity, gender, class, and/or sexual minority groups to communicate their appeals for social criticism, historical inquisition, and aesthetic innovation. The biography and oeuvre of Emiko Omori, the Japanese American cinematographer and documentarian, embodies and exemplifies these issues. In February 2017, N

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Chishi, Aviholi. "Highland Film Club: Connecting People and Cultures through Film." Highlander Journal 3, no. 2 (2024): 142–46. https://doi.org/10.5281/zenodo.11002352.

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Based at the Highland Institute in Kohima, The Highland Film Club, launched in February 2023, shows a variety of films by indigenous and non-indigenous filmmakers on the last Friday of everymonth. The films, usually documentaries and feature lms, from all around the world feature a range of topics, including environmental stewardship, indigenous culture and knowledge and social issues. Wherever possible, the film director is invited to attend, in person, or online, and the lively discussion after the film is a key part of the event.

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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.

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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

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Gregg, Ronald. "The Documentaries of Barbara Hammer: Lesbian Creativity, Kinship, and Erotic Pleasure in the Historical Margins." Camera Obscura: Feminism, Culture, and Media Studies 36, no. 3 (2021): 105–17. http://dx.doi.org/10.1215/02705346-9349399.

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Abstract Lesbian filmmaker Barbara Hammer turned from experimental filmmaking to feature-length documentaries in the early 1990s. These late documentaries illustrate her distinct perspective on queer history and affect, which was influenced by 1970s lesbian feminism and queer scholarship in the 1980s and 1990s. Her structure and style in these films draw on the tools of both conventional historical documentaries and experimental film. Offering an astonishing range of evidence, Hammer creatively presents queer plenty from the margins of the archive. Through this evidence, Hammer affirms past qu

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Rich, B. Ruby. "Geoblocking Fall 2020." Film Quarterly 74, no. 3 (2021): 76–82. http://dx.doi.org/10.1525/fq.2021.74.3.76.

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FQ editor-in-chief B. Ruby Rich presents her take on festival-going in the time of COVID. While noting the challenges posed by geoblocking and navigating festival schedules across multiple time zones, along with the absence of the excitement and comradeship that provide live festivals with their momentum, she observes that virtual festivals—liberated from geography—offer advantages in terms of access. Surveying the offerings at the Toronto Film Festival, New York Film Festival, and DOK Leipzig, Rich highlights feature films and documentaries that offered a welcome escape from her COVID-demarca

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Balčus, Zane. "OF STILL AND MOVING IMAGES: STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES." Culture Crossroads 23 (January 10, 2024): 216–25. http://dx.doi.org/10.55877/cc.vol23.377.

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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still pho

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Lippit, Akira Mizuta. "The Death of an Animal." Film Quarterly 56, no. 1 (2002): 9–22. http://dx.doi.org/10.1525/fq.2002.56.1.9.

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This essay looks at the representation of animal death in cinema, beginning with some of the earliest recorded killings of animals, such as Thomas Edison's Electrocuting an Elephant (1903), to contemporary feature films and documentaries that depict scenes of violence toward animals. At stake in this essay is a challenge to the philosophical axiom that animals cannot die: that because animals lack language, they are incapable of knowing death, and thus of experiencing it as such. In cinema, the paradox takes on an added complexity, which arises from the nature of visual representation and phot

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Пестова, Дар’я. "THE DEPICTION OF THE HOLOCAUST IN DANISH CINEMA: FICTION AND DOCUMENTARY APPROACHES." КОНСЕНСУС, no. 2 (2025): 154–64. https://doi.org/10.31110/consensus/2025-02/154-164.

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The article explores the prospect of using cinema to form a collective memory of the Holocaust. Attention is focused on the example of Denmark, due to the significant number of documentaries and feature films on the issue, made in the country or partially funded by it. In the study of documentary and feature films on the Holocaust produced in Denmark, it is noted that the authors of the films focus on two key issues: the rescue of the Jewish population to Sweden in 1943 and the stay of Danish Jews in the Theresienstadt camp. The purpose of the article is to study the peculiarities of the refle

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Ogudov, Sergei Aleksandrovich. "MULTIMODAL NARRATION IN THE SCREENPLAYS BY V. V. MAYAKOVSKY." Russkaya Literatura 4 (2024): 201–14. https://doi.org/10.31860/0131-6095-2024-4-201-214.

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The article analyzes the screenplays by V. V. Mayakovsky as multimodal narratives that combine the models of feature films, documentaries and animation. Using the scripts for Farewell to the Fireplace, The Heart of Cinema, Benz No. 22 and others as the case studies, the interactions between the modes of transmitting a story line are revealed, highlighting Mayakovsky’s plan of the production as a complex synthesis of several cinematic strategies.

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Blackwood, Gemma. "Ecocinema in Pukapuka: Climate Change and Pacific Island Futures in Gemma Cubero del Barrio’s Our Atoll Speaks (2019) and The Island in Me (2021)." eTropic: electronic journal of studies in the Tropics 24, no. 1 (2025): 261–79. https://doi.org/10.25120/etropic.24.1.2025.4158.

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Examining tropical futurisms through cinema, this paper analyzes two recent documentary films directed by Spanish-American filmmaker Gemma Cubero del Barrio: the short film Our Atoll Speaks: Ko Talatal Mai to Matou Wenua (2019) and the feature documentary The Island in Me (2021). Each is filmed on the remote Pacific Island atoll of Pukapuka in the Cook Islands and features Pacific writer Florence “Johnny” Frisbie. The latter of these two films has been promoted by Cubero del Barrio as the first feature film ever made on Pukapuka, and both films in different ways consider the existential threat

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Power, Aidan. "Awakening from the European Dream: Eurimages and the Funding of Dystopia." Film Studies 13, no. 1 (2015): 58–72. http://dx.doi.org/10.7227/fs.13.0005.

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Since its inception by the Council of Europe in 1989, Eurimages has been to the fore in financing European co-productions with the aim of fostering integration and cooperation in artistic and industry circles and has helped finance over 1,600 feature films, animations and documentaries. Taking as its thesis the idea that the CoE seeks to perpetuate Europes utopian ideals, despite the dystopian realities that frequently undermine both the EU and the continent at large, this article analyses select Eurimages-funded dystopian films from industrial, aesthetic and socio-cultural standpoints with a

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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video

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VanderWerf, Jessica, Phyllis Greenberg, and Rona Karasik. "NOW SHOWING: THE USE OF FILMS IN ADVANCED GERONTOLOGY COURSES." Innovation in Aging 7, Supplement_1 (2023): 651–52. http://dx.doi.org/10.1093/geroni/igad104.2119.

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Abstract While the use of films to teach about aging and older adults is not new, current movies and the students who view them are ever-changing. So too are the learning goals and practices for incorporating media into the advanced gerontological classroom. The current undertaking considers the unique aspects of employing movies (including documentaries and international films) and builds on previous works (Cohen-Shalev & Marcus, 2007; Karasik & Hamon, 2014; Markson & Taylor 1993) with an eye toward the more advanced pedagogical goals of upper level undergraduate and graduate cour

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Amrapali, Sharma. "Epidemics in Indian Cinema: Before and during Covid-19." International Journal of Arts, Humanities and Social Studies 4, no. 5 (2022): 64–68. https://doi.org/10.5281/zenodo.7211790.

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The paper identifies trends in Indian filmmaking on the Covid-19 outbreak between 2020-22 by examining selected short films and short film anthologies, documentaries/docudramas and feature films. The Introduction looks at appraisals of popular films on epidemics, which appeared in popular and academic media (print and electronic) between those two years. In passing, it notes that Indian films on epidemic outbreaks—though not too many—found almost no space in these publications. They also tended to overlook films produced internationally, leaving aside one or two exceptions from sou

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Klauß, Cornelia. "New Horizons and Disruptions. East-German Female Directors of the DEFA-Studios and from Underground." Panoptikum, no. 23 (August 24, 2020): 43–50. http://dx.doi.org/10.26881/pan.2020.23.03.

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On the occasion of a publication Sie – Regisseurinnen der DEFA und ihre Filme, Berlin, Schriftenreihe der DEFA-Stiftung, 2019, all female directors who worked for the DEFA studios in the GDR were identified for the first time. More than sixty women directors worked for DEFA between 1946 and 1992. They made feature films and documentaries, worked in advertising film and in the animation studio. Particularly among the smaller formats, there is a striking number of female directors who were able to accommodate their preferred themes in the slipstream of the major productions. They problematized t

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Ikbal, Mamasadikovich Melikuziev. "FILM ART OF UZBEKISTAN: YESTERDAY AND TODAY." EURASIAN JOURNAL OF LAW, FINANCE AND APPLIED SCIENCES 2, no. 5 (2022): 4–13. https://doi.org/10.5281/zenodo.6528897.

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This scientific article is devoted to the history of Uzbek cinema, feature films and documentaries shot in the first years of its existence, the artistic quality of films, the skill of the creators of these films. At the same time, the article examines the fundamental changes taking place in Uzbek cinema, their essence, the opportunities that open up for the creators. The article also details the policy pursued by the Government of the Republic of Uzbekistan for the development of domestic cinema, as well as the practical assistance provided. He talks about the projects of Uzbek filmmakers in

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Glazkova, Svetlana. "Aboriginal Cinema for Aboriginal People: The Australian Feature Film “Ten Canoes” as a Phenomenon of Ethnic Cinema." Antropologicheskij forum 20, no. 63 (2024): 157–82. https://doi.org/10.31250/1815-8870-2024-20-63-157-182.

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In the first decades of the 21st century there began in different countries the production of documentaries and feature films in the creation of which there took part representatives of a wide variety of sociocultural communities that were previously only objects of ethnographic research or an exotic ethnic component of mainstream feature films. Documentary and feature films help such communities form their own ethnic identity and build cross-cultural dialogue with representatives of other cultures. However, ethnic film narratives may not offer complete transparency to foreign audiences unfami

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Rohn, Ulrike, and Karli Jaanson. "Film Branding: How the Estonia 100 umbrella brand influenced production, marketing and consumption of the Estonia 100 films." Baltic Screen Media Review 7, no. 1 (2019): 34–49. http://dx.doi.org/10.2478/bsmr-2019-0003.

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AbstractThe Republic of Estonia celebrated the 100th anniversary of its independence on February 24, 2018. The celebration marked a significant milestone for Estonians and, as a way of recognizing this, the Estonian government implemented different marketing and participatory strategies for involving individuals and organizations to take part in the celebration. As such, individuals and organizations were invited to create special gifts for Estonia and its citizens. These gifts could be in the form of tangible presents or in the form of special events and cultural programs. The official gifts

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EID, Rana, and Shohini CHAUDHURI. "Ways of Listening: An Interview with Sound Designer Rana Eid." Regards, no. 30 (October 31, 2023): 115–33. https://doi.org/10.70898/regards.v0i30.874.

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This article is an interview between sound designer Rana Eid and film scholar Shohini Chaudhuri. It explores Eid’s personal and professional journey into sound and her work on MENA and international film soundtracks, highlighting the ethical, political and artistic dimensions of sound design in cinematic storytelling. Eid explains the different roles and elements of audio post-production, her preferred working practices and the different challenges of working on Lebanese, Arab and international films. Together, Eid and Chaudhuri discuss the ethics and aesthetics of sound design in fiction and

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Zito, Angela. "The Act of Remembering, the Xianchang of Recording." Film Quarterly 69, no. 1 (2015): 20–35. http://dx.doi.org/10.1525/fq.2015.69.1.20.

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The Minjian jiyi yingxiang jihua or Folk/Minjian Memory Project of Caochangdi (CCD) Workstation in Beijing, led by Wu Wenguang and Wen Hui, provides a multi-media effort springing from interviews by a team of young people in the countryside about the Great Leap Forward Famine of the late 1950s. The project combines feature documentaries with the archiving of oral history video, and embeds the resulting digital work in theatrical performances. This essay concentrates upon several of its early documentaries that combine the aesthetics of “making-of” films with a “filial quest,” a search for hist

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Miranda-Barreiro, David. "‘Little Spain’ or ‘Little Galicia’?" Journal of Romance Studies 20, no. 3 (2020): 489–512. http://dx.doi.org/10.3828/jrs.2020.26.

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This article studies three cinematic representations of the Galician migrant community in the United States: the documentaries Os 15000 de Newark (2007) and Little Spain (2014), and the feature-length film Little Galicia (2015). The analysis of these films focuses especially on the influence of their chosen framing on the migrants’ performance of their cultural identity. By assessing the performative aspect of identity, this article also examines the possibility of considering Galicianness as a transnational positioning, globally or glocally performed, rather than a geographically fixed essenc

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Kopczyński, Krzysztof. "Religious and quasi-religious attitudes in four Polish documentaries from 2008–2019." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 30, no. 39 (2021): 139–55. http://dx.doi.org/10.14746/i.2021.39.07.

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The paper aims to present different ways of showing religious and quasi-religious attitudes in contemporary Polish documentaries. The discussion is based on four feature-length films: Kites by Beata Dzianowicz (2008), Communion by Anna Zamecka (2016), Who Will Write Our History by Roberta Grossman (2018), and Tell No One by Tomasz Sekielski (2019). The author evaluates the methodological usefulness of reflection in the documentary of the “religious film” category used in Polish research and the concept of “transcendent(al) style” taken from Paul Schrader’s book. Occasionally touching upon the

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Turnacker, Katalin. "Harmony of Senses – 3D Documentaries of Herzog and Wenders." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (2014): 97–111. http://dx.doi.org/10.2478/ausfm-2014-0028.

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Abstract The two still active great artists of the new German cinema, Werner Herzog and Wim Wenders, presented their 3D documentaries on the 2011 Berlinale. This coincidence, not to be neglected in itself, is more than a mere experimentation with the new technology. Indeed, it much rather reveals the complexity of perceptions coming into action during the film experience and their relationship with the onlooker. It highlights the process in which the viewer involuntarily, thoughtlessly relates to their own sensory experience. Following their feature films grounded on the visuality of the cinem

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Jali, Aliffazraie, Qistina Donna Lee Abdullah, Teo Miaw Lee, and Yow Chong Lee. "EXPLORING FILM ARCHIVING IN MALAYSIA OR PRESERVATION AND CONSERVATION OF VISUAL HISTORY." International Journal of Applied and Creative Arts 5, no. 1 (2022): 1–12. http://dx.doi.org/10.33736/ijaca.4755.2022.

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The Malaysian film industry has entered the digital industry when all production and national broadcasting companies shifted to digital equipment and facilities. This raises the issue on how to preserve local films from here on out regardless of the video recording method. While there are some government institutions tasked with digitising and preserving films (negatives) in Malaysia, little is known about the procedure, protocol, and priority of this development. Through in-depth interviews with key personnel from National Film Development Corporation Malaysia (FINAS) and Arkib Negara, the st

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Liu, Cuican, and Yiwen Wang. "Repositioning Nordic film culture in Beijing, China: The Wandering in Scandinavia symposium." Journal of Scandinavian Cinema 14, no. 1 (2024): 87–96. http://dx.doi.org/10.1386/jsca_00112_7.

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The Wandering in Scandinavia symposium, held at the UCCA Centre for Contemporary Art in Beijing in December 2023, invited international experts, scholars and young academics to present new research on Nordic/Scandinavian film and television in China. The symposium offered an unprecedented opportunity to discuss the relevance of Nordic cinema in mainland China. While Nordic films are often considered niche products in the Chinese market, in an era of rapid globalization, Chinese scholarship offers a distinctive perspective on how Nordic films connect with and influence audiences and creatives i

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Ateş, Hüdai, and Dilek Takımcı. "Understanding The Western Perspective In The Process Of Decolonialism Through Documentary Films Influenced By Orientalism." Journal of Türkiye Media Academy, no. 8 (September 30, 2024): 1–24. https://doi.org/10.5281/zenodo.13855983.

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The strengths of documentary cinema in depicting cultural, social and historical issues and the responsible use of this power are among the leading debates in the field of cinema.  In particular, the representation of Eastern cultures in documentaries is addressed as distorted through orientalist stereotypes and prejudices. In this study, feature films that won awards at the International Documentary Film Festival Amsterdam (IDFA) were examined, and 13 films about Eastern societies were selected as a sample and analyzed in terms of orientalist representations. The research presents findin

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Biswas, Moinak, Ravi Vasudevan, Arun Kumar Roy, and Maharghya Chakraborty. "Hari Sadhan Dasgupta: Short Film Maker." BioScope: South Asian Screen Studies 8, no. 1 (2017): 146–70. http://dx.doi.org/10.1177/0974927617705933.

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Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 5

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Nance, Susan. "On Wild Animals, Hubris, and Redemption." Society & Animals 20, no. 4 (2012): 401–7. http://dx.doi.org/10.1163/15685306-12341259.

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Abstract This review considers three recent films that focus on the lives of captive exotic animals and the people who keep them: Water for Elephants (2011), a fictional Hollywood feature, and the documentaries One Lucky Elephant (2010) and The Elephant in the Living Room (2010). Despite their different motivations and target audiences, all three productions tell the stories of well-meaning people who take wild animals captive—most prominently elephants and lions—believing that only they can keep the animals safe and fulfilled. In each context, these people have profound, if self-interested, e

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Ivannikova, Kristina Olegovna. "Pirjo Honkasalo’s World of Thoughts and Symbols in Russia: Sample of Statistical Analysis." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 115–24. http://dx.doi.org/10.17816/vgik72115-124.

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The article deals with creation of Pirjo Honkasalo (b. 1947), one of the most talented and interesting filmmakers in contemporary Finnish cinema. Her films have gained certain recognition in Europe but are hardly known among Russian viewers - despite the fact that the subjects of a number of her documentaries are directly related to Russia. Pirjo Honkasalo is internationally known as the author of poetic documentaries marked with profound philosophical and religious issues. It was Honkasalos documentary Three rooms melancholia (Melancholian 3 huonetta, 2004), that lent eclat to her. The direct

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Castello Branco, Patrícia. "Kant and Burke’s Sublime in Werner Herzog’s Films: The Quest for an Ecstatic Truth." Film-Philosophy 26, no. 2 (2022): 149–70. http://dx.doi.org/10.3366/film.2022.0193.

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The German filmmaker Werner Herzog controversially associates “truth” and “reality” in film with Kant’s notion of the sublime by explicitly treating the sublime as a key element in developing his notion of ecstatic truth. I critically examine Herzog’s interpretation of Kant’s sublime and the relations he establishes between the sublime and his own key aesthetic notion of ecstatic truth. I examine how the sublime in Herzog’s films arises from encounters with the overwhelming force and power of nature experienced by his characters in the feature films and participants in the documentaries. I que

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Speransky, A. V. "Cinema as a means of mobilization of the population of the Urals to repel the enemy during the Great Patriotic war." Proceedings of the Komi Science Centre of the Ural Division of the Russian Academy of Sciences 4 (2021): 71–78. http://dx.doi.org/10.19110/1994-5655-2021-4-71-78.

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The paper describes the forms and methods of work of the Party and State bodies aimed at the full and effective use of the Soviet film industry in the labour and patriotic mobilization of the residents of the Urals. The problems of the development of documentary films are analyzed. It is noted that despite the pronounced emphasis on the rear issues, the Ural documentarians also focused on the needs and aspirations of the front-line soldiers. Demonstrating on the front line the achievements of the вЂњsupporting edge of the powerвЂќ, they gave soldiers confidence in the steadfastness of the rear

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В.Г., Батухтин. "СРАВНИТЕЛЬНЫЙ АНАЛИЗ СВЕТСКОГО КИНО И ФИЛЬМОВ ПРАВОСЛАВНОЙ ТЕМАТИКИ". Scientific and Theological Bulletin of the Perm Theological Seminary, № 2(7) (4 квітня 2024): 173–85. http://dx.doi.org/10.48622/permds.2022.7.2.013.

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В данной статье автор осуществляет сравнительный анализ светского кино и фильмов православной тематики. По мнению автора, синтез лучших достижений светского кинематографа с задачами православного просвещения имеет большое значение для осуществления православной миссии в современном обществе. При этом можно охватить достаточно широкий материал, включая советские художественные и документальные фильмы, а также некоторые достойные примеры современного киноискусства, в том числе игрового кино. Киноискусство занимает важнейшее место в культивировании духовно-нравственных качеств человека, а, следов

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Romashin, Matvey I. "The War that Ended in Nothing: the Korean Conflict in American Feature Films." Humanitarian: actual problems of the humanities and education 22, no. 3 (2022): 260–71. http://dx.doi.org/10.15507/2078-9823.059.022.202203.260-271.

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Introduction. Today, interdisciplinary approaches blur the boundary between verbal and visual narratives, newsreels, photo and audio documents are actively used in historical research, theoretical and methodological issues of source analysis of audiovisual resources are discussed in historiography. Unlike documentaries, feature films capture and broadcast not so much historical realities as people’s attitudes towards them. Cinema is an actor of social processes: it not only reflects, but also creates historical ideas about a specific event, time, era, etc. The purpose of the work is to identif

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Emmer, Michele. "How a Mathematician Started Making Movies." Leonardo 52, no. 2 (2019): 184–90. http://dx.doi.org/10.1162/leon_a_01473.

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The author’s father, Luciano Emmer, was an Italian filmmaker who made feature movies and documentaries on art from the 1930s through 2008, one year before his death. Although the author’s interest in films inspired him to write many books and articles on cinema, he knew he would be a mathematician from a young age. After graduating in 1970 and fortuitously working on minimal surfaces—soap bubbles—he had the idea of making a film. It was the start of a film series on art and mathematics, produced by his father and Italian state television. This article tells of the author’s professional life as

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Sheppard, W. Anthony. "An Exotic Enemy: Anti-Japanese Musical Propaganda in World War II Hollywood." Journal of the American Musicological Society 54, no. 2 (2001): 303–57. http://dx.doi.org/10.1525/jams.2001.54.2.303.

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Abstract The cinema was the most effective medium for anti-Japanese propaganda in the United States during World War II and was the site of music's most important wartime role. From shortly after Pearl Harbor to the end of the U.S. occupation of Japan in 1952, Hollywood produced a large number of films offering negative depictions of the Japanese. Music assumed multiple roles in these anti-Japanese feature films and U.S. government documentaries. Never had Orientalist and racial politics been more clearly evident in music heard by so many as in these productions. These films marshaled preexist

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Эли, Марк. "Селевой поток в кинематографе Казахстана в 1970–1980-е годы: научное изучение и киноизображение (на основе научного, трех документальных и художественного фильма-катастрофы)". Qazaq Historical Review 3, № 1 (2025): 73–98. https://doi.org/10.69567/3007-0236.2025.1.73.98.

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The article analyzes the history of scientific study of the nature of mudflows in the vicinity of Soviet Alma-Ata (Almaty), and the circumstances of the creation of the first films about mudflows in the cinema of Soviet Qazaqstan in the 1970–1980s. Soviet scientists have provided multiple explanations for the dangerous and elusive natural phenomenon of mudflows. The article is based on the stories of five films about mudflows, reflecting scientific discussions and the political will of the leaders of Soviet Qazaqstan around this topic. These include the first scientific film, "Mudstone Stream,

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Valkola, Jarmo. "Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films." Baltic Screen Media Review 3, no. 1 (2015): 44–63. http://dx.doi.org/10.1515/bsmr-2015-0023.

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Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany

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Horányi, Péter. "Wandering Gazes on the Screen: The American Material Environment in James Benning’s Films." Disegno 6, no. 1 (2022): 54–68. http://dx.doi.org/10.21096/disegno_2022_1ph.

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The experimental filmmaker James Benning has a unique way of approaching American life through a radical film language. My paper addresses the question of how American material culture and design appear in Benning’s early work. A recurring feature is his preference for the depiction of landscapes, buildings, objects, and vehicles over human characters that support viewer identification in mainstream documentaries. In the first half of the paper, I present the main stylistic features of Benning’s body of work within the context of structural film and documentary filmmaking. Then I provide a det

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Kichelewski, Audrey. "Poland's Postwar Trauma and Identity in Pawel Pawlikowski's Films: Reflections on Ida and Cold War." Central European History 53, no. 3 (2020): 652–56. http://dx.doi.org/10.1017/s0008938920000473.

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Does homecoming epitomize Polish filmmaker Pawel Pawlikowski's last two films, Ida (2013) and Cold War (Zimna wojna, 2018)? Considering the box office, the awards won, and the film critics’ response, it seems that the transition from documentaries to feature films meant a turn to Polish history and identity for the director. (Pawlikowski was born in Warsaw but has spent most of his life abroad after his parents left Poland in the wake of the anti-Zionist campaign of March 1968, while he was still a teenager.) As Jerry White put it, analyzing Cold War in the light of Pawlikowski's earlier caree

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