Academic literature on the topic 'Documentary film maker'
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Journal articles on the topic "Documentary film maker"
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Biswas, Moinak, Ravi Vasudevan, Arun Kumar Roy, and Maharghya Chakraborty. "Hari Sadhan Dasgupta: Short Film Maker." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 146–70. http://dx.doi.org/10.1177/0974927617705933.
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Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 50 odd documentaries and commercials between 1948 and 1984, of which Panchthupi: A Village in West Bengal (1955), The Story of Tata Steel (1958), and Konarak (1949) have earned iconic status. He also made two feature-length fiction films Eki Ange Eto Rup (1965) and Kamallata (1969).
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Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s." Journal of British Cinema and Television 18, no. 3 (July 2021): 329–59. http://dx.doi.org/10.3366/jbctv.2021.0577.
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This article examines the work of the film-maker and composer Jack Ellitt (1902–2001) who remains something of an enigmatic and marginal figure in historical accounts of British documentary cinema. Research on Ellitt has so far focused on two key aspects of his life and career: firstly, his association with the New Zealand-born film-maker and artist Len Lye, and secondly, his pioneering work as a composer of electro-acoustic music. However, little research been undertaken on the work that he produced during the three decades he spent working as a documentary director in the British film industry, beginning in the early 1940s and ending with his retirement in the 1970s. He was a member of the remarkable generation of film-makers associated with the British documentary movement, and a composer whose radical experiments with recorded sound might well have secured him a more prominent place in the history of experimental music than is currently the case. Focusing on films made by Ellitt during the 1940s, the primary aim of this article is to offer a chronological appraisal of his early work as documentary director, while also considering what new perspectives this group of films might offer on his earlier creative collaboration with Lye, and the extent to which his radical experiments in electro-acoustic composition may have influenced the use of sound within the films he directed.
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Stollery, Martin. "Only Context: Canonising Humphrey Jennings/Conceptualising British Documentary Film History." Journal of British Cinema and Television 10, no. 3 (July 2013): 395–414. http://dx.doi.org/10.3366/jbctv.2013.0147.
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This article assesses the predominant ways in which critics and historians have traditionally understood the career of Humphrey Jennings, long considered the British documentary movement's leading film-maker. The terms in which we have previously understood Jennings’ career form part and parcel of how we have hitherto narrated British documentary film history, as a ‘rise and fall’ story that ends around the time of his death. The assumptions underlying this story are now up for debate. This article is therefore an exercise in positive historical revisionism. It is not an attempt to diminish Jennings’ reputation. The canonisation of film-makers and other cultural figures is a historical process as much as it is a recognition of inherent aesthetic value. This article makes visible some of the historical and institutional contexts framing the emergence of three different versions of ‘Jennings’. These can broadly be summarised as: the quality film-maker; the poet; the modernist. Underpinning the latter two versions, ever since the publication of Lindsay Anderson's classic article ‘Only Connect’ in 1954, are three assumptions: a relatively conventional Romantic conception of Jennings as an individual artist, the people's war as a central point of reference, and the ‘rise and fall’ story of British documentary history. This article concludes that dislodging these assumptions can fruitfully lead to valid new perspectives on both Jennings and the longer history of British documentary.
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Haggith, Toby. "Women Documentary Film-makers and the British Housing Movement, 1930–45." Journal of British Cinema and Television 18, no. 4 (October 2021): 478–97. http://dx.doi.org/10.3366/jbctv.2021.0591.
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This article examines the role women played, as film-makers and participants, in the development of the documentary genre from 1930 into the wartime period. In the 1930s and 1940s, the topics of slum clearance and town planning were a preoccupation of British documentary and non-fiction cinema. This article therefore first focuses on the little-known propaganda films generated by housing charities in the 1930s. After an examination of the use of films in the campaigns for better housing between the wars, it concentrates on three films which are linked by the inclusion of filmed interviews with the poorly housed. The study starts with a re-evaluation of Housing Problems (1935) and Kensal House (1937), widely regarded as the first of the genre, placing them in the context of the housing movement. It then gives an overview of the housing issue and female documentary-making during the Second World War, as background to a case study of film-maker Kay Mander, concentrating on her end-of-war manifesto Homes for the People (1945), which saw a further development of the interview technique and presented the women's perspective in a feminist manner. This article shows that women were not only instrumental in the development of the housing documentary but that the films they made promoted a female-orientated and progressive view of housing provision and town planning for working-class people. It was a passion for social change and a growing belief in the democratisation of the image of the poorly housed that determined changes in treatment in the films of the documentary film movement.
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Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.
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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films and the conventions of the documentary. Wajda’s overriding aim in using the poetics of documentary is in each case to undertake mise-en-abîme reflections.
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Davis, Peter. "Misanthropology: the makers of Siliva the Zulu." Africa Bibliography, Research and Documentation 1 (October 14, 2022): 70–84. http://dx.doi.org/10.1017/abd.2022.7.
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AbstractThis lecture of 2006, never previously published, describes the making of the film Siliva the Zulu, the first fiction film made in sub-Saharan Africa with an all-black cast. It assesses its value as a rare documentary record of rural Zulu life in the 1920s and the subsequent careers of the film maker Attilio Gatti and anthropologist Lidio Cipriani. The latter’s reputation was tarnished by his support for Mussolini, racism, anti-Semitism and fascism.
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Hamilton, Annette. "Fragments in the Archive: The Khmer Rouge Years." Plaridel 15, no. 1 (June 2018): 1–14. http://dx.doi.org/10.52518/2018.15.1-01hmlton.
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Cambodia’s cinema history is strange and surprising. Popular films from France and the United States circulated through the Kingdom during the French colonial period. The 1950s and 60s saw extensive local production with the enthusiastic support of King Norodom Sihanouk, himself a passionate film-maker, but the Khmer Rouge regime (1975-1979) destroyed most of the existing material, including hundreds of feature films, raw footage and countless other ephemeral documents. In 2006, after representations by film-maker Rithy Panh and others, the Bophana Audio-Visual Research Centre was established in Phnom Penh to comb the world for every fragment of film and audio material relating to Cambodia’s history in order to reproduce it in an accessible digitized form. The archival preservation and duplication has continued apace. However the ethical use of these materials presents challenges. Contemporary documentary makers and digital enthusiasts frequently use fragmentary footage to support their political or historical interpretations without attribution or context. This paper discusses a propaganda film featuring the former King Norodom Sihanouk and his wife Monique shot in1973 in collaboration with the Communist Chinese, the North Vietnamese and the Khmer Rouge. Short scenes and extracts from this film circulate online and appear in many documentaries. The “archive effect” of this footage raises questions about the source and circulation of archival images with significant historical and political consequences.
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Durrani, Matin. "Ask me anything: Taghi Amirani." Physics World 35, no. 8 (September 1, 2022): 44ii. http://dx.doi.org/10.1088/2058-7058/35/08/29.
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., I. Gusti Ngurah Bagus Suryawan, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and I. Gede Partha Sindu, S. Pd ,. M. Pd . "Film Dokumenter Kain Gringising Di Desa Tenganan Pegringsingan." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 22, 2017): 150. http://dx.doi.org/10.23887/karmapati.v6i1.9458.
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Tujuan dari penelitian ini adalah untuk : (1) mengimplementasikan Film Dokumenter Kain Gringsig di Desa tenganan Pegringsingan (2) mengetahui respon pengguna terhadap Film Dokumenter Kain Gringsing di Desa Tenganan Pegringsingan.
Metode penelitian yang digunakan adalah penelitian dan pengembangan. Film Dokumenter Kain Gringsing di Desa Tenganan Pegringsingan di kembangkan menggunakan metode cyclic. Aplikasi ini diimplementasikan menggunakan Adobe Premiere Pro Cs6 sebagai pembuat video dengan bantuan Adobe After Effect sebagai penambah efek video.
Pemanfaatan aplikasi pembuat video dari dampak kemajuan teknologi menyebabkan para remaja atau anak muda mampu berkreasi dalam mengolah video dengan berbagai efek sesuai kemampuan dan keinginan sehingga video dapat dijadikan berbagai sarana yang vital dalam berbagai media promosi. Oleh karena itu, penulis mengembangkan sebuah film documenter yang berjudul “Film Dokumenter Kain Gringsing”. Dengan dikembangkannya film documenter ini, diharapkan keberadaan kain gringsing di desa tenganan pegringsingan semakin di kenal, serta dapat dijadikan sebuah media pembelajaran baik dari segi penggunaan dan makna di balik sebuah kain gringsing yang berada di desa tenganan pegringsingan. Hasil akhir film documenter kain gringsing dapat memberikan wawasan bagi penonton terkait proses pembuatan kain gringsing , penggunaan kain gringsing dalam upacara yang ada di desa tenganan pegringsingan serta makna filosofi yang terkandung dalam kain gringsing.. Respon pengguna terhadap film documenter kain gringsing dapat dikategorikan sangat positif dengan persentase 88%.
Kata Kunci : Kain Gringsing, Tenganan Pegringsingan, Film Dokumenter, Tradisi. The purpose of this study was to: (1) implement Documentary Fabric Gringsig in the village of Tenganan Pegringsingan (2) determine the user response to the Documentary Fabric Gringsing in Tenganan Pegringsingan.
The method used is research and development. Documentary Fabric Gringsing in Tenganan Pegringsingan developed using cyclic method. This application is implemented using Adobe Premiere Pro CS6 as a maker of video with the help of Adobe After Effects as an addition to video effects.
Utilization maker application video of the impact of technological advances led to the teenagers or young child is able to be creative in the process the video with various effects according to ability and desire so that video can be used as the means vital in a variety of media promotion. Therefore, the authors developed a documentary film titled "Documentary Fabric Gringsing". With the development of documentary film, it is expected the presence of cloth in the village of Tenganan Pegringsingan gringsing increasingly well known, and can be used as a medium of learning in terms of both the use and the meaning behind a Cloth gringsing located in the village of Tenganan Pegringsingan. The final result documentary gringsing fabric can provide insight for the audience related to the process gringsing fabric, use fabric gringsing in a ceremony in the village of Tenganan Pegringsingan and philosophical meaning contained in the fabric gringsing . user response to the documentary film gringsing fabric can be categorized as very positive percentage of 88%.
keyword : Fabric Gringsing, Tenganan Pegringsingan, Documentary, Tradition.
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., Komang Gede Wenten, I. Gede Mahendra Darmawiguna, S. Kom, M. Sc ., and I. Made Ardwi Pradnyana, S. T. ,. M. T. . "Film Dokumenter Pembayaran Kaul Dengan Bulu Geles Di Desa Tambakan Kecamatan kubutambahan Kabupaten Buleleng." Kumpulan Artikel Mahasiswa Pendidikan Teknik Informatika (KARMAPATI) 6, no. 1 (February 15, 2017): 73. http://dx.doi.org/10.23887/karmapati.v6i1.9326.
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Tradisi lisan merupakan salah satu bentuk ekspresi kebudayaan daerah yang jumlahnya beratus-ratus di seluruh Indonesia. Tradisi Pembayaran Kaul dengan Bulu Geles adalah pembayaran janji atau hutang dengan menggunakan seekor anak sapi jantan sebagai sarananya.
Tujuan dari penelitian ini adalah untuk : (1) mengimplementasikan Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan (2) mengetahui respon pengguna terhadap Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan. Metode penelitian yang digunakan dalam Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan menggunakan metode cyclic strategy. Aplikasi ini diimplementasikan menggunakan Sony Vegas Pro 13.0 sebagai pembuat video.
Pemanfaatan aplikasi pembuat video dari dampak kemajuan teknologi menyebabkan para remaja atau anak muda mampu berkreasi dalam mengolah video dengan berbagai efek sesuai kemampuan dan keinginan sehingga video dapat dijadikan berbagai sarana yang vital dalam berbagai media promosi. Oleh karena itu, penulis mengembangkan sebuah film dokumenter yang berjudul “Film Dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan”. Dengan dikembangkannya film dokumenter ini, diharapkan keberadaan tradisi Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan semakin di kenal, serta dapat dijadikan sebuah media pembelajaran baik dari segi proses dan makna di balik sebuah tradisi Pembayaran Kaul Dengan Bulu Geles yang berada di Desa Tambakan.
Hasil akhir film dokumenter Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan dapat memberikan wawasan bagi penonton terkait tradisi Pembayaran Kaul Dengan Bulu Geles di Desa Tambakan. Respon pengguna terhadap film dokumenter Pembayaran Kaul Dengan Bulu Geles dapat dikategorikan sangat positif.
Kata Kunci : Bulu Geles, Film Dokumenter, Tradisi. The oral tradition is one form of cultural expression of the region whose numbers hundreds throughout Indonesia. Payment tradition vows with Bulu Geles is a promise or debt payment by using a male calves as ingredients.
The purpose of this study was to: (1) implement Documentary Payments vows With Bulu Geles in Tambakan village. (2) Determine the user response to the Documentary Payments vows With Bulu Geles in Tambakan village.
The method used in the Documentary Payments vows With Bulu Geles in Tambakan village using cyclic strategy. This application is implemented using Sony Vegas Pro 13.0 as a video maker.
Utilization maker application video of the impact of technological advances led to the teenagers or young child is able to be creative in the process the video with various effects according to ability and desire so that video can be used as the means vital in a variety of media promotion.
Therefore, the authors developed a documentary titled "Documentary Payments vows With Bulu Geles in Tambakan village". With the development of this documentary, expected presence Payment tradition vows with Bulu Geles in Tambakan village increasingly well known, and can be used as a medium of learning in terms of both the process and the meaning behind the tradition Payment vows with Bulu Geles in Tambakan village.
The final result documentary Payment vows With Bulu Geles in Tambakan village can provide insight for the audience related payments tradition vows With Bulu Geles in the village. User response to the documentary film payment vows With Bulu Geles can be categorized as very positive.
keyword : Bulu Geles, Documentary, Tradition.
Dissertations / Theses on the topic "Documentary film maker"
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Hoehne, Craig John. "Forged under the Hammer and Sickle: The Case of Geoffrey Powell, 1945–1960." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366519.
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Forged under the Hammer and Sickle, The Case of Geoffrey Powell 1945–1960 is a multimodal exhibition and exegesis that concerns the post-war production of photographer-turned-documentary-filmmaker Geoffrey Powell (1918–1989). It re-evaluates Powell's production through the prism of his socio-political evolution from reactionary to Marxist. Within the photo-historical literature, he is defined as a participant in the mainstream Post-War Documentary Movement in photography. However, my research has revealed that Powell belonged to a cross-disciplinary nexus of creative thought. He was a member of the Australian Communist Party and his photographic production was all but confined to Socialist Realist journals. This Marxist affiliation imposed strictures on the way in which he engaged with subjects as well as the aesthetics of his work. He was also an active participant on the progressive ‘Arts Front’. An interest in expository film by the progressive Left tweaked a curiosity in Powell, which ultimately encouraged his move into documentary filmmaking. Through the patronage of progressive film producer John Heyer, Powell became employed at the Department of Information (DOI) Film Unit as a cinematographer from March 1946. At the DOI, he was a member of the Heyer documentary group that embraced the notion of "dramatising within the realm of reality". In keeping with the Leftist cultural element that operated within the film unit—that engaged with outside radical film production for militant labour unions—Powell assisted the Miners' Federation in the production of photography for their Amenities Campaign in 1947.Thesis (Masters)
Master of Visual Arts (MVA)
Queensland College of Art
Arts, Education and Law
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
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Williamson, Harry Alexander. "The essay, the time image and the double : a study of the films of Chris Marker." Thesis, University of Ulster, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268596.
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Wolf, Nicole [Verfasser], and Werner [Akademischer Betreuer] Schiffauer. "Make it Real. Documentary and other cinematic experiments by women filmmakers in India. / Nicole Wolf. Betreuer: Werner Schiffauer." Frankfurt (Oder) : Universitätsbibliothek der Europa-Universität Viadrina Frankfurt, 2013. http://d-nb.info/1031630945/34.
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Roudé, Catherine. "Des collectifs de cinéma militant dans la France de l' après 1968 : micro-histoire de Slon et Iskra (1967-1988)." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010544.
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Par le biais de deux groupes de production issus de la même base, Slon (1968-1973) et Iskra qui lui succède, cette thèse interroge les modalités d'intervention politique d'une partie des acteurs du champ cinématographique français, de la fin des années 1960 à la fin des années 1980. Ce travail s'attache à la notion de collectif de cinéma militant, telle que forgée au cours de la période au prisme de la production, de la réalisation et de la circulation des œuvres issues de ce contexte. La formation du collectif militant passe d'abord par l'élaboration de modèles de productions spécifiques s'opposant au fonctionnement de l'industrie cinématographique. Difficile à accorder aux contraintes du champ, la recherche structurelle menée par les groupes formés dans l'après 1968 est constante jusqu'au début des années 1980, période à laquelle les acteurs du cinéma militant entament un mouvement inverse d'institutionnalisation. La confrontation des œuvres produites dans ce cadre, répondant aux temps forts du mouvement social, avec les pratiques revendiquées montre la diversité des voies d'engagement en cinéma ainsi que la difficulté de mettre en pratique l'idéal collectif. Certains films révèlent aussi une disproportion entre les ambitions des structures de production et leurs capacités d’action. La manière dont Slon et Iskra organisent la diffusion d'un catalogue constitué de nombreux films réalisés dans d'autres cadres fait émerger des pratiques qui n'ont pas été prévues dans leurs tâches originelles. Mobilisant de nouveaux acteurs au sein du groupe comme à l'extérieur, la distribution impacte fortement le fonctionnement du collectif. C'est finalement au moyen de cette activité que les membres d'Iskra parviennent à adapter la structure aux mutations du paysage audiovisuel français jusque dans les années 1980This thesis questions the modalities of political intervention among protagonists of the French cinematographic field from the late '60s until the late '80s, through the study of the two production groups derived from one and the same basis, Slon ( 1969-1973), followed by Iskra. This work concentrates on the concept of collective activist cinema, faithful to its definition forged during the given timespan, through the prism of production, of the execution and circulation of works produced in this context. The development of the activist collective firstly goes through the elaboration of specific production patterns in opposition with the functioning of the film industry. Difficult to reconcile with the inherent constraints of the film industry, the structural research led by groups fonned after 1968 is a constant until the early '80s, when cinema activists initiate a reverse movement, towards institutionalization. The confrontation between the movies accomplished in this background in response to the key moments of the social movement and according to the claimed policies, shows both the diversity of ways in the commitment through cinema and the difficulty in turning the collective ideal into hard facts. Some of the works studied also reveal the discrepancy between the ambitions of their production structures and their actual capacity for action. The way Slon and Iska organize the distribution of their catalogue made up of numerous products realized in contexts other than the initial, gives rise to new schemes which were not anticipated among their original tasks. Mobilizing new human resources from both inside and outside the group, the distribution had a huge impact on the manner the collective functioned as a whole. It is by the means of this very activity that the members of Iskra finally adapt their structure to the shifts occurred in the broadcasting field ail along through the '80s
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Pu, Liu, and 劉璞. "Developing a Whole New Vision on Marine Education ─ Analysis of Ocean Videos and Documentary Film Makers." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/27683235080710428457.
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碩士國立臺灣海洋大學
教育研究所
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Abstract Based on the previous literature review, this study had collected various Taiwanese ocean-themed documentaries to analyze, and then selected three representative marine documentaries to have in-depth interviews with the makers (directors) to understand the distribution and the production process of Taiwanese marine documentaries in the past decade, providing as a reference of application in education for teachers. By collecting Taiwanese marine documentaries, this study analyzed the representation on the five thematic strands of marine education in the Taiwanese marine images and documentaries, attempting to develop a whole new way for teachers to teach marine education. Moreover, the multi-angled viewpoints of marine education were also rethought through the dialogues with the makers of the documentaries. By analyzing and interviewing the makers, the following results were obtained: Taiwanese marine documentaries have begun to increase after the year of 2000; however, there are still not many ocean-themed documentaries. The marine films cannot keep pace with the time and the contents are varies greatly, lacking of an integrated establishment. Even the education institutions of the Government have smaller collection of marine images than the private sectors. As for the five thematic strands of marine education, the marine films are mostly related to marine resources theme, whereas the marine documentaries are mostly related to marine cultures. While shooting marine images, the private sectors focus on the appeal of marine resources and ecological conservation, while the independent makers mostly focus on marine cultures. Also, the films of marine issues have a diversified development trend. This study suggests that the Government should combine the university, industry, and the Government to shoot marine documentaries which can meet the educational needs, to establish a complete database, and to integrate the related civil institutions. As for the teachers, they should enrich their professional marine knowledge and skills and well utilize the marine documentary as a teaching media, and they are encouraged to make teaching media of marine images on their own. This study also suggests that the documentary film-makers should use the ocean as a material to emphasize on the marine cultural identity. Finally, this study suggests several directions for the future researchers according to the research areas, research topics and research methods respectively. Key words: Marine Documentaries, Marine Education, Teaching Media
Books on the topic "Documentary film maker"
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The documentary film makers handbook. New York, NY: Continuum International Publishing Group Inc., 2007.
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Rutherford, Anne. What makes a film tick?: Cinematic affect, materiality and mimetic innervation. Bern: Peter Lang, 2011.
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C, Brock David, ed. Makers of the microchip: A documentary history of Fairchild Semiconductor. Cambridge, Mass: MIT Press, 2010.
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Jolliffe, Genevieve, and Andrew Zinnes. The Documentary Film Makers Handbook: A Guerilla Guide. Continuum International Publishing Group, 2006.
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Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.
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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together philosophy, film theory, literary scholarship, and cognitive psychology with an international range of films from beyond the mainstream, Sarah Cooper charts the key processes that serve the imagining of images in the light of the mind. Through its navigation of a labile and vivid mental terrain, this innovative work makes a profound contribution to the study of spectatorship.
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Mitchell, Richard G. Reflection. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0026.
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As a practitioner of film music composition, I make music that is shaped by its relationship with a moving picture. Music’s role in most commercial films, whether documentary or drama, is to help direct the audience’s emotional response in synchronization with the action. In this sense music shapes the audience’s feelings every bit as much as the action....
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Lécuyer, Christophe, David C. Brock, and Jay Last. Makers of the Microchip: A Documentary History of Fairchild Semiconductor. MIT Press, 2018.
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Documentary Makers: Interviews with 15 of the Best in the Business. Rotovision, 2003.
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Miller, Giulia. Studying Waltz with Bashir. Liverpool University Press, 2017. http://dx.doi.org/10.3828/liverpool/9781911325154.001.0001.
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On its release in 2008, Ari Folman's animated documentary Waltz with Bashir was heralded as a brilliant and original exploration of trauma, and trauma's impact on memory and the recording of history. But it is surprising that although the film is seen through the eyes of one particular soldier, a viewpoint portrayed using highly experimental forms of animation, this has not prevented Waltz with Bashir from being regarded as both an “autobiographical” and “honest” account of the director's own experiences in the 1982 Lebanon War. In fact, the film won several documentary awards, and even those critics focusing on the representation of trauma suggest that this trauma must be authentic. In this sense, it is the documentary form rather than the animation that has had the most influence upon critics. As this book shows, it is the tension between the two forms that makes the film so complex and interesting, allowing for multiple themes and discourses to coexist, including Israel's role during the Lebanon War and the impact of trauma upon narrative, but also the representation of Holocaust memory and its role in the formation of Israeli identity. In addition to these themes that coexist by virtue of the film's unusual animated documentary format, Waltz with Bashir can also be discussed in relation to a broad range of contexts; for example, the representation of war in film, the history of Israeli Holocaust cinema, and recent trends in experimental animation, such as Richard Linklater's Waking Life (2001) and A Scanner Darkly (2006), as well as Folman's most recent live action/animation work The Congress (2013).
Book chapters on the topic "Documentary film maker"
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Bruzzi, Stella. "The Performing Film-maker and the Acting Subject." In The Documentary Film Book, 48–58. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_4.
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Sanchez, Alexandra J. "Documentary Makers as Translators: Translating the Real to the Reel." In Discourses of Migration in Documentary Film, 13–37. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06539-2_2.
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Barotsi, Rosa. "Not Yet." In Errans, 75–92. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-24_3.
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Mafrouza is a twelve-hour-long documentary by French director Emanuelle Demoris, shot in a now-demolished neighbourhood in Alexandria, Egypt. Demoris is one of a long chain of western filmmakers who appeal to some form of ‘taking one’s time’ as an instrument for — morally, politically, epistemologically — adequate representation. Based on the work of Trinh T. Minh-ha, Eduard Glissant, and Poor Theory, this chapter evaluates what happens when a film adopts a strategy of deferral in cases in which it is not clear how questions of ‘doing justice’ could be resolved. Using long duration and an insistence on the quotidian, Demoris’s film forces us to think about the conditions that make pronouncements about character, situation, and narrative possible, continuously postponing the moment when it will become possible to say: ‘this film is about …’. By setting itself up for failure, the film proposes one possible approach to the ethics and politics of visibility.
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Berry, Chris. "‘Being a Woman Documentary Maker in Taiwan’ – An Interview with Singing Chen and Wuna Wu." In Female Authorship and the Documentary Image. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474419444.003.0014.
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Women documentarists have a strong position in the Taiwanese film industry. They receive commissions from people from all social strata, including local politicians and candidates to the presidential post. Berry’s interview thus focuses on the working conditions and social environment for women filmmakers in Taiwan.
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Ray, Sandeep. "Two Films and a Coronation: The Containment of Islam in Flores in the 1920s." In The Colonial Documentary Film in South and South-East Asia. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474407205.003.0006.
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In his chapter, Sandeep Ray explores two films shot in 1926 in the under-studied region of Flores in eastern Indonesia by a Dutch catholic priest turned film-maker. In addition to setting out the more predictable propaganda deployed by these evangelical films in a local context of fierce confrontation between Catholics and the Muslims to gain religious control over the native population of Flores, and against the larger background of Dutch colonial expansion, Ray also argues that this only surviving visual record of the events that took place provides a unique source of insight into the modes of evangelism deployed in the area, as well as into details of local customs and mores.
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"Welcome To Dystopia. A View Into The Counter-Hegemonic Discourse(S) Of Ecological Activism In Istanbul." In The Politics of Culture in Contemporary Turkey, edited by Pierre Hecker, Ivo Furman, and Kaya Akyildiz, 191–206. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474490283.003.0010.
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This chapter presents the work of Julia Lazarus, an artist, film-maker and curator. It is based on two scenes from her documentary film Northern Forests. This film aims to establish a counter-hegemonic discourse on the impact of gigantic construction and infrastructure projects in the Greater Istanbul Area. It focuses primarily on the activities of the Northern Forests Defense (NFD), an ecological activist group. The chapter confronts the reader about both the practical and theoretical means and possibilities of resistance. Ultimately, it poses two questions: how is this group using language to build a counter-hegemonic discourse? And how is this reflected in the documentary film?
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Van de Peer, Stefanie. "Hala Alabdallah Yakoub: Documentary as Poetic Subjective Experience in Syria." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0008.
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Against all the odds, and within a highly restrictive production context, women have been and continue to be the most politically engaged filmmakers in Syria. While feature‐length fiction films by women are rare or non‐existent, documentary maker Halla Alabdallah is working across different genres with obvious degrees of resistance. Trained by Omar Amiralay (Syria’s foremost documentary maker), her style is singular and experimental in nature. Her first film, I am the One Who Brings Flowers to her Grave (2006) was the first documentary made by a woman in Syria. It is a lyrical portrait of solidarity between women across the ages that experiments with ‘representation’. In As if We Were Catching a Cobra (2012) she looks at the art of cartoon and other politically inspired art forms, in Egypt and Syria, immediately before the start of the revolution in Cairo. She uses documentary as a weapon, she says, because it is necessary to negotiate the oppression and taboos in order to find an avenue for self-expression and dissidence. Women’s identity struggle and self-expression are addressed directly in her films, and there is an immense trust in her global spectators’ ability to empathise, as vocal and aural communication methods are explicitly used to express dissent.
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Ruchel-Stockmans, Katarzyna. "From Amateur Video to New Documentary Formats : Citizen Journalism and a Reconfiguring of Historical Knowledge." In Media and Mapping Practices in the Middle East and North Africa. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462989092_ch06.
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The Arab Spring of 2011 appeared on the news in countless video testimonials shot by participants and bystanders. Yet the sheer amount of such visual data, combined with the untranslatability and poor quality of the footage, delivers an often opaque and ambiguous material. Peter Snowdon’s film The Uprising (2013) appropriates and reassembles this amateur footage. Compared to the 1992 film Videograms of a Revolution by Harun Farocki and Andrei Ujică, The Uprising raises the question of a possible knowledge shift produced and performed by the amateur video maker. In an analysis of these films, this chapter investigates the possibilities of documenting historical events through mobile video footage.
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Ushiyama, Rin. "Public Intellectuals and the Struggle Over Mind Control." In Aum Shinrikyo and religious terrorism in Japanese collective memory, 109–30. British Academy, 2022. http://dx.doi.org/10.5871/bacad/9780197267370.003.0006.
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This chapter analyses the struggles over ‘brainwashing’ and ‘mind control’ debates in public intellectual discourse. This chapter begins with a dichotomy of ‘authoritative intellectuals’ who provide authoritative, monological accounts of traumatic events, and ‘dialogical intellectuals’, who create dialogical and polyphonic trauma narratives. It then shows how anti-cult intellectuals and activists were successful in disseminating the authoritative narrative that Asahara had mind-controlled his followers. By contrast, religious scholars were marginal to these debates, as some academics had made positive assessments of Aum in the past. This chapter then explores the works of two dialogical intellectuals who offered counter-narratives to the orthodox ‘mind control’ paradigm: novelist Murakami Haruki and documentary film-maker Mori Tatsuya. Murakami's collection of interviews and Mori's documentary films both employed dialogical methods to produce multiple and open-ended narratives about the causes and consequences of the Aum Affair.
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Van de Peer, Stefanie. "Jocelyne Saab: Artistic-Journalistic Documentaries in Lebanese Times of War." In Negotiating Dissidence. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9780748696062.003.0003.
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The second case study looks at Jocelyne Saab’s early work. She is well-known for fiction films Dunia, Kiss Me Not on the Eyes (2005) and What is Going On (2010). However, it is less well-known that she started her career as a documentary maker during the Lebanese Civil War. She recorded the war from the inside. Saab is especially effective in her attempts to deal with the trauma of the civil war for children, safeguarding a national memory that has become entrenched in amnesia. Her films, such as Lebanon in Torment (1975), Beirut Never Again (1978), Letters from Beirut (1979) and Once upon a Time in Beirut (1995) illustrate how Lebanon’s film culture is in fact defined by (civil) war. While Saab lives between Cairo and Paris, Beirut is one of the most modern cities in the Arab world, and is stereotypically known as the Paris of the Orient. It has become the centre of cinema production in the region and has inspired many young filmmakers to reconstitute their Lebanese identity through documentary. In this context, Lebanese documentary is an intellectualist art form and an opportunity to experiment.
Conference papers on the topic "Documentary film maker"
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Williams, Toiroa. "KO WAI AU? Who am I?" In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.180.
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This presentation accounts a journey of the researcher’s practice-led doctoral project, Tangohia mai te taura: Take This Rope. The study involves researching, directing and producing a documentary about historical grievances to exhume stories from a Māori filmmaker’s community that call into question colonial accounts of the 1866 execution of their ancestor Mokomoko, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. As a consequence of an accusation of murder, Mokomoko was arrested for the crime, imprisoned and hanged, all the while protesting his innocence. In retribution, our people had their coveted lands confiscated by the government, and they became the pariahs of multiple historical accounts. The practice-led thesis study asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of such an event in culturally sensitive ways to tell the story of generational impact. Accordingly, the documentary Ko Wai Au, seeks to communicate an individual’s reconnection to, and understanding of, accumulated knowledge and experience, much of which is stored inside an indigenous, dispossessed whānau (family), whose whakapapa (genealogy) is interwoven with historical events and their implications. As a member of a generation that has been incrementally removed from history and embodied pain of my whanau, through the study I come seeking my past in an effort to understand and contribute something useful that supports my people’s aspirations and agency in attaining value, healing, and historical redress. This presentation advances a distinctive embodied methodological approach based on whenua (land) and whanau (family). In this approach, the researcher employs karakia (traditional incantations), walking the land, thinking, listening to waiata (traditional songs) and aratika (feeling a ‘right’ way). My position is one of humility and co-creation. I am aware that the rōpū kaihanga kiriata (film crew) with whom I work will be called into the trusting heart of my whānau and we must remain attentive to Māori protocols and sensitivities. Given the responsibility of working inside a Kaupapa Māori research paradigm, methodology and methods are shaped by kawa and tikanga (customary values and protocols). Here one moves beyond remote analysis and researches sensitively ‘with’ and ‘within’, a community, knowing that te ao Māori (the Māori world) is at the core of how one will discover, record, and create.
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.
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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about historical grievances within Te Whakatōhea and Te Whānau ā Mokomoko. The project artistically explores the potentials of documentary form in relation to Mātauranga Māori (Māori customs and knowledge) and kaupapa Māori (Māori research approaches). The research seeks to exhume stories from iwi members and question certain Pākehā constructed narratives (The Church Missionary, 1865; Taylor, 1868; McDonnell, 1887: Grace, 1928). Accordingly, the documentary will communicate outwards from accumulated experience and storytelling within my whānau. Thus, it will interweave the narratives of people whose whakapapa (genealogy) has been interwoven with historical events and their implications, related to the execution of my ancestor Mokomoko in 1866, and the preceding murder of the Reverend Carl Sylvius Völkner in 1885. Artistically and theoretically, the project constructs a new form of Māori documentary through a consideration of pūrākau (Pouwhare and McNeill 2018). The significance of the study lies in the potential to rethink documentary form based on the tenets of pūrākau. In so doing, the study will not only expand the corpus of research about Mokomoko but also extend how indigenous documentaries might be thought of as structures. Four key concepts that will guide the development of the film are: WHAKAPAPA - GENEALOGY Through genealogy, it builds my personal connection with the film, the interviewees and the community. But it also holds a strong responsibly for me to complete this film with the utmost respect and care. WHENUA and WHANAU – LAND and FAMILY With land and family at the centre of the film. Embodiment is an important part of how this film is created. I reconnected more with my extended family and actively seek out opportunities to attend wānanga (discussions) and perform kapa haka (Māori performing arts) specific to our land and family. TIKANGA – CUSTOMS The process and structures of making this film have followed tikanga Māori (Māori customs). Practising karakia and waiata (Māori prayers and songs) to perform before and after we film were key customs we believe are important when creating this film. These protocols are practised by the crew and affirm our rōpu (group) as a family. KOHA - RECIPROCATION Unlike traditional filming structures that schedule films to be completed in an economically and efficient way. Koha reinforces the concept of reciprocation, to give and receive. As the community gifts their time and stories, the film will be gifted back to those from which it came. Myself as the ringa toi (artist) must make conscious effort to go back to the iwi (local tribe) and being an active member within the town and supporting community initiatives. In addition, the study will demonstrate how the process of documentary making inside iwi can function as a form of raranga (weaving) where collaborating fragments may take form and through this increase feelings of value, healing, and historical redress.
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Mortensen Steagall, Marcos. "Reo Rua (Two Voices): a cross-cultural Māori-non-Māori creative collaboration." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.184.
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In the last decades, there has been an emergence of an academic discourse called Indigenous knowledge internationally, creating a myriad of possibilities for research led by creative practice. In Aotearoa, New Zealand, Māori creative practice has enriched and shifted the conceptual boundaries around how research is conducted in the Western academy because they provide access to other ways of knowing and alternative approaches to leading and presenting knowledge. The contributions of Māori researchers to the Design field are evidenced through research projects that navigate across philosophical, inter-generational, geographical and community boundaries. Their creative practices are used to map the historical trajectories of their whakapapa and the stories of survival in the modern world. They overturn research norms and frame knowledge to express the values of Tikanga and Matauranga Maori. Despite the exponential growth in the global interest in Indigenous knowledge, there is still little literature about creative collaborations between Māori–non-Māori practitioners. These collaborative research approaches require the observation of Māori principles for a respectful process which upholds the mana (status, dignity) of participants and the research. This presentation focuses on four collaborative partnerships between Māori–non-Māori practitioners that challenge conceptions of ethnicity and reflect the complexity of a global multi-ethnic society. The first project is: The Māui Narratives: From Bowdlerisation, Dislocation and Infantilisation to Veracity, Relevance and Connection, from the Tuhoe film director Dr Robert Pouwhare. In this PhD project, I established a collaboration to photograph Dr Pouwhare’s homeland in Te Urewera, one of the most exclusive and historical places in Aotearoa. The second project is: Applying a kaupapa Māori paradigm to researching takatāpui identities, a practice-led PhD research developed by Maori artist and performer Tangaroa Paora. In this creative partnership, I create photographic portraits of the participants, reflecting on how to respond to the project’s research question: How might an artistic reconsideration of gender role differentiation shape new forms of Māori performative expression. The third project is: KO WAI AU? Who am I?, a practice-led PhD project that asks how a Māori documentary maker from this iwi (tribe) might reach into the grief and injustice of a tragic historical event in culturally sensitive ways to tell the story of generational impact from Toiroa Williams. In this creative partnership, I worked with photography to record fragments of the colonial accounts of the 1866 execution of Toiroa’s ancestor Mokomoko. The fourth project is: Urupā Tautaiao (natural burials): Revitalising ancient customs and practices for the modern world by Professor Hinematau McNeil, Marsden-funded research. The project conceives a pragmatic opportunity for Māori to re-evaluate, reconnect, and adapt ancient customs and practices for the modern world. In this creative collaboration, I photographed an existing grave in the urupā (burial ground) at xxx, a sacred place for Māori. This presentation is grounded in phenomenological research methodologies and methods of embodiment and immersion. It contributes to the understanding of cross-cultural and intercultural creativity. It discusses how shared conceptualisation of ideas, immersion in different creative processes, personal reflection and development over time can foster collaboration.