Relevant bibliographies by topics / Documentary film maker

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Documentary film maker'

Author: Grafiati
Published: 19 February 2023
Last updated: 31 July 2025

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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 (2017): 146–70. http://dx.doi.org/10.1177/0974927617705933.

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Hari Sadhan Dasgupta (1923–1996) was arguably the most significant documentary filmmaker to emerge from the circle of film aficionados, intellectuals, and writers who gathered at the Calcutta Film Society (and at the Indian Coffee House on Central Avenue in Calcutta) in the late 1940s and 1950s. He received institutional training in filmmaking at the film school of the University of Southern California and served Irving Pichel as observer apprentice on three films after completing his university program. He was the first among the Calcutta Film Society group to make films and went on to make 5
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Birtwistle, Andy. "Jack Ellitt as Director: Documentary Films of the 1940s." Journal of British Cinema and Television 18, no. 3 (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 indust
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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 (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 Je
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Caprioli, Pia Elena. "Born At Home Film: A Manifesto." Student Midwife 7, no. 3 (2024): 29–31. http://dx.doi.org/10.55975/wmho7558.

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Born at Home is a 60-minute documentary film co-produced by long-term friends Amanda Banks (producer), concept creator, acupuncturist and birth rights advocate, and Eleanor Currie (director), film maker, videographer, photographer and storyteller. Born at Home premiered on January 18, 2024 in Queensland, Australia. Through Demand Films, the film is available in Australia, New Zealand, Ireland, Canada, USA, Europe, Scandinavia and all over the UK.
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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 (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
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Mąka-Malatyńska, Katarzyna. "Dokumentalny świat Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 93–116. http://dx.doi.org/10.14746/pt.2017.27.9.

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The article introduces a relatively unknown aspect of Andrzej Wajda’s output – his documentary films. The author examines documentaries on art and autobiographical film, which usually comprise glosses on feature films. These non-fiction films, like Wajda's best-known movies, refer to the codes of Polish culture, created by art and literature, and thanks to which the creative output of the maker of Afterimage (Powidoki) appears to unusually coherent and consistent, regardless of the genealogical classification. The author selects examples to analyse the connections between Wajda’s feature films
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Książek, Iwo, and Adrianna Książek. "Interview de Marie Vayssière (entretien réalisé à l’initiative et pour la Cricothèque en août 2015)." Slavica Occitania 42, no. 1 (2016): 267–78. https://doi.org/10.3406/slaoc.2016.1006.

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An Interview With Marie Vayssière This interview with Marie Vayssière was conducted in August 2015 for the Cricothèque by the documentary film-maker Adrianna Książek and the film-maker and designer Iwo Książek. In the interview, the actress recalls her collaboration with Kantor, the last rehearsals and the climate of controversy which surrounded Kantor’s last show in 1991.
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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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Radunović, Dušan. "Time Never Regained: Film, Memory and History in Mila Turajlić’s Labudović Reels." Comparative Southeast European Studies 72, no. 2 (2024): 256–69. http://dx.doi.org/10.1515/soeu-2024-0008.

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Abstract The article reviews the documentary film diptych The Labudović Reels by film-maker Mila Turajlić. Based on her archival work at the Filmske Novosti production company, Turajlić discovers the legacy of hitherto unknown cinematographer Stevan Labudović. Both films are hybrid documentaries that combine archive footage with interview-style documentary, and both focus on two intertwined thematic cycles – Labudović’s coverage of the Algerian war of independence (1959–1961) and the first summit of the Non-Aligned Movement (1960–1961). Conceptually, Turajlić’s films engage thought-provoking m
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Hamilton, Annette. "Fragments in the Archive: The Khmer Rouge Years." Plaridel 15, no. 1 (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
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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 o
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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 co
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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 con
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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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Cerecina, Ivan. "Historical Assemblages: Montage in the Films of Nicole Vedrès, Alain Resnais and Chris Marker, 1947-1957." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20931.

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This thesis examines montage in the early films of Nicole Vedrès, Alain Resnais, and Chris Marker, identifying its central importance as an aesthetic and historiographical method in a corpus of films directed over the course of a decade in post-war France. It explores their common artistic influences, personal ties, and shared aesthetic preoccupations in developing a poetics of montage in this period, one that privileges the assemblage of shots as a means of expressing a temporal flux between historical phenomena and the cinematic image. With the trio’s montage-centric filmmaking out of step w
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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'op
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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<br>國立臺灣海洋大學<br>教育研究所<br>99<br>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
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Books on the topic "Documentary film maker"

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Rutherford, Anne. What makes a film tick?: Cinematic affect, materiality and mimetic innervation. Peter Lang, 2011.

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C, Brock David, ed. Makers of the microchip: A documentary history of Fairchild Semiconductor. MIT Press, 2010.

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The documentary film makers handbook. Continuum International Publishing Group Inc., 2007.

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Hardie, Amy. Seven Songs for a Long Life. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450146.

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Seven Songs for a Long Life is a documentary film that resulted from an interdisciplinary creative collaboration between the documentary film-maker Amy Hardie, medical and health care professionals and patients at the end of life. When the research project began in 2011, the UK health system was based on a medical model emphasising a disease-led approach to care. Challenging this model, and working with patients, families and staff, Hardie explored documentary interventions in palliative care in Strathcarron hospice in Scotland. Hardie worked with 15 families to make films in an iterative proc
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Documentary Film Makers Handbook: A Guerilla Guide. Bloomsbury Publishing Plc, 2006.

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Documentary Film Makers Handbook: A Guerilla Guide. Bloomsbury Publishing Plc, 2006.

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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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Jennings, Marie-Louise. Humphrey Jennings. 2nd ed. British Film Institute, 2014. https://doi.org/10.5040/9781838711221.

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Humphrey Jennings was one of Britain's greatest documentary film-makers, described by Lindsay Anderson in 1954 as 'the only real poet the British cinema has yet produced'. A member of the GPO Film Unit and director of wartime canonical classics such as Listen to Britain (1942) and A Diary for Timothy (1945), he was also an acclaimed writer, painter, photographer and poet. This seminal collection of critical essays, first published in 1982 and here reissued with a new introduction, traces Jennings's fascinating career in all its aspects with the aid of documents from the Jennings family archive
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David, LaRocca. Philosophy of Documentary Film. Published by Lexington Books, 2016. https://doi.org/10.5040/9781978736993.

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The spirit that founded the volume and guided its development is radically inter- and transdisciplinary. Dispatches have arrived from anthropology, communications, English, film studies (including theory, history, criticism), literary studies (including theory, history, criticism), media and screen studies, cognitive cultural studies, narratology, philosophy, poetics, politics, and political theory; and as a special aspect of the volume, theorist-filmmakers make their thoughts known as well. Consequently, the critical reflections gathered here are decidedly pluralistic and heterogeneous, invit
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Russell, Patrick, and James Piers Taylor, eds. Shadows of Progress. Bloomsbury Publishing (UK), 2010. http://dx.doi.org/10.5040/9781838710361.

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Britain emerged from war a changed country, facing new social, industrial and cultural challenges. Its documentary film tradition – established in the 1930s and 1940s around legendary figures such as Grierson, Rotha and Jennings – continued evolving, utilising technical advances, displaying robust aesthetic concerns, and benefiting from the entry into the industry of wealthy commercial sponsors. Thousands of films were seen by millions worldwide. Received wisdom has been that British documentary went into swift decline after the war, resurrected only by Free Cinema and the arrival of televisio
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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. 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. 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. 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 insi
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Vola, Joonas. "Composing the Incomprehensible: A Cinematic Inquiry into Anthroposcenic Proximity." In Arctic Encounters. Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-39500-0_12.

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AbstractThis work presents a post-qualitative inquiry into using cinema as a method for studying proximity. The vastness of spatiotemporal dimensions makes the comprehension of the Anthropocene through the lens of closeness a major dilemma. One can try to perceive this epoch in terms of a landscape: a ‘scopic’ scenery seen from a distance or, in contrast, a shape composed from the land by repeated acts and mass of actors. This dominant human influence from the network of actors invested in this geological era in the making is visible in an experimental documentary film, Koyaannisqatsi—The worl
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Anderson, Carolyn, and Thomas W. Benson. "Direct Cinema and the Myth of Informed Consent: The Case of Titicut Follies." In Image Ethics. Oxford University PressNew York, NY, 1991. http://dx.doi.org/10.1093/oso/9780195067804.003.0003.

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Abstract As an amalgam of art, journalism, and social science, the direct cinema documentary can make strong claims to artistic license, First Amendment protection, and the autonomy of observational research, but it also shares the ethical dilemmas of these three fields. Thus, recent discussions of the uses, and abuses, of human subjects in art, news, and scientific inquiry become germane when considering the ethical boundaries of documentary film. Even for the most scrupulous documentary film-maker and the most knowledgeable subject, the unstaged, relatively unobtrusive procedures of direct c
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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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"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. 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 t
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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 soli
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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
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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. 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, t
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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
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Williams, Toiroa. "NO HEA KOE? Where are you from?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.90.

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“Me tiro whakamuri, ki te haere whakamua. We must look to our past in order to move forward.” This whakataukī (proverb) speaks to Māori perspective of time and the importance of knowing your own history in order to move forward. We must look to our past and move as if we are walking backwards into our future. The present and past are certain, however, the future is unknown. Tangohia mai te taura: Take This Rope - is a practice-led research project, that enquires into a disputed narrative of the past. The thesis study involves researching, directing and producing a feature documentary about his
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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
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TALPĂ, Svetlana. "The importance of noting dance on paper as a particular method of teaching-learning-evaluation of dance disciplines." In Probleme ale ştiinţelor socioumanistice şi ale modernizării învăţământului. "Ion Creanga" State Pedagogical University, 2022. http://dx.doi.org/10.46728/c.v2.25-03-2022.p155-159.

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This article discusses practitioners who have contributed to the development of the process of capturing dance or dance movements on paper, through: notation, photography and film. The reflections of these personalities, such as Ann Hutchinson, Rudolf Von Laban, Eadweard Muybridge, Lois Greenfield, Ted Shawn, Norman McLaren and Sue Healey, included the definition of direct research on how these three documentary media interact to describe a dancing in various choreographic genres. The aim of this research is to highlight the importance of noting and capturing the body in motion, to see if it i
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