Academic literature on the topic 'Documentary and reality'
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Journal articles on the topic "Documentary and reality"
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Anggraini, Sazkia Noor. "Brings Reality Through Virtual Reality." IMOVICCON Conference Proceeding 1, no. 1 (2019): 131–43. http://dx.doi.org/10.37312/imoviccon.v1i1.15.
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Film festival is a place to convey specific film for specific purposes. Festival nowadays were broaden their medium, not only on screen but also involved more audience with new technology mobile devices. As the longest running documentary film festival in Indonesia, Festival Film Dokumenter (FFD) have been concern about the impact of film screenings to the audience. Since 2016, FFD have been intend to using several medium to convey disability rights awareness. FFD conducted the program Virtual Reality (2016) and The Feelings of Reality (2018). Both of those program were using Virtual Reality (VR) technology during the festival showcase. In 2016 program, the audience even placed in the replica setting to have a similar situation with people with epilepsy. 
 VR is the new attempt to brings the new documentary experience. This technology lead the impression of reality to the audience. VR known as a device that can enhance the audience cinematic experience. In documentary filmmaking, which always closely associated with the depiction of reality - in a way, the VR technology can provide different perspective on perceiving documentary. In documentary screenings, VR have a powerful strength on bringing the reliable reality which closer to the audience. 
 Festival offers the discourse on watching the documentary into experiencing the documentary using VR. This paper will discuss about how festival provide alternative medium to present disability issue to the public. Vice versa, how audience raised their awareness through VR technology. This study conducted in qualitative impact study that focused on in-depth interview with both festival organizer/programmer and audience. This study found out that VR technology identically constructed the reality. This method is the most effective way to raising the awareness because people would feel how to live with disability closely and clearly. Rather than just watching a film, experiencing disability through VR prove a different impression to the audience. By presenting the actual condition of people with disability, VR succeed to give more heightened impact and awareness on this issue.
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Tarnay, László. "Reality and methods in documentary filmmaking." Hungarian Studies 31, no. 1 (2017): 47–59. http://dx.doi.org/10.1556/044.2017.31.1.4.
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Malitsky, Joshua. "Science and Documentary: Unity, Indexicality, Reality." Journal of Visual Culture 11, no. 3 (2012): 237–57. http://dx.doi.org/10.1177/1470412912455615.
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This article serves as an introduction to this Special Issue and explores in depth three concepts integral to the links between science and documentary: unity, indexicality, and reality. After outlining how and why the ‘scientific’ has been conceived as a problem in scholarship on documentary, the author offers an alternative framework based on recent scholarship in science and technology studies. This model seeks to account for the value of critiques of scientific approaches while recognizing the ways in which scientists have developed methods of image management that maintain the usefulness of their evidence while simultaneously recognizing the contingency of their truth claims. The author proposes that a conception of indexicality as both trace and deixis provides one tool for understanding the multiple strategies that scientists employ to figure reality.
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Jazdon, Mikołaj. "To film an inconceivable reality: the manifesto of the young Kieślowski." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (2019): 155–66. http://dx.doi.org/10.14746/i.2018.33.13.
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In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.
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Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.
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Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality.
 If we accept this claim as true we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing representing reality. Does this mean that cinema can only fictionalize reality and therefore we should erradicate from this discussion tems such as non-fiction or documentary due to their associated “truth” claim?
 Can we understand or discuss representing reality without referring to those terms? Can the term fiction exists in fact without refferring to the term non-fiction or documentary?
 The questions that this paper intends to answer are:
 What roles do documentary and fiction play in representing the historical world?
 Are these terms necessary to comunicate and understand representing reality?
 This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as means to mirror human experience’s needs to organize, communicate and understand reality.
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Vaziri, Persheng. "Iranian Documentary Cinema between Reality and Fiction." Middle East Report, no. 225 (2002): 53. http://dx.doi.org/10.2307/1559353.
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Lestari, Emilika Budi. "KONSEP NARATIF DALAM FILM DOKUMENTER PEKAK KUKURUYUK." Jurnal Nawala Visual 1, no. 1 (2019): 9–17. http://dx.doi.org/10.35886/nawalavisual.v1i1.3.
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Documentary movie that present reality in various ways and are made for various purposes. Social, political and cultural life mostly inspiresthe documentary. The concept of documentary movie is to build a storyline based on the reality. Documentary movie are made according to certain versions based on the reality. Various techniques can be used to convey information and convince the audience about the situation and conditions in the movie. Unlike fiction films that have a clear narrative structure, documentary films do not have a narrative structure. The main key to a documentary is the presentation of facts. Documentary films relate to real people, figures, events and locations. The style of storytelling in documentaries is non-narrative because documentaries do not contain the composition of the stories in them. In the documentary film Pekak Kukuruyuk, it can be seen that the narrative concept that was built from this film is the concept of realism (real), which is to build a storyline based on reality. Where this concept is opposite to experimental films that have the concept of formalism (abstract). This film was made through a direct recording method when the event actually took place and inserted several reconstructions and interviews in it.
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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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Mast, Jelle. "Documentary at a Crossroads: Reality TV and the Hybridization of Small-Screen Documentary." Sociology Compass 3, no. 6 (2009): 884–98. http://dx.doi.org/10.1111/j.1751-9020.2009.00242.x.
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Lin, Jenny. "Seeing a World Apart: Visual Reality in Michelangelo Antonioni's Chung Kuo/Cina." ARTMargins 3, no. 3 (2014): 21–44. http://dx.doi.org/10.1162/artm_a_00093.
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This essay examines Michelangelo Antonioni's Chung Kuo Cina (China) (1972), a documentary made in and about the People's Republic of China during the height of the Cultural Revolution. Detailing the documentary's controversial reception and analyzing Chung Kuo’s emphasis on visual reality in opposition to the PRC's official socialist realism, I argue that Chung Kuo constituted a critical cross-cultural project, while providing a unique portrayal of quotidian life in Maoist China.
Dissertations / Theses on the topic "Documentary and reality"
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Gaudenzi, Sandra. "The living documentary : from representing reality to co-creating reality in digital interactive documentary." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7997/.
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This thesis concentrates on the emerging field of interactive documentaries. Digital interactive and networked media offer so many new possibilities to document reality that it is necessary to define what an interactive documentary is and whether there is any continuity with the linear documentary form. This research therefore proposes a definition of interactive documentaries and a taxonomy of the genre based on the idea of modes of interaction – where types of interactions are seen as the fundamental differentiator between interactive documentaries. Interactivity gives an agency to the user – the power to physically “do something”, whether that be clicking on a link, sending a video or re-mixing content - and therefore creates a series of relations that form an ecosystem in which all parts are interdependent and dynamically linked. It is argued that this human-computer system has many of the characteristics associated with living entities. It is also argued that by looking at interactive documentaries as living entities (Living Documentaries) we can see the relations that they forge and better understand the transformations they afford – on themselves and on the reality they portray. How does an interactive documentary change while it is being explored/used/co-created? To what extent do such dynamic relationships also change the user, the author, the code and all the elements that are linked through the interactive documentary? Those questions are discussed through the use of case studies chosen to illustrate the main interactive modes currently used in interactive documentaries. This thesis is a first step in exploring the multiple ways in which we participate, shape and are shaped by interactive documentaries. It argues that interactive documentaries are ways to construct and experience the real rather than to represent it.
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Landesman, Ohad. "Reality Bytes| Reclaiming the Real in Digital Documentary." Thesis, New York University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3557010.
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<p> This dissertation offers a preliminary survey of different documentary practices in the digital age. I recognize and discuss several recent modes of filmmaking where documentary and fictional spaces collide and coalesce, modes which existed long before the arrival of the digital, but have been rejuvenated and made more prominent in the digital age. I point to how such a collapse of boundaries is celebrated rhetorically via digital technology to produce a contingent documentary argument made of ontological, epistemological and aesthetic contradictions. The impact of digital technology on the development of such current documentary rhetoric is explored by placing it within the historical context of earlier technological assimilations in documentary (particularly 16mm film and video cameras). By countering dominant arguments about epistemological doubt in the age of digital manipulability, I show how new digital technologies are currently refining the documentary aesthetically and sharpening its argumentative rhetoric. </p><p> I begin by challenging the dominant scholarly tendency that regards the introduction of digital technology into documentary practices through a binary, sensationalist prism. Thus, in chapter one I propose to treat digital technology not as a radical novelty in film with either utopian or dystopian results, but as a transition that forms a complex network of continuities and hybridities with previous technological assimilations and earlier documentary traditions. Chapters two through four illustrate this by describing how the digital refines or extends earlier documentary practices and traditions, whether these are observational, participatory, reflexive, performative or hybrid. Chapter two focuses on the emerging form of the doc-fiction hybrid, and focuses on how digital cameras have contributed to the formulation of a challenging interplay between fiction and documentary for almost two decades. In chapter three, I explore the meeting point between the digital and the essay film tradition, arguing that the former revitalizes essayistic tendencies which have existed in cinema for years, and which were instigated time and again with the arrival of different technological innovations. In the fourth I turn the focus from the photographically-indexical digital image to the computer-generated animated image by discussing the long-lasting tradition of the animated documentary.</p>
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Mendoza, Darwin Y. "Theorizing on Honduran Social Documentary." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1268429222.
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Pullen, Christopher. "Gay male performances in American confessional documentary and reality television." Thesis, Bournemouth University, 2004. http://eprints.bournemouth.ac.uk/414/.
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This thesis examines the performance of gay males presented in American confessional documentary and reality television, and relates this to the construction of homosexual identity. It specifically focuses on the representation of social actors involved in performance, as well as contextualising the contribution of producers. Although it does not present an historical analysis, it examines a timescale: between 1971 and 2004. A central context is the hypothesis that confessional documentary and reality television offer discursive and performative spaces to social actors, who may engage with the idea of `performativity': the ability to influence ideas in society. The context of individual agency is examined in relation to the potential of `capillary' power: power which may exist outside dominant forces. In this way Michel Foucault's ideas on power and discourse are foregrounded in relation to theorists who suggest the potential for cultural and social resistance. At the same time sociological contexts, and specifically the idea of social construction are examined. Anthony Giddens' ideas on `experiments in living' are discussed alongside social theorists who suggest that new forms of social identity may be offered by homosexuals. A central finding is the observation that models of homosexual identification have progressed towards `the domestic'. This not only involves gay males represented in stable romantic relationships and (non-traditional) `family' roles, but also that through connecting themselves with domestic production they potentially influence dominant ideas. This thesis extends previous ideas of homosexual identity examined in the media (those historically formulated within the context of film and drama studies). In this way it offers new discursive ideas surrounding gay identity, making new connections in confessional documentary and reality television.
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Ding, Sue S. M. Massachusetts Institute of Technology. "Re-enchanting spaces : location-based media, participatory documentary, and augmented reality." Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111304.
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Thesis: S.M. in Comparative Media Studies, Massachusetts Institute of Technology, Department of Humanities, 2017.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (pages 116-122).<br>Location-based media have always played a key role in defining both spaces and publics. Due to the proliferation of sophisticated locative technologies, location-based media are increasingly ubiquitous in areas including art, gaming, urban planning, marketing, and tourism. While location-based approaches have enormous potential, however, rapid technological change and widely dispersed communities of practice have limited critical discourse. This thesis explores how we can better theorize and create innovative and compelling location-based media. I situate location-based media within the broad category of spatial narrative, identifying key concepts and approaches through historical and contemporary examples. In showing that location-based media have always been a form of augmenting our physical environments, I argue that augmented reality as a concept is far broader than current industry discourse indicates, and suggest location-based media as a lens through which to rethink AR's affordances and potentials. In keeping with an emphasis on new forms of storytelling, I propose a taxonomy for location-based media that distinguishes three different levels of participation and user agency: Consumption, Interaction, and Participation. Participatory works that allow users to shape the narrative-becoming deeply invested as co-creators--challenge traditional notions of authorship, consumption, linearity, and temporality. They embrace the affordances of networked locative technologies, provide a platform for a multitude of voices, and draw on the profound power of both community and place. Three case studies-Round-ware, Yellow Arrow, and the 96 Acres Project-highlight the affordances and challenges of participatory location-based approaches. Throughout this thesis, I endeavor to show that participatory location-based media offer vast creative, social, and political potential. Drawing on the rich tradition of spatial narrative, as well as the affordances of locative technologies, they invite us to reexamine our conceptions of narrative, documentary, and space itself.<br>by Sue Ding.<br>S.M. in Comparative Media Studies
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Block, Kristina. "How Consumption and Content of Documentary-Based Reality Television Influence Viewers’ Gratification Levels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/252.
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Reality television has inundated the networks, eliciting some of the highest viewership in the United States; therefore, it is important to understand why people watch these shows and what they gain from doing so. This study replicates and expands on the study by Barton (2009), which examined how difference in content in competition-based reality shows influenced viewer gratifications. The present study explored the effect of content on viewer gratifications in documentary-based reality television shows. Participants (n = 257) completed surveys asking about their television viewing habits, general reasons for watching reality programming and reasons for watching specific reality shows (Real Housewives of Beverly Hills and Here Comes Honey Boo Boo). Some results contradicted those found by Barton with no effect of content on viewer gratifications. However, consistent with Barton’s findings, gender differences were found in levels of gratifications obtained from these two shows with women reporting higher levels. In addition, when extreme levels of income were compared, greater gratification was found only for the Vicarious Participation factor. Video content positively correlated with amount of downward social comparison (schadenfreude) but there was no correlation between downward social comparison and participants’ income.
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Jones, Kathryn Lucille. "Community as a documentary reality : a case study of Newtown South Aston, Birmingham." Thesis, Birmingham City University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.523563.
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This thesis is a three part investigation into the methodological assumptions employed by professionals undertaking profiles of `community'. It is based on a case study of Newtown South Aston in Birmingham, an area awarded City Challenge funding in 1992. Part one addresses theoretical issues. It looks at the methodological framework of community theorising and argues that there is a paradigmatic crisis in the study and definition of community. Part two then summarises much of the documentary evidence collected and analysed in the course of this research.I t asks the key question-: "What assumptions are made in order to produce accounts of community?". These assumption are identified as is the type of evidence used to describe the area. It is suggested that the content of documents relating to Newtown South Aston were directly influenced the regeneration programme. The significant `source' document is identified and is subjected to a rhetorical analysis. It is concluded that the organisations working in Newtown South Aston are playing a rhetorical game, using core assumptions and ideas about `what community is' and `what community development' is in order to gain funding. The thesis then turns its attention to answering the question-: "What might the implications of these assumptions be? ". Using Winstanley's Stakeholder Power Matrix, the rhetoric of empowerment in the `source' document is put to the test. It is concluded that rhetoric is not matched in reality. It is proposed that in fact there is a `short-circuiting' of the theory and understanding of `community'. Part two concludes that the paradigmatic crisis in the theoretical literature is being matched in `real life'. The final part of this thesis presents a new paradigmatic framework for the understanding of community. Using the argument presented in Alan Macfarlane's "The Origins Of English Individualism" it is suggested that the concept of community has been misunderstood by many contemporary sociologists. It is concluded that the concept of community must be revisited in light of this argument. Finally attention is turned to identifying the relevance this thesis has for the information profession.
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Tarrant, Patrick Anthony. "Documentary practice in a participatory culture." Queensland University of Technology, 2008. http://eprints.qut.edu.au/26975/.
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Debates concerning the veracity, ethics and politics of the documentary form circle endlessly around the function of those who participate in it, and the meaning attributed to their participation. Great significance is attached to the way that documentary filmmakers do or do not participate in the world they seek to represent, just as great significance is attached to those subjects whose participation extends beyond playing the part of eyewitness or expert, such that they become part of the very filmmaking process itself.
This Ph.D. explores the interface between documentary practice and participatory culture by looking at how their practices, discursive fields and histories intersect, but also by looking at how participating in one might mean participating in the other. In short, the research is an examination of participatory culture through the lens of documentary practice and documentary criticism. In the process, however, this examination of participatory culture will in turn shed light on documentary thinking, especially the meaning and function of ‘the participant’ in contemporary documentary practice.
A number of ways of conceiving of participation in documentary practice are discussed in this research, but one of the ideas that gives purpose to that investigation is the notion that the participant in contemporary documentary practice is someone who belongs to a participatory culture in particular. Not only does this mean that those subjects who play a part in a documentary are already informed by their engagement with a range of everyday media practices before the documentary apparatus arrives, the audience for such films are similarly informed and engaged. This audience have their own expectations about how they should be addressed by media producers in general, a fact that feeds back into their expectations about participatory approaches to documentary practice too.
It is the ambition of this research to get closer to understanding the relationship between participants in the audience, in documentary and ancillary media texts, as well as behind the camera, and to think about how these relationships constitute a context for the production and reception of documentary films, but also how this context might provide a model for thinking about participatory culture itself.
One way that documentary practice and participatory culture converge in this research is in the kind of participatory documentary that I call the ‘Camera Movie’, a narrow mode of documentary filmmaking that appeals directly to contemporary audiences’ desires for innovation and participation, something that is achieved in this case by giving documentary subjects control of the camera. If there is a certain inevitability about this research having to contend with the notion of the ‘participatory documentary’, the ‘participatory camera’ also emerges strongly in this context, especially as a conduit between producer and consumer.
Making up the creative component of this research are two documentaries about the reality television event Band In A Bubble, and participatory media practices more broadly. The single-screen film, Hubbub , gives form to the collective intelligence and polyphonous voice of contemporary audiences who must be addressed and solicited in increasingly innovative ways. One More Like That is a split-screen, DVD-Video with alternate audio channels selected by a user who thereby chooses who listens and who speaks in the ongoing conversation between media producers and media consumers.
It should be clear from the description above that my own practice does not extend to highly interactive, multi-authored or web-enabled practices, nor the distributed practices one might associate with social media and online collaboration. Mine is fundamentally a single authored, documentary video practice that seeks to analyse and represent participatory culture on screen, and for this reason the Ph.D. refrains from a sustained discussion of the kinds of collaborative practices listed above. This is not to say that such practices don’t also represent an important intersection of documentary practice and participatory culture, they simply represent a different point of intersection. Being practice-led, this research takes its procedural cues from the nature of the practice itself, and sketches parameters that are most enabling of the idea that the practice sets the terms of its own investigation.
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Wahlert, Blake Jorgensen. "The Poetry of Reality: Frederick Wiseman and the Theme of Time." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505236/.
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Employing a textual analysis within an auteur theory framework, this thesis examines Frederick Wiseman's films At Berkeley (2013), National Gallery (2014), and Ex Libris (2017) and the different ways in which they reflect on the theme of time. The National Gallery, University of California at Berkeley, and the New York Public Library all share a fundamental common purpose: the preservation and circulation of "truth" through time. Whether it be artistic, scientific, or historical truth, these institutions act as cultural and historical safe-keepers for future generations. Wiseman explores these themes related to time and truth by juxtaposing oppositional binary motifs such as time/timelessness, progress/repetition, and reality/fiction. These are also Wiseman's most self-reflexive films, acting as a reflection on his past filmmaking career as well as a meditation on the value these films might have for future generations. Finally, Wiseman's reflection on the nature of time through these films are connected to the ideas of French philosopher Henri Bergson.
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Vogel, Robert J. "To Teach and to Please: Reality TV as an Agent of Societal Change." Thesis, Boston College, 2012. http://hdl.handle.net/2345/2653.
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Thesis advisor: William Stanwood<br>This analysis examined the effects of reality television on its audiences. The purpose of the research was twofold: to uncover the effects that reality television has upon its audiences, and to determine whether or not these effects indicate that reality TV acts as an agent of societal change. The genre was divided into two distinct programming types: documentary as diversion and lifestyle programs. The findings suggested that reality TV has many audience effects. Discussion centered around the investigation of the second research question. It was concluded that lifestyle programs are agents of societal change, while documentary as diversion programs are not. Limitations and suggestions for further research were put forth<br>Thesis (BA) — Boston College, 2012<br>Submitted to: Boston College. College of Arts and Sciences<br>Discipline: Communication Honors Program<br>Discipline: Communication
Books on the topic "Documentary and reality"
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1940-, Izod John, ed. An introduction to television documentary: Confronting reality. Manchester University Press, 1997.
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Representing reality: Issues and concepts in documentary. Indiana University Press, 1991.
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Ferocious reality: Documentary according to Werner Herzog. University of Minnesota Press, 2012.
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Steven, Peter. Brink of reality: New Canadian documentary film and video. Between the Lines, 1993.
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Hill, Annette. Restyling factual TV: The reception of news, documentary, and reality genres. Routledge, 2007.
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Curtin, Michael. Packaging reality: The influence of fictional forms on the early development of television documentary. Association for Education in Journalism and Mass Communication, 1993.
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Curtin, Michael. Packaging reality: The influence of fictional forms on the early development of television documentary. Association for Education in Journalism and Mass Communication, 1993.
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Reality radio: Telling true stories in sound. University of North Carolina Press, 2010.
Find full textBook chapters on the topic "Documentary and reality"
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Fox, Broderick. "Capturing Reality." In Documentary Media. Routledge, 2017. http://dx.doi.org/10.4324/9781315559438-6.
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Fox, Broderick. "Shaping Reality." In Documentary Media. Routledge, 2017. http://dx.doi.org/10.4324/9781315559438-7.
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Nash, Kate. "Reality effects." In Interactive Documentary. Routledge, 2021. http://dx.doi.org/10.4324/9781315208862-4.
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Rabiger, Michael, and Courtney Hermann. "Constructing Reality." In Directing the Documentary. Routledge, 2020. http://dx.doi.org/10.4324/9780429280382-7.
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Smaill, Belinda. "Nostalgia, Historical Time and Reality Television: The Idol Series." In The Documentary. Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230251113_8.
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Biressi, Anita. "Disability and the Para-TV Communities of Reality Television." In Documentary and Disability. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59894-3_14.
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French, Lisa. "Conclusion: Rendering Female Reality." In The Female Gaze in Documentary Film. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68094-7_12.
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Biressi, Anita, and Heather Nunn. "Reality TV: A Sign of the Times?" In The Documentary Film Book. British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_34.
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Dooley, Kath. "Creating Impact: The Scripting and Development of a CVR Documentary." In Cinematic Virtual Reality. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-72147-3_7.
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Callus, Anne-Marie. "The Poetics of Touch: Mediating the Reality of Deafblindness in Planet of Snail." In Documentary and Disability. Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-59894-3_10.
Full textConference papers on the topic "Documentary and reality"
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Leigh, Jason, Andrew Johnson, Luc Renambot, et al. "CAVE2 documentary." In 2014 IEEE Virtual Reality (VR). IEEE, 2014. http://dx.doi.org/10.1109/vr.2014.6802097.
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Zimmer, Christian, Nanette Ratz, Michael Bertram, and Christian Geiger. "War Children: Using AR in a Documentary Context." In 2018 IEEE International Symposium on Mixed and Augmented Reality Adjunct (ISMAR-Adjunct). IEEE, 2018. http://dx.doi.org/10.1109/ismar-adjunct.2018.00112.
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Fisher, Joshua A. "Utilizing the Mixed Reality Cube Taxonomy for Interactive Documentary Research." In MM '16: ACM Multimedia Conference. ACM, 2016. http://dx.doi.org/10.1145/2983298.2983299.
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Miao Song, Serguei A. Mokhov, Sudhir P. Mudur, and Jean-Claude Bustros. "Demo: Towards historical sightseeing with an augmented reality interactive documentary app." In 2015 IEEE Games Entertainment Media Conference (GEM). IEEE, 2015. http://dx.doi.org/10.1109/gem.2015.7377249.
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Guo, ChunNing Maggie. "Hard Life with Memory: Prison as a Narrative Space in Animated Documentary and Virtual Reality." In 2019 IEEE 2nd Workshop on Animation in Virtual and Augmented Environments (ANIVAE). IEEE, 2019. http://dx.doi.org/10.1109/anivae47543.2019.9050928.
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"Changes in Public Institutions as a Function of Technology and Its Impact on Society." In InSITE 2018: Informing Science + IT Education Conferences: La Verne California. Informing Science Institute, 2018. http://dx.doi.org/10.28945/3998.
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Aim/Purpose: [This Proceedings paper was revised and published in the 2018 issue of the journal Issues in Informing Science and Information Technology, Volume 15] The purpose of this article is to establish the different impacts of technological changes in institutions generating irrevocable changes in today's society Background: Technological changes have had a positive impact on many aspects of everyday life today, and it is natural that both public and private institutions do not escape from this reality Methodology: The research method used is based on the explanatory approach, through the documentary review of secondary sources and research works. Contribution: the implementation of electronic government in Ecuador is presented as a direct consequence of these technological developments in the way to direct and govern a country, which leads competitive advantages in a world that is increasingly globalized. Findings: In the institutions the only permanent thing is the change, for which the changing and evolving fact that the public and private institutions of today must have is highlighted Recommendations for Practitioners: Results can inform to users the importance of the "new government" in a practical level. Recommendation for Researchers: The influence of technology on how to govern and if this in some way improves the functioning of the State. Impact on Society: technological developments which leads competitive advantages in a world that is increasingly globalized. Future Research: Create discussion and have a starting point to compare the influence of technological government in different parts of the world.
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Hellen dos Santos Clemente Damascen, Cláudia, Indiara Viana Ribeiro Ajame, Lara Rodrigues dos Santos Cesário, Shirles Bernardo Gome, and Bianca Gomes da Silva Muylaert Monteiro de Castro. "Human Rights Education: raising awareness of rights as a prevention of bullying in schools." In 7th International Congress on Scientific Knowledge. Perspectivas Online: Humanas e Sociais Aplicadas, 2021. http://dx.doi.org/10.25242/8876113220212371.
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Educational institutions consist of spaces for interaction and sociability, therefore, these spaces are composed of a multiplicity of people, each with their individualities, being, therefore, a locus of coexistence with diversity and of creating access opportunities for the equalization of opportunities. From this perspective, research on Human Rights Education means directing citizens in the fight for their rights and for a fairer society, as a form of full realization of citizenship. This research, at first, discusses the various forms of violence that occur in youth, especially those that occur in the school space, highlighting the causes and consequences of physical, psychological, symbolic violence and one of the most worrying in the world scenario: the " bullying". The general objective is to verify the existence and manifestations of violence in the school environment among students, teachers, managers and employees to understand the relationship that young people have with their peers, identifying the forms of violence called "bullying" that occur in the environment in an attempt to reflect on how such practices can be fought through Human Rights Education. Therefore, the methodology used will be qualiquantitative and will consist of a literature review, which will aim to situate human rights and bullying as objects in the field of socio-legal studies. Documentary analysis of laws dealing with human rights and education will be carried out, as well as field research, through which the questionnaire will be used as a data collection instrument to understand the perception of high school students about bullying and the disrespect for differences. The work will also involve quantitative analysis in the analysis of data to verify the incidence of bullying, its modalities and how Human Rights Education can contribute to respecting and valuing differences. With the completion of this research, it is expected to provide educators and students of educational institutions, an analysis of the importance of forming a culture of respect for human dignity, diversity, multiplying information and experiences that contribute to participatory awareness, rethinking the citizen reality of the population involved and reinforcing the socio-political-cultural identity of social segments and groups, based on the school reality and on Human Rights Education
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Cabanes, Jose Luis, Federico Iborra-Bernad, and Carlos Bonafé-Cervera. "Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870." In 24th ISUF 2017 - City and Territory in the Globalization Age. Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6055.
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Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870. Jose Luis Cabanes Ginés¹, Federico Iborra Bernad², Carlos Bonafé Cervera3 ¹Departamento de Expresión Gráfica Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia. 2Departamento de Composición Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia 3Departamento de Ing. Cartográf. Geodesia y Fotogramtría. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia E-mail: jlcabane@ega.upv.es, f_iborra@yahoo.es, carboce1@topo.upv.es Keywords (3-5): virtual reconstruction, historical urban environment, image based animations Conference topics and scale: City transformations / Tools of analysis in urban morphology The recreation of the historical environment of emblematic urban spaces in our cities through interactive technologies, allows to extend their knowledge among the interested users while contributing to its assessment. When the documentary bases are photographs it is possible to carefully model the recorded elements using photogrammetry techniques based on 3D primitives, so that by means of an immersive navigation limited to certain points of view, an appearance of acceptable tridimensionality is obtained, where only isolated images of dispersed frames are available. The virtual recreation can be completed increasing its realistic appearance through its edition with animations of objects (for example, carriages) and characters, texts, musical setting, etc. The results can be presented in formats such as video or navigation through virtual reality helmets. From a selection of the first historical photographs of the Plaza de la Virgen, that we have obtained searching in several documentary sources, our multidisciplinary team is interested in a reliable, realistic and pleasant presentation of the urban environment of one of the most representative places in the city of Valencia, whose spatial configuration has changed significantly over the years. References (100 words) Braun, C., Kolbe, T. H., Lang, F., Schickler, W., Steinhage, V., Cremers, A. B., Förstner, W., Plümer, L., 1995. Models for photogrammetric building reconstruction. Computers &amp; Graphics, Volume 19, Issue 1, pp. 109-118. Debevec, P., Taylor, C. J. and Malik, J., 1996. Modeling and rendering architecture from photographs: A hybrid geometry and image-based approach. SIGGRAPH’96, pp. 11–20. De Mesa, A., Regot, J., Nuñez, M. A. and Buill, F., (2009). Métodos y procesos para el levantamiento de reconstrucción tridimensional gráfica de elementos del patrimonio cultural. La iglesia de Sant Sever de Barcelona. Revista EGA, nº 14, pp. 82-89. Drap, P., Grussenmeyer, P. and Gaillard, G., 2001. Simple Photogrammetric Methods with ARPENTEUR: 3-D Plotting and Orthoimage generation. XVIII International Symposium CIPA 2001, Potsdam (Germany). International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, nº 34 (Part 5/C7), pp. 47-54. El-Hakim, S., Beraldin, J. and Lapointe, A., 2002. Towards Automatic Modeling of Monuments and Towers. IEEE Proceedings of the International Symposium on 3D Data Processing Visualization and Transmission, 3DPVT 2002, Padua, Italy, pp. 526-531. Proyecto Barcelona Darrera Mirada, http://darreramirada.ajuntament.barcelona.cat/#historia/8/1 The Old New York, http://vimeo.com/160024074, https://vimeo.com/162572088
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Galli, Claudio, and Alessandro Tosarelli. "Rapporto di ricerca storica sulle superfici architettoniche esterne della fortezza di San Leo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11532.
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Historical research report on the external architectural surfaces of the fortress of San LeoThe hinterland of Rimini is characterized by the presence of many castles, but the fortress of San Leo is certainly the most representative because of its position and the different constructive contributions that over time have updated its appearance and military functions. Cited by Dante and Machiavelli for the impervious nature on which it stands, its origin dates back to the early Middle Ages. It was rehashed following the imprint of Francesco di Giorgio Martini in the fifteenth century, restored by Giuseppe Valadier at the end of the eighteenth century and converted to a prison in 1631. A peculiarity that makes the studies on the fortress of San Leo absolutely interesting is the treatment of the external architectural surfaces of which there is ample documentation in the historical archives and of which there are multiple uses in the various areas of the factory; the research aims to offer useful knowledge for the subsequent conservation and restoration project. The theme, completely original, arises from indirect investigations of a documentary and iconographic nature, conducted at the State Archives of Pesaro, Florence, Rome, the Central State Archive and the Vatican Secret Archive, which repeatedly refer in the accounting of works, starting from the seventeenth century, the execution of plasters executed outside the monument. The interpretative tension of the archival documents and the drawings continued by looking for a direct comparison between historical information and materiality of the fortress, in order to identify a correspondence between historical data and constructive reality. It emerges clearly that the external surfaces of many parts of the fortress were treated and finished with plaster since its origins, probably due to the exposure to atmospheric agents; therefore a rethinking of what is reported in the literature is necessary both in terms of interpretative profile of the fortress, and about how its image was perceived over the centuries.
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Cosenza, Federica. "I Casali e le Architetture della Campagna Romana nel Basso Medioevo. Realtà archeologica e fonti documentarie." In FORTMED2020 - Defensive Architecture of the Mediterranean. Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11462.
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The Casali and the Architectures of the Campagna Romana in the Late Middle Ages. Archeaological and archive sourcesThe territory of the Roman countryside in the Late Middle Ages was extended from the city of Rome to 40 miles in the Suburb, between the coasts of the Tyrrhenian Sea, the Albani Mountains, the Lepini Mountains and the course of the Tiber. In the twelfth century various events started in this territory which will greatly influence its appearance until today: the castra arise, as forms of aggregation of a territory enclosed by defensive elements; burgi and villae, small fortified centers; and the casali, special production farmhouses characterized by the presence of a tower and other defensive, residential and productive structures. The militarization of the landscape began for reasons partly linked to the general instability of the period. Despite the basic differentiations in the forms of the population as in the functionalities themselves entrusted to the circumscribed territory, the forms of the basic architecture remained the same: the tower, the walls, albeit in variety in terms of technique, magnificence and complexity. This research can be tackled thanks to a direct analysis of the architecture of the towers which characterize the Roman countryside, occasionally accompanied by other elements, like the walls. The results of this study can be compared with the information reported in medieval sources, in which a specific language is used to describe the architecture and the characteristics of every form of human anthropization. The analysis of the differences and affinities between these territorially structures and the comparison with the contemporary urban architectures, allows to recreate a general picture of the architecture in the Roman countryside in the Low Middle Ages.
Reports on the topic "Documentary and reality"
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.
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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.
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Bedoya García, Victor Daniel, and Marleny Torres Zamudio. Gestión de la información y la responsabilidad social empresarial. Universidad Nacional Abierta y a Distancia, 2021. http://dx.doi.org/10.22490/ecacen.4694.
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El objetivo de la investigación que da origen a este documento es determinar la incidencia de la gestión de la información en la toma de decisiones empresariales y en la generación de conocimiento al interior de las organizaciones, en el marco de la Responsabilidad Social Empresarial. Se realizó una investigación descriptiva, mediante un ejercicio de revisión documental, con la consideración de tres categorías de análisis: la gestión de la información organizacional, la gestión del conocimiento, y una categoría conjunta que analiza la Responsabilidad Social Empresarial (RSE) y gestión de la información. La discusión y resultados parciales que se presentan aquí describen el proceso de toma de decisiones fundados en la gestión de la información, dentro de ello, su incidencia en la toma de decisiones relativas a los aspectos económicos, sociales y ambientales en el marco de la RSE, que viabilizan la creación de círculos virtuosos y aportan al desarrollo competitivo de las organizaciones, al bienestar de las comunidades, y a la sustentabilidad ambiental.