Journal articles: 'Documentary aesthetics'

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Harrison, Nicholas. "PONTECORVO'S ‘DOCUMENTARY’ AESTHETICS." Interventions 9, no. 3 (November 2007): 389–404. http://dx.doi.org/10.1080/13698010701618638.

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Lury, K. "Closeup: documentary aesthetics." Screen 44, no. 1 (March 1, 2003): 101–5. http://dx.doi.org/10.1093/screen/44.1.101.

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Le Roy, Frederik, and Robrecht Vanderbeeken. "The Documentary Real: Thinking Documentary Aesthetics." Foundations of Science 23, no. 2 (December 29, 2016): 197–205. http://dx.doi.org/10.1007/s10699-016-9513-8.

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Kang seyoon and 이원덕. "Sound aesthetics of documentary realism." journal of the moving image technology associon of korea 1, no. 28 (June 2018): 115–40. http://dx.doi.org/10.34269/mitak.2018.1.28.007.

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Capdevilla, Pol. "The objectifying documentary: realism, aesthetics and temporality." Communication & Society 28, no. 4 (October 15, 2015): 67–85. http://dx.doi.org/10.15581/003.28.4.67-85.

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Redmon, David. "Documentary criminology: Girl Model as a case study." Crime, Media, Culture: An International Journal 13, no. 3 (July 4, 2016): 357–74. http://dx.doi.org/10.1177/1741659016653994.

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Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry.

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Battaglia, Giulia. "Documentary films in India: critical aesthetics at work." Studies in Documentary Film 11, no. 2 (March 20, 2017): 157–58. http://dx.doi.org/10.1080/17503280.2017.1304507.

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Friday, J. "Demonic curiosity and the aesthetics of documentary photography." British Journal of Aesthetics 40, no. 3 (July 1, 2000): 356–75. http://dx.doi.org/10.1093/bjaesthetics/40.3.356.

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Heinemann, David, and Sharon Lin Tay. "The French documentary in context: genealogy, aesthetics, ethics." Studies in French Cinema 14, no. 3 (September 2, 2014): 157–66. http://dx.doi.org/10.1080/14715880.2014.949452.

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Chaudhary, Zahid R. "Desert Blooms." October 168 (May 2019): 92–109. http://dx.doi.org/10.1162/octo_a_00351.

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This essay considers the place of abstraction in documentary photography, a genre whose primary aesthetic-political commitment is usually assumed to be on the side of figuration, denotation, and facticity. Taking up photographer Fazal Sheikh's photographic series Desert Bloom, which records natural and human-made disturbances in the Naqab/Negev desert, the essay considers artistic abstraction in relation to other forms of economic, juridical, and political abstraction critical to settler colonialism in particular and capitalism more generally. How might abstraction be the very condition of politics? What might this imply for our understandings of documentary aesthetics?

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Aghaosa, Ike P. "THE KANTIAN NOTION OF AESTHETIC JUDGMENT: THE BEAUTIFUL, THE SUBLIME, AND IMPORT FOR AESTHETIC LEARNING." Sokoto Educational Review 16, no. 1 (June 28, 2015): 8. http://dx.doi.org/10.35386/ser.v16i1.66.

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This paper is sequel to “Philosophical, Professional and Epistemological Aesthetics: Nexus and Fundamental Issues and Arguments” (Aghaosa, 2014). Using the philosophical methods of language and logical analyses and arguments by analogy; and the methods of documentary inspection, the paper explored what should critically count as aesthetic judgment. Immanuel Kant’s aesthetic judgment of the beautiful and the sublime provided the conceptual framework of analysis .Schopenhauer and Nietzsche’s different hypothetical accounts from the phenomenological perspectives of these aesthetic categories helped to illustrate the effects of the beautiful and the sublime on the aesthetic spectator.

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Miner, Joshua D. "Experiments in Hybrid Documentary and Indigenous Model Animation." Animation 16, no. 1-2 (July 2021): 6–20. http://dx.doi.org/10.1177/17468477211025664.

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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.

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Kaushik, Ritika. "Book review: S. A. Chatterji, Filming Reality: The Independent Documentary Movement in India, K. P. Jayasankar & A. Monteiro, A Fly in the Curry: Independent Documentary Film in India and A. Sharma, Documentary Films in India: Critical Aesthetics at Work." BioScope: South Asian Screen Studies 11, no. 1 (June 2020): 105–10. http://dx.doi.org/10.1177/0974927620938336.

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S. A. Chatterji, Filming Reality: The Independent Documentary Movement in India. SAGE Publications, 2015, 320 pp., $59.99. K. P. Jayasankar & A. Monteiro, A Fly in the Curry: Independent Documentary Film in India. SAGE Publications, 2016, 276 pp., $54.99. A. Sharma, Documentary Films in India: Critical Aesthetics at Work. Palgrave Macmillan, 2015, XIII, 276 pp., 41.59€.

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Hayward Marcum, Joni. "Reconsidering the Aesthetics of Garbage in Waste Land." Afterimage 48, no. 3 (September 1, 2021): 35–57. http://dx.doi.org/10.1525/aft.2021.48.3.35.

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In the 2010 documentary film Waste Land, directed by Lucy Walker and co-directed by João Jardim and Karen Harley, Brazilian-born and Brooklyn-based visual artist Vik Muniz travels to the Jardim Gramacho landfill outside of Rio de Janeiro, Brazil. There, he creates works of art out of material from the landfill with the help of several catadores, or pickers, who work there. Though Muniz’s visual artwork and Walker’s film both form an aesthetic of garbage by making trash the material most central to their work, their redemptive impulses should be questioned, and their use of garbage aesthetics analyzed. Their work simultaneously takes part in and falls short of the political goals of this aesthetic, namely, to focus both visual and political attention on the inequalities faced by marginalized people, places, and materials. In reading Waste Land for the ways in which it both embraces and shirks garbage aesthetics, I will suggest how this aesthetic approach can help interrogate the limitations and possibilities offered by the theorizations of the Anthropocene, Capitalocene, and Chthulucene they intersect with, calling attention to their political and aesthetic qualities.

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Alvez, Juliano Keller, Inara Antunes Vieira Willerding, and Édis Mafra Lapolli. "ORGANIZATIONAL AESTHETICS." International Journal for Innovation Education and Research 6, no. 8 (August 31, 2018): 174–89. http://dx.doi.org/10.31686/ijier.vol6.iss8.1135.

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In response to the new challenges arising from an increasingly competitive and globalized environment, aimed at the Knowledge Era, where the value of the individual, his knowledge, and best practices become essential, managers with greater sensitivity and flexibility, aligned to entrepreneurial objectives, must be encouraged in the quest for knowledge sharing in order to encounter new opportunities and new processes of innovation. Therefore, the objective of the present research is to apply a strategic model for knowledge sharing in the light of organizational aesthetics and entrepreneurial management, developed by Willerding (2015), in an entrepreneurial organization that promotes knowledge sharing and change generation, opening the discussion on the possible impact of the aesthetic dimension on the ambiguity and subtlety existing in the business routine. To achieve the proposed objective, the study is based on bibliographical and documentary research, and interviews. In general terms, the contribution of the model to the understanding of complexities, ambiguities, and subtleties, existing in the business daily routine, becomes evident, allowing a differentiated perspective in its management so that they can reach new conclusions about their performance, thus promoting a competitive differential and a greater socioeconomic development.

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Chang, Chia-ju. "Documenting life in the era of climate change: Huang Hsin-yao’s Nimbus and Taivalu." Asian Cinema 30, no. 2 (October 1, 2019): 235–54. http://dx.doi.org/10.1386/ac_00006_1.

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What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while not eschewing the question of justice, accountability and causality.

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Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies, no. 20 (October 15, 2019): 51. http://dx.doi.org/10.25038/am.v0i20.323.

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This paper explores a recently emerged audiovisual form called desktop documentary, an interdisciplinary computer-based variant of the essay film. As a post-media practice, no longer exclusively dependent on the film medium, desktop filmmaking represents a hybrid audiovisual genre entirely conducted in the digital environment by using and exploiting preexisting materials in new contexts while using the advantages of the Internet, widely used software and digital tools. Desktop documentary filmmaking corresponds to the widespread artistic practice of postproduction – a concept introduced by Nicolas Bourriaud signifying a new state of affairs when all texts of culture are already available (mostly as digital objects) and the artist intervenes on existing materials rather than produces artworks ex nihilo. Belonging to the tradition of essay film – a cinematic documentary and experimental mode in which moving images and off-screen verbal voice or textual captions establish complex relations – desktop video essays introduce new post-media aesthetics. Similar to the idea of using everyday materials in the artistic context, initially proposed with Duchamp’s ready-mades, which unprecedentedly effaced every notion of the style from their avant-garde aesthetics, desktop documentaries often minimize and abolish cinematic stylistic qualities. One of the most significant aspects of desktop documentaries is that the act of film viewing does not differ from common computer user experience: having replaced traditional film screen with the computer interface, the interactive process of computational multitasking and navigation, performed on various digital data and files, becomes the very content of the film. After the historical overview of the phenomenon and general introduction into the post-media theory, selected works of representative desktop documentarists such as Kevin B. Lee and Louis Henderson are analyzed in their deconstructive approach to traditional and digital filmmaking – subversive both formally and politically. Article received: May 28, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Original scholarly paperHow to cite this article: Bešlagić, Luka. "Computer Interface as Film: Post-Media Aesthetics of Desktop Documentary." AM Journal of Art and Media Studies 20 (2019): 51-60. doi: 10.25038/am.v0i20.323.

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Zhang, Zhen, and Xiaoming Ai. "From academia to xianchang: feminism, documentary aesthetics and social movement." Studies in Documentary Film 11, no. 3 (June 19, 2017): 248–61. http://dx.doi.org/10.1080/17503280.2017.1334854.

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Rajagopal, Arvind, and Paromita Vohra. "On the Aesthetics and Ideology of the Indian Documentary Film." BioScope: South Asian Screen Studies 3, no. 1 (January 2012): 7–20. http://dx.doi.org/10.1177/097492761100300102.

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Wlodarski, Amy Lynn. "The Testimonial Aesthetics of Different Trains." Journal of the American Musicological Society 63, no. 1 (2010): 99–141. http://dx.doi.org/10.1525/jams.2010.63.1.99.

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Often praised as an exceptional artistic response to the Holocaust, Steve Reich's Different Trains adopts a documentary approach to Holocaust representation in which Reich assembled short excerpts from three survivor testimonies and published transcriptions of their accounts in his libretto for the work. This article explores the consequences that arise when fragments from very emotional testimonies are recast as purportedly unmediated documentary. The authority attributed to this sort of historical narrative has come under scrutiny in the field of Holocaust studies, in which it is called “secondary witness”—an intellectual interpretation of survivor testimonies advanced without the author revealing his or her own subjective standpoint or scholarly agenda. I argue that Reich's use of the voices of the survivors, Paul, Rachel, and Rachella, constitutes a form of secondary witness. Analysis of the original sources reveals that as Reich worked with extracts from the testimonies, in some cases his composition took on the aesthetics of the original testimonies, yet in other cases, he altered meaning and tone and even misheard certain phrases, producing transcription errors that reframed key moments by substituting his account of the Holocaust for that of the primary witness. Such revelations prompt reevaluation of the moral and political success that has been claimed for Different Trains, since the compositional process could never have been as objective and self-effacing as Reich and his critics suggest.

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Prozhiko, Galina S. "The 60s. Half a Century Later. Nostalgia." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 20–30. http://dx.doi.org/10.17816/vgik7420-30.

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Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article examines the socio-psychological atmosphere, which formed the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.

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Martin, Niall. "Breath on the windowpane: Precarious aesthetics and diegetic noise in Nick Broomfield’s Ghosts." Crossings: Journal of Migration & Culture 10, no. 2 (October 1, 2019): 243–59. http://dx.doi.org/10.1386/cjmc_00005_1.

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This article explores the various ways in which noise acts as an aesthetic marker of precarity in Nick Broomfield’s Ghosts, a documentary account of the death of 23 undocumented Chinese nationals in the United Kingdom in 2004. Taking its cue from recent work on aesthetics and the temporalities of precarity, it considers the ways in which the different forms of noise ‐ medial and informational ‐ index the ways in which the figure of the undocumented migrant labourer disturbs dominant western accounts of the aesthetic predicated on a division between production and consumption. Noise, in the form of Michel Serres’ conceptual figure of the parasite, it argues, registers the ways in which precarious labour has revealed the dependence of aesthetic categories on models of production rendered incoherent by the representation of undocumented migrant labour.

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Stead, Naomi, and Morgan Richards. "Valuing Architecture: Taste, Aesthetics and the Cultural Mediation of Architecture through Television." Critical Studies in Television: The International Journal of Television Studies 9, no. 3 (September 1, 2014): 100–112. http://dx.doi.org/10.7227/cst.9.3.10.

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In this paper we examine how architecture has been mediated and framed by two television documentary series: Civilisation: A Personal View by Kenneth Clark (1969) and Grand Designs (1999–present). Both are examples of authored documentary', and both also attempt the education of public taste: in Civilisation through the structured admiration of great civic buildings framed as monumental art, and in Grand Designs through desirable domestic buildings framed as instruments for the art of living. In the paper we examine how the series can be both linked and distinguished through practices of valuation.

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ross, jesikah maria, and Vicky Funari. "Participatory Documentary Then and Now." Television & New Media 18, no. 3 (November 23, 2016): 283–93. http://dx.doi.org/10.1177/1527476416675418.

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In this conversation, community media activist jesikah maria ross and filmmaker Vicky Funari talk about the work they have done together in alternative media since the 1990s. Their shared projects include skin•es•the•si•a (1994), an experimental video exploring the cultural codification of the female body; Paulina (1998), a feature-length documentary about a resilient Mexican woman whose parents traded her for land when she was a child; and Maquilápolis [City of Factories] (2006), a participatory documentary that tells the stories of women workers in Tijuana’s multinational factories, and explores through their eyes the transformation of a city and its people by the forces of globalization. Set just after their last collaborative project, Troubled Waters (2014), their conversation addresses the issues of media pedagogy and aesthetics, technological affordances and limits, and the changing state of participatory media production in the United States.

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Wang, Yiman. "The Amateur's Lightning Rod: DV Documentary in Postsocialist China." Film Quarterly 58, no. 4 (2005): 16–26. http://dx.doi.org/10.1525/fq.2005.58.4.16.

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Abstract This article examines the cultural politics of DV documentaries emerging from postsocialist China, discussing the documentary-makers as amateur-authors. It goes on to argue that the documentarians' self-consciously deployed aesthetics of cruelty constitutes a socio-political claim for an alternative ““real,”” derived from a subaltern ““structure of feeling.””

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Slugan, Mario, and Enrico Terrone. "The Fiction/Nonfiction Distinction: Documentary Studies and Analytic Aesthetics in Conversation." Studies in Documentary Film 15, no. 2 (May 4, 2021): 107–13. http://dx.doi.org/10.1080/17503280.2021.1923141.

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Prozhiko, Galina S. "The 60s. Half a Century Later. Nostalgia." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 8–19. http://dx.doi.org/10.17816/vgik818-19.

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The author of such books on film history and theory as Masterpieces of the Documentary Screen (2015), The World Documentary Screen (2011),The Concept of Reality in Pre-Television Era (2004), The Concept of Master Shot in the Screen Document (2002), The Issues of Modern Soviet Documentary Filmmaking (1988), and a number of articles published in various academic journals. Summary: Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article (conclusion, for the beginning see issue № 4 (26) 2015) examines the socio-psychological atmosphere, which formed the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.

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Fischer, André. "Deep Truth and the Mythic Veil: Werner Herzog's New Mythology in Land of Silence and Darkness." Film-Philosophy 22, no. 1 (February 2018): 39–59. http://dx.doi.org/10.3366/film.2018.0061.

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This article begins with Werner Herzog's programmatic statements on new images and deep truth and connects it to ideas of Nietzschean aesthetics, mainly the Apollonian image and the Dionysian horror. My main argument is that Herzog contributes to the literary and aesthetic tradition of new mythology within the medium of film by developing a distinct visual language that tries to express non-rational truth claims. In a first step I explore how Nietzschean aesthetics influenced the debates about the mythic image and total cinema in classic film theory and visual studies. More importantly I show how the desire to create new mythic images not only influenced Herzog's discourse on film, but his actual aesthetic practice. In my analysis of his 1971 documentary Land of Silence and Darkness (Land des Schweigens und der Dunkelheit) I show how the dynamic between Apollonian veil and Dionysian Urbild (original image) is effective in the construction of what Herzog calls “deep truth”. This article attempts to shift the focus away from the fact-fiction debate surrounding most of Herzog's documentaries and to concentrate instead on framing Herzog's claims of non-rational truth theoretically and locating his work in the aesthetic tradition of new mythology.

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Iseli, Christian, Stefan Dux, and Miriam Laura Loertscher. "The Aesthetics and Perception of Documentary Film: A mixed methods approach and Its implications for Artistic Research." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 27–48. http://dx.doi.org/10.24140/ijfma.v5.n2.02.

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The ongoing research project Gadgets, Phones and Drones at the Zurich University of the Arts investigates how innovations in camera technology have affected the visual aesthetics of documentary films since the 1990s. With specially produced variants of short films, historical paradigm shifts are being subjected to contemporary comparative analyses. Major aspects of the aesthetic change, as for instance the tendency towards a shallow depth of field, are linked to the concept of authenticity or perceived realism. The project’s use of interdisciplinary research is oriented towards artistic research, or more precisely, towards a practice-based approach and is combined with empirical audience experiments. The dialogue between qualitative and quantitative research, also known as mixed methods, has enabled surprising new insights. However, the comparability of quantitative methods risks narrowing down the aesthetic potential of the filmic products that are used to conduct the research. In order to maintain a discriminating discourse within the practice-based approach, it is therefore advantageous to extend the study’s framework beyond a quantitative and comparative research set-up and provide specific fields for artistic investigations.

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Rozi, Romdhi Fatkhur, and Renta Vulkanita Hasan. "PARA HARIMAU YANG MENOLAK PUNAH: ESTETIKA DOKUMENTER TELEVISI DI ERA PASCAREFORMASI." Journal of Urban Society's Arts 5, no. 1 (December 31, 2018): 49–57. http://dx.doi.org/10.24821/jousa.v5i1.2195.

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ABSTRAKPara Harimau Yang Menolak Punah(Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) merupakan judul dokumenter televisi produksi Eagle Institutedengan ciri filmis berupa paduan antara gambar dan tuturan (wawancara). Dokumenter ini merupakan objek material yang menarik untuk diteliti dalam konteks kontinuitas dan perubahan estetika, selama era pasca reformasi dengan zaman Orde Baru sebagai pembanding. Jika pada masa orde baru, kampanye pelestarian lingkungan melalui media dokumenter notabene diproduksi oleh pemerintah melalui estetika sinematik yang bersifat propagandis, maka saat ini dokumenter produksi Eagle Institutejustru menggunakan estetika sinematik yang kritis sebagai konter bagi pemerintah. Fakta dan fiksi (faksi) menjadi istilah yang digunakan dalam penelitian ini sebagai bentuk kontinuitas dan perubahan dokumenter televisi Indonesia. Alasan pemilihan istilah ini adalah dunia fenomenal dalam banyak kasus, seperti yang terlihat dalam dokumenter, seakan berbeda dari "dunia nyata", meskipun dalam kenyataannya rekaman itu berasal dari “dunia nyata/realitas”. Penelitian ini menggunakan pendekatan film kognitif untuk mengamati sejauh mana Faksi beroperasi sebagai media kritik yang secara estetis merangkai dokumenter tersebut. Struktur mental digunakan untuk menjelaskan Faksi melalui petunjuk filmis hingga diperoleh kesimpulan tentang kritik yang ingin disampaikan melalui dokumenter. ABSTRACTPara Harimau Yang Menolak Punah (Imanda Dea Sabiella dan Edho Cahya Kusuma, 2013) is the title of a television documentary produced by Eagle Institute. The documentary has characters that specifically contains of expository shots. This documentary is an interesting material object to be examined in the context of continuity and aesthetic change, during the post-reform era with the New Order era as a comparison. During the new order era, environmental conservation campaigns through documentary media were produced by the government through propagandist cinematic aesthetics. Whereas, the post-reform documentary produced by Eagle Institute actually uses a critical cinematic aesthetic as a counter for the government. Fact and fiction (faction) became the term used in this study as a form of continuity and change of Indonesia documentary. The reason for choosing this term is the phenomenal world in many cases, as seen in the documentary, as though it were different from the "real world", even though in reality it came from "the real world". This study uses a cognitive film approach to observe the extent to which the Faction operates as a criticism medium which aesthetically assembles the documentary. The mental structure is used to explain the Faction through filmic clues to the conclusion of the criticism that the documentary wishes to convey.

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Kostina, Anastasia. "Hunting for Reality: An Interview with Marina Razbezhkina." Film Quarterly 73, no. 3 (2020): 21–27. http://dx.doi.org/10.1525/fq.2020.73.3.21.

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Marina Razbezhkina is a well-known Russian documentary filmmaker, educator, and founder of the largest independent documentary school in the country. Her very original approach to documentary, which combines intimate proximity to the protagonist with raw observational aesthetics, revolutionized the Russian film landscape and became the trademark of her school. Her students most often work as a one-person crew with a lightweight hand-held camera shadowing their protagonists up close. This “hunt for reality,” as Razbezhkina terms the practice, usually results in deeply engaging observational documentaries that completely absorb the viewer into an unfamiliar reality. In this interview Razbezhkina talks about the beginnings of her career, explains the origins and the core of her filmmaking method, and discusses the changing role of documentary in the modern world.

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Brereton, Pat. "Utopianism and Fascist Aesthetics: An Appreciation of "Nature" in Documentary/Fiction Film." Capitalism Nature Socialism 12, no. 4 (December 2001): 33–50. http://dx.doi.org/10.1080/104557501101245234.

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Hight, Craig. "Webcam Sites: The Documentary Genre Moves Online?" Media International Australia 100, no. 1 (August 2001): 81–93. http://dx.doi.org/10.1177/1329878x0110000109.

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The broad focus of this article is the examination of the relationship between recent television documentary forms and online factual forms. This relationship is shaped by a wider acceptance of factual media as a cultural form, and is marked by negotiation and appropriation from both sides. Webcam sites are discussed as key online sites where there is an appropriation of documentary aesthetics as part of an apparent development of distinctive digital factual forms. These online factual forms are notable partly for their replication of early photographic discourse, but especially for an acknowledgment of various forms of pleasure and performance within their exploration of the interactive and participatory possibilities of hypertext narrative. This emphasis on pleasure, performance and participation is a continuation of the marked changes in audience engagement that characterise documentary hybrids such as docu-soap.

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Sailor, Rachel. "Pictorialism in the American West." UW National Parks Service Research Station Annual Reports 36 (January 1, 2013): 150–52. http://dx.doi.org/10.13001/uwnpsrc.2013.4009.

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Early twentieth century (1900-1945) photography of northwestern Wyoming (including the Teton and Yellowstone areas) fits into a paradigm of regional photographic production that either conforms to the documentary or pictorial aesthetics most common in the era. Pictorial photography, especially, links the region to larger trends in the nation and can be analyzed to uncover previously unexamined assumptions about the value of photographic aesthetics and regional production within the milieu of fine art photography in the United States prior to WWII.

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Heberer, Feng-Mei. "Sentimental Activism as Queer-Feminist Documentary Practice; or, How to Make Love in a Room Full of People." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 41–69. http://dx.doi.org/10.1215/02705346-7584904.

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This article explores the possibilities for activist intervention through documentary media at a time when rhetorics of rights and recognition are increasingly appropriated into nationalist state projects, capitalist expansion, and a Northern hemispheric vision of the “good world.” It asks: How do activist media (makers) respond to the appropriation of liberal values? What language—visual, affective, political—do they use to remain morally and aesthetically legible to a wider public and majoritarian decision-makers while insisting on the need for structural transformation? To work through these questions, the article studies the documentary work of queer-feminist migrant labor activism in East Asia. This work offers particularly valuable insight into a strategy summarized here as sentimental activism: the simultaneous repetition and radical decentering of liberal rights discourse and its sensorium of human legibility. While critiques of sentimental affect as manipulative political instrument are numerous, this article probes under what conditions sentimental aesthetics might refuse to repeat and transform the normative paradigms stipulating who deserves rights and recognition in the first place. In focusing on Lesbian Factory (dir. Susan Chen, 2010), a documentary by the Taiwan International Workers’ Association on the collaborative effort of Taiwanese activists and queer Filipina migrant workers to push for better migrant labor rights, this article tracks how the documentary deploys a sentimental lexicon of rights and recognition for transformative ends: to center queer female migrant workers as historical protagonists in struggles for social justice and transformation and as an inspirational source for radical aesthetics.

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Zehle, Soenke. "Dispatches from the Depletion Zone: Edward Burtynsky and the Documentary Sublime." Media International Australia 127, no. 1 (May 2008): 109–15. http://dx.doi.org/10.1177/1329878x0812700114.

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The scope of China's contemporary transformation is measured by many observers according to the environmental crisis it has engendered. One of the most ambitious attempts to document this transformation has been the recent work by Edward Burtynsky. The China series is the latest contribution to the Canadian photographer's grand tour of industrial landscapes. Burtynsky employs the same approach and rules of composition across terrains and topics, and there is indeed nothing radically new in terms of subject or composition in the China series. Yet, linked to the question of scale that is so central to Burtynsky's approach, the question of the sublime offers a useful point of entry for approaching the China series, not only because it is so routinely inscribed in this (heterogeneous) tradition, but because the concept has also played a key role in the refashioning of Chinese aesthetics to stress the heroism of Chinese industrial ambition. And the suggestion, evident in the attentiveness to the scale of environmental devastation, that the sublime can no longer be invoked to legitimate a techno-feudalist course of development, can initiate a political conversation, even if the photographer's aesthetic does not offer an idiom with which to engage the complexities of cultural difference.

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Mikkola, Heidi. "Movements beyond human: Ecological aesthetics and knowledges in underwater wildlife documentaries." TRACE ∴ Journal for Human-Animal Studies 4 (November 28, 2017): 4–26. http://dx.doi.org/10.23984/fjhas.59505.

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Our conceptions of underwater space are mostly based on images we have seen of it. These images, mediated through technology, have a great impact on how the environment is perceived. The article analyses how three different wildlife documentary series (Planet Earth, Dolphins – Spy in the Pod and Oceans) produce an oceanic environment and its inhabitants, and how these cinematic environments can affect how the ocean is perceived. The article’s approach questions anthropocentrism and maps the relation between cinematic features, the oceanic environment and the aesthetic possibilities of perceiving more-than-human space. The analysis emphasises how the films’ aesthetics are connected to the material movements of environments and animals. With the help of Gilles Deleuze’s and Félix Guattari’s concepts of assemblage and deterritorialisation, the article takes a posthumanist approach in mapping the possibilities of decentering the human and engaging nonhuman animals and nature as the proper cinematic subjects. The article argues that the audiovisual aesthetics of the analyzed documentaries are able to challenge anthropocentrism, but at the same time they are anthropomorphic in premissing their imagery on human comprehensibility.

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Park, Jinhee. "Departure and Repatriation as Cold War Dissensus: Domestic Ethnography in Korean Documentary." Journal of Korean Studies 22, no. 2 (September 1, 2017): 433–57. http://dx.doi.org/10.1215/21581665-4226514.

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Abstract This article examines autobiographic documentaries about families that expose “dissensus” in the mapping of transborder migration and diasporic desire that were the results of the Cold War in North Korea, South Korea, and Japan. Jae-hee Hong (dir. My Father’s Emails) and Yong-hi Yang (dir. Dear Pyongyang and Goodbye Pyongyang) document the ongoing Cold War in their fathers’ histories through their position as a “familial other,” who embodies both dissensus and intimacy. Hong reveals that anticommunism in South Korean postwar nation building reverberated in the private realm. Yang documents her Zainichi father, who sent his sons to North Korea during the Repatriation Campaign in Japan. The anticommunist father in South Korea (Hong’s) and the communist father in Japan (Yang’s) engendered family migration with contrasting motivations, departure from and return to North Korea, respectively. Juxtaposing these two opposite ideologies in family histories, as well as juxtaposing the filmmakers’ dissonance with the given ideologies in domestic space, provide the aesthetic form for “dissensus.” The politics of aesthetics in domestic ethnography manifests in that the self and the Other are inextricably interlocked because of the reciprocity of the filmmaker and the communist or anticommunist subject.

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Preston, Yan Wang. "Forest re-seen: From the metropolis to the wilderness." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 345–66. http://dx.doi.org/10.1386/jcca_00033_1.

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Rooted in practice-based research, the article uses the author’s artistic work as a springboard to discuss wider issues of ecology restoration, rewilding and environmental aesthetics. The first section of the article critically reviews and contextualizes the author’s eight-year photographic project, Forest, which investigates the politics of nature restoration projects in two new Chinese cities. Hinged upon contemporary environmental awareness and canonical photography aesthetics such as the topographic, the documentary and the storytelling, the Forest project pictorially and dialectically discusses the complexities of urban nature while beginning to accept urbanized China as a possible homeland. Extending the notion of constructed nature to an international context, within the global conversation efforts of re-naturalization and rewilding, the second section of the article analyses the inherent contradictions of rewilding in the post-wild world. The rewilded landscapes, the neo-wilderness, are brought into attention as a physical space to be investigated. The third section of the paper returns to its roots as practice-based research and tries to understand the neo-wilderness from the perspectives of landscape aesthetic traditions of both the West and China. The article finds commonality between three generations of representative western and male environmental photographers in their aesthetic choices and their philosophical grounding towards the sublime, pristine nature, as well as the binary between nature and culture. Finally, after a cautious discussion around the potential mis-use of Chinese traditional landscape aesthetics within contemporary landscape photography, the article points out the need to find alternative landscape aesthetics in order to critically investigate the meaning of nature now, with the constructed, rewilded landscapes as a crux for artists to produce an informed pictorial understanding.

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Ginsburg, Faye. "Decolonizing Documentary On-Screen and Off: Sensory Ethnography and the Aesthetics of Accountability." Film Quarterly 72, no. 1 (2018): 39–49. http://dx.doi.org/10.1525/fq.2018.72.1.39.

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Over the last decade, ethnographic documentary has evolved in two notable directions, reflecting an ongoing dialectic in the field regarding the on and off-screen possibilities of this work. The “sensory ethnography” films that have emerged from Harvard's Sensory Ethnography Lab are paradigm-shifting works have emphasized the immersive and experiential as strategies of formal experimentation in the field of nonfiction filmmaking. Elsewhere, documentaries and ethno-fiction works are being made that are innovative in terms of their emphasis on the collaborative relationships with the people who are the subjects of their works, and their concerns with accountability that are evident both off and on-screen. Ginsburg suggests that their connective tissue might be understood as constituting a form of “relational documentary” built on a robust sense of aesthetics of accountability as an alternative site of filmic innovation, with considered ethical concerns regarding the people whose lives are represented in the works.

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Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (October 2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of Rikyū (Rikyū ni tazuneyo, Tanaka Mitsutoshi, 2013) is one such example. In this paper, I will suggest that film can explore the relation of aesthetic experience to the ethico-political character of history, opening up ways of responding aesthetically to concrete political conditions. Ask This of Rikyū accomplishes this by interrogating the possibility of a wabi-cinema, established with respect to its title character, his individual aesthetic practices, and his personal political circumstances. I will draw upon the work of Gilles Deleuze alongside Kyōto School philosopher Nishida Kitarō in order to articulate the way in which Ask This of Rikyū explores the relation of artistic activity and aesthetic experience to the general ethical and political forces that feed into history.

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van der Meulen, Sjoukje. "Documenting China's Garment Industry: Wang Bing's Portrayal of Migrant Workers' Suspended Lives within the Contract Labour System." Pacific Affairs 94, no. 2 (June 1, 2021): 371–96. http://dx.doi.org/10.5509/2021942371.

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This essay examines two films by the Chinese documentary filmmaker Wang Bing about temporary migrant workers in small, privately owned garment workshops in Zhejiang Province, China: Bitter Money (Ku Qian; 2016) and 15 Hours (Shi Wu Xiao Shi; 2017). Wang's films portray Chinese garment workers' lived experiences of "suspension," as defined by Biao Xiang in this issue, in unique cinematic ways. Social sciences have paid close attention to the experiences of migrant workers, but art documentaries use audiovisual and aesthetic means to explore their everyday reality, producing what D. MacDougall calls distinctive "affective knowledge." Wang's films are usually categorized as part of the Sixth Generation of Chinese filmmakers, known for capturing social issues through observational methods. In this essay, I identify Wang's works with the aesthetics of "slow cinema" and a global documentary trend in the visual arts as theorized by T. J. Demos in The Migrant Image. Based on close observation coupled with empathetic insight, Wang develops his own subjective method to portray people in a transformed and still changing China, where suspension is a common state of being. Ultimately, Wang's films not only make the personal experiences of migrant workers visible and tangible, but also problematize their underlying, collective condition of suspension due to the contract labour system and associated hypermobility. The suspension approach suggests a productive way of bringing documentary art and social sciences into dialogue.

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Dang, Sarah-Mai. "Navigating history: Aesthetics and appropriation and the interactive web documentary Freedom’s Ring (2013)." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 21–35. http://dx.doi.org/10.1386/ncin_00002_1.

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The article focuses on web documentaries as a form of interactive historiography by presenting a case study on Freedom’s Ring (2013), a multi-media-based animation of Martin Luther King’s speech ‘I have a Dream’ published in Vectors. Taking both the production and the reception side into account, the article addresses the constitution of knowledge ‐ or rather aesthetic experience ‐ through artistic research practices. In doing so, it reflects upon the concepts of authorship, copyright and participation. Due to its numerous sources, the navigation system, the artwork, its referentiality and variability, it is made the case that Freedom’s Ring challenges history as a ‘grand narrative’ by creating a subjective point of view and putting the user in the position of an activist. Web documentaries are regarded as part of an epistemic and sociopolitical development, in which artistic and academic methods merge.

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Nault, Curran. "Documenting the Dead." TSQ: Transgender Studies Quarterly 8, no. 1 (February 1, 2021): 24–57. http://dx.doi.org/10.1215/23289252-8749568.

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AbstractCall Her Ganda (dir. PJ Raval, 2018) chronicles the murder of transpinay Jennifer Laude by a US marine, and the subsequent court case. This essay draws from theories of necropolitics and hauntology, as well as the author's experience as a documentary producer of Call Her Ganda to raise critical questions about the representation of trans death, and to reflect on the possibilities and limitations of documentary as a trans activist tool. In doing so, the author lays out a looping logic as a parallel proposition to the vortical violences of colonization and transmisogny. This loop begins with the film's apparitional aesthetics, which rouse contemplation of the trans activisms that survive in the wake of trans death, and it continues with the film's activating address and impact campaign. I posit that such efforts can feed back into the communities from which a documentary has been extricated, working through/against the othering and exploitation endemic to documentary practice.

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Shakhovskaya, Nadezhda A. "Landscape as a Leitmotif of a Film." Journal of Flm Arts and Film Studies 8, no. 1 (March 15, 2016): 43–53. http://dx.doi.org/10.17816/vgik8143-53.

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The article examines the landscape as a significant element of the films plastic composition and semantic structure. Taking Andrey Konchalovskys The Postmans White Nights as an example, the author analyses the role of documentary aesthetics in describing the relationship between humanity and nature, revealing the estrangement of the two realms.

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Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (March 20, 2017): 45–57. http://dx.doi.org/10.24989/medienjournal.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of orders of visibility or sight. This becomes clear, as our third section will argue, in Rancière’s film aesthetics, especially in his essays on Chris Marker. Markers movies (for instance Le Tombeau d'Alexandre) focus on and at the same time complicate the boundaries between documentary and fiction; they allow us to understand a reality which is supposedly without alternatives as a result of human practice which always can be changed.

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Hetzel, Mechthild, and Andreas Hetzel. "The Distribution of Facts and Fictions." MedienJournal 37, no. 3 (March 20, 2017): 45. http://dx.doi.org/10.24989/mj.v37i3.119.

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In our paper we discuss the political aesthetics of Jacques Rancière, specially his writings on the documentaries of the French director Chris Marker. In a first section we give an introduction to Rancière’s political philosophy, which explains political acts in terms of seizing the word by those who have no share in our societies. Such a seizing of words reconfigures the discursive regimes that decide who can say what and under what conditions publicly. In a second section we will show how Rancière’s aesthetical writings discuss works of art in a similar way as agents of a transfiguration of orders of visibility or sight. This becomes clear, as our third section will argue, in Rancière’s film aesthetics, especially in his essays on Chris Marker. Markers movies (for instance Le Tombeau d'Alexandre) focus on and at the same time complicate the boundaries between documentary and fiction; they allow us to understand a reality which is supposedly without alternatives as a result of human practice which always can be changed.

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Hegnsvad, Kristoffer. "Et forsvar for populærkulturen – En præcisering af det populærkulturelle begreb og en kritisk læsning af Adornos syn på populærkulturen." Slagmark - Tidsskrift for idéhistorie, no. 58 (March 9, 2018): 113–27. http://dx.doi.org/10.7146/sl.v0i58.104715.

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This article explores the concept of popular culture and popular art. When Michael Moore’s Fahrenheit 9/11 received the Golden Palm in Cannes in 2004, the French press and director Jean-Luc Godard joined in a critique of the jury’s choice. The press discussed the possibility of the festival loosing its status as the most prestigious festival of art cinema after giving the prize to an American political documentary. Godard criticized Michael Moore for being to direct and not communicating through more subtle aesthetics. Between the lines of both critiques one find a devaluation of popular art often seen in modern aesthetic theory and this article tries to refute this devaluation in a critical reading of Theodor W. Adorno’sview on the popular.

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Lyubovich, Maxim V. "European Avant-guard: Dialectics of “Feature” and “Non-feature” Films." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 100–110. http://dx.doi.org/10.17816/vgik74100-110.

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The article concludes the early stages of methodology of phenomenological interpretation of reality in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of fiction and non-fiction aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.

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Reinelt, Janelle. "Toward a Poetics of Theatre and Public Events: In the Case of Stephen Lawrence." TDR/The Drama Review 50, no. 3 (September 2006): 69–87. http://dx.doi.org/10.1162/dram.2006.50.3.69.

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Looking at the murder case of Stephen Lawrence, and then at the art object made out of the event—the documentary play, The Colour of Justice—the interpenetration of performance codes and practices with “real life” demonstrates the explanatory power of performance to shape ideas, question truth claims, sway public opinion, and construct an aesthetics that might functions as an epistemology.

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Journal articles on the topic 'Documentary aesthetics'

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