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Journal articles on the topic 'Documentary film maker'

Author: Grafiati

Published: 19 February 2023

Last updated: 31 July 2025

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1

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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3

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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Durrani, Matin. "Ask me anything: Taghi Amirani." Physics World 35, no. 8 (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 (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

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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 (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 D

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Fitzgerald, Angela, and Magnolia Lowe. "Acknowledging Documentary Filmmaking as not Only an Output but a Research Process: A Case for Quality Research Practice." International Journal of Qualitative Methods 19 (January 1, 2020): 160940692095746. http://dx.doi.org/10.1177/1609406920957462.

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Documentary films play an important role in how we see and position ourselves in the world. While traditionally viewed as a creative practice, documentary filmmaking has been transitioning into the academic world as a way to undertake and engage with research practices. Some question marks remain, however, over the nature of documentary filmmaking as a research method. This paper seeks to build a case for documentary as a research practice using Guba and Lincoln’s quality criteria, which is typically employed to ensure the trustworthiness of collected data, as a frame for sense making. This ca

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Skattebol, Jennifer, and Maya Newell. "Gayby Baby – From the politics of representation to the politics of care." Health Education Journal 77, no. 6 (2018): 720–31. http://dx.doi.org/10.1177/0017896918759569.

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Background: Real life stories can enable audiences to empathise with the experiences of marginalised groups and communities and are extremely powerful tools in struggles for equality. High-quality documentary research can convey the life experiences of marginalised peoples in ways that are recognisable to them and which further their struggle for equality. Often, marginalised people are represented by ‘filmmakers’ eager to capitalise on the affect produced by detailed renditions of everyday political struggles. However, film-makers are rarely trained in how to empower participants to understan

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Ravichandran, T. "A.K.Chettiar’s Documentary on Mahatma Gandhi - An Over View." Shanlax International Journal of Tamil Research 4, no. 4 (2020): 131–41. http://dx.doi.org/10.34293/tamil.v4i4.3280.

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Mahatma Gandhi, popularly known as the Father of the nation, wasnot only a preacher but a committed practical idealist. For want of some earning he went to South Africa but totally transformed himself into a liberator of the downtrodden, suppressed Indian community. He successfully invented the weapon of ‘Satyagraha’ and retained the lost human right for the Indians in South Africa. He also did the same in India to politically liberatethe country from the British. Gandhi was a multi-faceted personality. He was a Lawyer, Journalist, Writer, Biographer, Ashram builder, great thinker, a Political

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17

Brant, Clare. "‘Dozens who thought they knew her’: Finding Vivian Maier?" European Journal of Life Writing 4 (March 16, 2015): C1—C6. http://dx.doi.org/10.5463/ejlw.4.138.

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It’s not very often that a story comes along to astonish and excite, but the tale of Vivian Maier[M1] is one such, and of such interest that I would like to alert our life writing community. I describe it through the film version in which I encountered it, though reviewers and others redescribe that tale in condensed ways also of interest as biographical micronarratives. The least you might know is the film’s description by its maker: ‘Finding Vivian Maier is the critically acclaimed documentary about a mysterious nanny, who secretly took over 100,000 photographs that were hidden in storage lo

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18

McNeill, David, and John Junkerman. "Freedom Next Time: Japanese Neonationalists Seek to Silence Yasukuni Film." Asia-Pacific Journal 10, S1 (2012): 140–52. https://doi.org/10.1017/s1557466012024527.

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The documentary Yasukuni, directed by LI Ying, problematizes the enshrinement of war dead (including both Chinese and Koreans) in the Yasukuni shrine, formally a State Shinto shrine that became a private religious institution during the U.S. occupation period. It was screened in two dozen theatres in Tokyo in May 2008 but was soon removed due to enormous pressures from Japanese right-wing groups and a member of the Japanese legislature, the Diet. Li states that he did not intend to evoke anti-Japanese sentiment but was trying to explore conflicting feelings towards the shrine from ordinary peo

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Perez, Livia. "Findings in the closet: The film and video archives of Norma Bahia Pontes." Studies in Spanish & Latin American Cinemas 20, no. 3 (2023): 255–66. https://doi.org/10.1386/slac_00118_1.

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The unknown archives of the Brazilian lesbian film and video maker Norma Bahia Pontes (1941–2010), including essays, photographs, documents, films and videos, are scattered across the closets and personal collections of ex-girlfriends, friends and also institutions in Brazil, France and the United States. Although fragmented, these traces – when combined with interviews – outline the filmmaker’s journey, her experiences as an immigrant, the aesthetic and media influences that shaped her work, and her involvement in activism: across 1960s Cinema Novo (Brazilian New Cinema) as a film critic and

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Kline, Ronald R. "Ideology and the New Deal `fact film' Power and the Land." Public Understanding of Science 6, no. 1 (1997): 19–30. http://dx.doi.org/10.1088/0963-6625/6/1/002.

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This paper examines the making of the US government documentary film, Power and the Land (1940), in terms of how views about science and technology are communicated to the public. The paper argues that the film was shaped by a complex ideology of technical progress shared by the film's maker and sponsors (the Rural Electrification Administration; the short-lived US Film Service, headed by the award-winning director, Pare Lorentz; and Joris Ivens, an internationally acclaimed Dutch director and leftist), tensions between goals of producing a `factual' and `propagandistic' film, and perceptions

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Bonesso, Amandine. "Marie de l’Incarnation d’après Jean-Daniel Lafond : l’amour d’une sainte contre la barbarie actuelle." Dialogues francophones 21, no. 1 (2015): 185–97. http://dx.doi.org/10.1515/difra-2015-0009.

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Abstract The contribution examines the documentary Folle de Dieu (2008) and the play Marie de l'Incarnation ou La déraison d'amour (2009), Jean-Daniel Lafond’s adaptations of Marie de l’Incarnation’s (1599-1672) autobiographical texts. The study demonstrates that the two works, the last in a long biographical tradition, construe the nun’s life as a humanitarian model through the theme of love. In this manner, the film-maker encourages the current society not to give way to the bellicose violence of the last century and to rethink the future as a possible happiness.

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Wearing, Sadie. "‘I am not particularly despondent yet’: The Political Tone of Jill Craigie's Equal Pay Film To Be a Woman." Journal of British Cinema and Television 18, no. 4 (2021): 423–41. http://dx.doi.org/10.3366/jbctv.2021.0588.

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To Be a Woman is a short campaigning film made in 1950–1 by documentary film-maker Jill Craigie. This article offers an account of the film which aims to recover the affective life of both the film text and the archival correspondence between Craigie and the General Secretary of the National Union of Women Teachers, which refers to its production history. The article analyses the ‘feeling tones’ of the letters that describe both Craigie's attempts to get the film made and her difficulties in distributing it. It is argued that paying attention to these affective aspects of the archive and the f

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Johnson, Beth. "Art Cinema and The Arbor: Tape-recorded Testimony, Film Art and Feminism." Journal of British Cinema and Television 13, no. 2 (2016): 278–91. http://dx.doi.org/10.3366/jbctv.2016.0313.

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In this article I discuss the award-winning work of artist and film-maker Clio Barnard, specifically focusing on her 2010 docu-fiction film The Arbor. Analysing the verbatim techniques so central to the film (techniques that originated in theatre), this article suggests that Barnard's visual arts background inspired and informed her textual mixing of verbatim, lip-sync, re-enactment and digital imaging, the result of which is a radical and feminist art-film. Focusing on the site-specific location of The Arbor as well as the significance of emotional, textual and temporal layering, this article

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Patwardhan, Anand. "Anand Patwardhan’s Chronicles of Socio-political Realities." ANTYAJAA: Indian Journal of Women and Social Change 1, no. 2 (2016): 257–74. http://dx.doi.org/10.1177/2455632717690602.

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Probably India’s best-known documentary film-maker Anand Patwardhan, for close to four decades now, has been raking the country’s political consciousness through his films, which delve into the crux of India’s social and political lives. In this piece, the editors have put together, with Patwardhan’s permission, his writings from his blog ( http://patwardhan.com/wp/ ) on the state atrocities upon Dalits in Maharashtra, the protests through poems and songs by a young group of Dalit activists from Pune—the Kabir Kala Manch (KKM)—and the satyagraha for the freedom of expression by its leaders lik

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Fachin, Fernando F., and Eduardo Davel. "Reconciling contradictory paths: identity play and work in a career transition." Journal of Organizational Change Management 28, no. 3 (2015): 369–92. http://dx.doi.org/10.1108/jocm-01-2014-0012.

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Purpose – The purpose of this paper is to understand the interconnection of identity play and identity work during transitions. Design/methodology/approach – The authors have conducted a 46-year longitudinal and process-based study on film director Denys Arcand. The focus is on his contested career shift from being a political documentary filmmaker to a box-office success and maker of television commercials. Films and media interviews were largely and systematically analyzed. Findings – In order to explain how to maintain a sense of authenticity in transitioning between contradictory paths, th

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Maddock, Daniel. "Triumph of the Will: A memorial in film." Historical Encounters: A journal of historical consciousness, historical cultures, and history education 8, no. 3 (2021): 41–54. http://dx.doi.org/10.52289/hej8.304.

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Despite Hitler’s efforts to transform Berlin into Germania, the capital of the new world he envisioned and which he believed would bear comparison with Ancient Egypt, Babylon, and Rome, there is little in the way of monumental architecture to bear witness to that ambition. Though there is only limited public evidence of Hitler’s architectural hubris present either in stone or steel, the same cannot be said of film. Leni Riefenstahl’s masterpiece Triumph of the Will (1935) (German: Triumph des Willens) is the most famous propaganda film of all time and a staple of university film schools and se

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Deszczyński, Marek Piotr. "Status and Prospects for Research on Strategic Communication Between Poland and the United States of America from mid-October 1938 till December 1939." Res Historica 58 (December 18, 2024): 601–20. https://doi.org/10.17951/rh.2024.58.601-620.

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The article reviews the literature and sources related to the topic that so far has not been properly explored, described, and evaluated, that is, the perception of Poland in 1939 in the USA – the state that took a neutral stance with regard to the situation in Europe – and the American observations of the Polish Republic preparing itself to overcome the German attack and fight against the Nazis, and soon the Soviet aggression. Author also refers to the repercussions of the Polish Campaign in the American media, and recalls the activity of Julien H. Bryan, an American documentary film maker. H

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Hedling, Erik. "The Struggle for History: Lindsay Anderson Teaches Free Cinema." Journal of British Cinema and Television 11, no. 2-3 (2014): 312–31. http://dx.doi.org/10.3366/jbctv.2014.0218.

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In spring 1986, Lindsay Anderson appeared in a television programme on British cinema. This was part of a series of three under the heading British Cinema: Personal View, produced by Thames Television. Anderson's contribution, Free Cinema 1956–? An Essay on Film by Lindsay Anderson, was written and directed by him. He was also the star of the programme, providing a lecture on the history of British cinema with himself at the very core, although, at the time of the production, Anderson's career was in decline and he was not involved in any film projects. Drawing on press materials, the programm

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Alencar, Ana Caroline Matias. "O país ignoto de São Saruê lido como terra a ser revelada pelo cinema documentário (1970) * The unknown country of São Saruê interpreted as land to be revealed by the documentary film (1970)." História e Cultura 7, no. 2 (2018): 337. http://dx.doi.org/10.18223/hiscult.v7i2.2693.

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Nesse artigo eu me proponho à análise da apropriação feita por Geraldo Sarno do tema do “isolat do sertão” presente na obra Euclides da Cunha, um dos intérpretes do Brasil de quem o cineasta se valeu para a elaboração da sua “estética cinematográfica” (1966-1969). De modo a aproximar Euclides de Sarno, dois expoentes de gerações bastante distintas de intelectuais brasileiros, examinarei o filme Jornal do sertão à luz do esquema proposto por Luiz Costa Lima para a sua análise da composição de Os sertões. Desta forma, ao longo deste estudo, pretendo sustentar ser um dos fundamentos dessa propost

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Jamili, Marzia, Brittany Nugent, and Dove Barbanel. "Unimaginable Dreams." Journal of Anthropological Films 3, no. 02 (2019): e2823. http://dx.doi.org/10.15845/jaf.v3i02.2823.

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Written and directed by Marzia Jamili, a Hazara refugee now living in Sweden, Unimaginable Dreams is an auto-ethnographic essay film that traces Marzia’s last days in Athens, Greece. Blending documentary and fiction, Marzia casts her best friends to recreate magically real versions of her dearest memories of Athens as she delivers a cutting address to Afghanistan, in which she tells the sea about her broken homeland.  This film project seeks to demonstrate the possibilities of collaborative filmmaking as a methodology, particularly in response to the limitations of etic observation

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Pepenene, Limakatso, and Ntsele Radebe. "Retelling the history of Lesotho : an interplay between orality, painting and film in Kalosi Ramakhula’s works." Issue 1 1, no. 1 (2018): 75–87. http://dx.doi.org/10.31920/2516-2713/2018/v1n1a5.

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Kalosi Ramakhula is the producer of Moshoeshoe: The Mountain King Volumes 1, 2 and 3, a series of videofilms which narrate the history of Lesotho in the 19th century. His production emerges as a rewriting of history in a context where historical documentation is predominantly authored by historians and ethnographers who complement their research through oral resources. Ramakhula uses a unique approach which incorporates visual art by way of historical paintings created to accomplish a coherent mixture with the established print, sound and vision media of documentary cinema. He collaborates wit

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Chang, Ti-Han. "Climate Refugees or Future Migrant Labour Force: A Decolonial Critique of Matthieu Rytz’s Anote’s Ark (2018) and Climate Displacement Discourse in the Pacific." International Journal of Asia Pacific Studies 19, no. 2 (2023): 1–30. http://dx.doi.org/10.21315/ijaps2023.19.2.1.

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Between 2010 to 2020, the global media generally had a very positive view of the voluntary migration schemes or humanitarian refugee visas promised by their Pacific allies (e.g., Australia and New Zealand). However, the actual implementation of climate migrants’ relocation tells a different story, particularly in the case of I-Kiribati people. This paper examines Australian and New Zealand’s governmental policies of immigration for the Pacific islanders over the last two decades. Drawing on a decolonial theoretical approach inspired by Jonathan Pugh, David Chandler and Elizabeth DeLoughrey, in

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Middleton, Jason. "Documentary Comedy." Media International Australia 104, no. 1 (2002): 55–66. http://dx.doi.org/10.1177/1329878x0210400108.

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While documentaries like Roger and Me and mock documentaries such as This is Spinal Tap differ in terms of the ontological status of their referents, they share many formal characteristics, particularly in their editing strategies. This essay examines the editing techniques in these two influential films of the 1980s in order to theorise exactly how film-makers combine conventions of documentary with those of comedy in an attempt to produce laughter in audiences. Having demonstrated the formal qualities of an editing technique prevalent in these films which I term ‘cutting on the absurd’, the

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Schuster, Joshua. "Coral Cultures in the Anthropocene." Cultural Studies Review 25, no. 1 (2019): 85–102. http://dx.doi.org/10.5130/csr.v25i1.6405.

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This essay discusses how coral is becoming a kind of charismatic megafauna and a cultural icon for extinction in the Anthropocene. Until recently, most of the cultural associations around coral emphasized the strangeness and exotic qualities of coral that combines animal, mineral, and vegetable bodies. Darwin studied coral as a robust maker of atolls, while Melville wrote about coral stringing the Pacific Islands as ‘marine gardens.’ More recent theorizing on coral from Eva Hayward and Stefan Helmreich has been keen to emphasize how coral is transbiological and queer in the multi-species kinsh

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Mendonça, Rosiel, and Sérgio Braga. "Glauber Rocha descobre a Amazônia: discurso e representações sociais no documentário Amazonas, Amazonas." Arteriais - Revista do Programa de Pós-Gradução em Artes 6, no. 11 (2021): 121. http://dx.doi.org/10.18542/arteriais.v6i11.11028.

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ResumoO artigo faz uma análise do discurso fílmico do documentário de curta-metragem Amazonas, Amazonas, dirigido pelo cineasta baiano Glauber Rocha entre os anos de 1965 e 1966. Para isso, recorremos a fontes documentais e bibliográficas no intuito de reconstituir a experiência do diretor na região e as condições sociais de produção do filme, buscando identificar que representações ele faz do Amazonas - e da região amazônica, em sentido mais amplo.AbstractThe article makes an analysis of the filmic discourse of the short documentary Amazonas, Amazonas, directed by Glauber Rocha between the ye

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Margineanu, Virgiliu. "The documentary film – means of education of the young generation." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(43) (April 2023): 106–14. http://dx.doi.org/10.55383/amtap.2022.2.19.

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Every time you watch a soap opera, a documentary dies,” says a character in the Italian comedy “Tuttelovogliono” (2015). The context in which this character makes the statement highlights the educational role of documentaries, compared to the first genre of film production. But first of all, what is a documentary? The special nature of this kind of film in general, as well as the use of photographic images and sound recordings in particular, have proven difficult to conceptualize by reference to the distinction fiction film/non-fiction film. There is also terminological confusion caused by dif

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Loh, Yoke Ling, and Mohd Nor Shahizan Ali. "Dilemma of Indie Documentary Filmmaker Malaysia." Jurnal Komunikasi: Malaysian Journal of Communication 38, no. 1 (2022): 20–42. http://dx.doi.org/10.17576/jkmjc-2022-3801-02.

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Documentary films are so-called non-fiction films that have the elements of persuasion, objective content and candid cinematic techniques. It is an important propaganda tool for assisting the government in the development of the country and changing people's attitudes. The Freedom Film Fest, held annually since 2003 by the Community Communications Center, provides indie documentaries an alternative and more freedom for indie documentary filmmakers to represent social, economic and political issues. However, this genre of media has not received much attention especially from the youth or film i

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Baron, Jaimie Rachel. "Digital Historicism: Archival Footage, Digital Interface, and Historiographic Effects in Call of Duty: World at War." Eludamos: Journal for Computer Game Culture 4, no. 2 (2010): 303–14. http://dx.doi.org/10.7557/23.6050.

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Historical videogames offer the promise of a new relationship between the reader of history and the account of an historical event, potentially transforming the “reader” of history into the active “user” or even “maker” of history. Indeed, the concept of historical videogames suggests that the user may play an active part in the construction of historical narratives and, thereby, in the implications of these historical events for the present. In this paper, I examine the appropriation of indexical archival documents into two instances of what I call “digital historicism” – the videogame Call o

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Graf, von Hardenberg Wilko. "La vittima occulta: documentari e impatto ambientale della guerra." PASSATO E PRESENTE, no. 78 (October 2009): 89–100. http://dx.doi.org/10.3280/pass2009-078005.

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- Talks about the devastating impact war has on the environment: an issue that not always has been fully taken into consideration. Nonetheless, the interest of historians and film-makers for the topic has been increasing steadily over time. The forests and fields destroyed by the Americans in Vietnam, the oil wells set on fire by the Iraqis in Kuwait, the Yugoslav factories bombed by Nato air raids are just some of the possible examples of war-related environmental disasters. This article aims at showing some striking cases as they are depicted, beyond traditional historiography, in documentar

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Kostrykina, N. V. "CREATIVITY OF THE KRASNOYARSK DOCUMENTARY FILMMAKER I. ZAITSEVA AS A PHENOMENON OF REGIONAL AND NATIONAL CULTURE." Northern Archives and Expeditions 5, no. 2 (2021): 103–12. http://dx.doi.org/10.31806/2542-1158-2021-5-2-103-112.

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The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of n

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Irawanto, Budi, and Theresia Octastefani. "FILM DOKUMENTER SEBAGAI KATALIS PERUBAHAN SOSIAL: STUDI KASUS AMBON, ACEH DAN BALI." Jurnal Kawistara 9, no. 1 (2019): 107. http://dx.doi.org/10.22146/kawistara.40986.

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Since democratization (Reformasi) in 1998, documentary films gradually evolve with their locus of production spreading across the Indonesian archipelago. With the spirit of democratization brought about by digital technology, film communities and civil organizations in outer islands of Java utilize digital documentary film to capture several pertinent socio-political issues and raise public and government attention and responses. Those issues are commonly overlooked by the local media and were never a part of local government’s policies. Based on our fieldwork conducted in three areas outside

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Fredriksson, Antony. "The Art of Attention in Documentary Film and Werner Herzog." Film-Philosophy 22, no. 1 (2018): 60–75. http://dx.doi.org/10.3366/film.2018.0062.

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In this article I examine the role of attention as a defining aspect of photography and documentary film. When we pay attention to how the world looks it might sometimes surprise us. It might perhaps show us that we are too set in our ways of seeing and that the world can reveal things unknown, or as Stanley Cavell remarks: “how little we know about what our relation to reality is, our complicity in it”. This is, I claim, the task in which the documentary image can guide us. In order to arrive at this conclusion I will start by examining how the documentary image adheres to knowledge, without

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Suleimenova, A. E., and A. K. Ishanova. "Fact and fiction in documentary films (Using the example of television films about the Great Patriotic War)." BULLETIN of L.N. Gumilyov Eurasian National University. Journalism Series 141, no. 4 (2022): 56–65. http://dx.doi.org/10.32523/2616-7174-2022-141-4-56-65.

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This article is devoted to the study of methods of transmitting facts and artistic techniques in a documentary on television. The purpose of the scientific research is to determine the characteristic features of these techniques. The object of the study is documentaries about the Great Patriotic War of 1941-1945, released on television in Kazakhstan and Russia. The functional difference in the techniques of constructing a documentary film will allow us to further study the transformation processes in the structure of television documentaries. In addition, marking the boundaries between the met

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Easen, Sarah. "Building Reputations: The Careers of Mary Field, Margaret Thomson and Kay Mander." Journal of British Cinema and Television 18, no. 4 (2021): 498–517. http://dx.doi.org/10.3366/jbctv.2021.0592.

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Film historians have generally concentrated their research of British non-fiction film-making on the male directors and producers of the British documentary movement. This has resulted in the marginalisation of those operating in other non-fiction genres, in particular the many women documentarists who worked on educational, instructional, travel, commercial, government and industrial films from the 1930s to the 1970s. This article examines the histories of three women documentary film-makers to assess why women are frequently missing from the established accounts of the genre and argue for th

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Trusevich, Yelizaveta Sergeyevna. "Dramatic Peculiarities of Ecological film." Journal of Flm Arts and Film Studies 2, no. 3 (2010): 138–53. http://dx.doi.org/10.17816/vgik23138-153.

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The notion "Ecological Film" is being quite frequently used by film scholars today, especially when it comes to documentary films or тction films using animals as actors. In both cases the film's creators turn to the theme of Nature, which makes it possible to treat this category of screen production as a separate art form. The article covers the artistic motivations making the world's best documental filmmakers (Verner Herzog, Godfrey Reggio, etc.) turn to this theme, and the dramatic methods characteristic of ecological film.

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Sukamto. "The Use of Documentary Films to Improve Learning Outcomes of Islamic Cultural History in Students." Journal of Education Research and Evaluation 7, no. 2 (2023): 234–41. http://dx.doi.org/10.23887/jere.v7i2.61593.

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Documentary film learning media still needs to be used for history lessons in high schools, including the History of Islamic Culture Documentary Films. This study aims to analyze differences in student learning outcomes in the Islamic Cultural History course between groups of students studying explanation documentation and those studying traditional learning. The research approach used is quantitative research. The population of this study amounted to 250 students. It consists of 40 experimental students, and the control class has the same number of 42 students. Data collection method with the

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Stsiazhko, Nataliia G. "The Image of the Holocaust in the Television Documentary Drama Trilogy “The Chronicle of the Minsk Ghetto”." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 56–98. http://dx.doi.org/10.21638/spbu15.2021.104.

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The prevailing view in modern film studies is that television documentary drama (docudrama) is either a hybrid, a synthesis, or a documentary film genre. The author of the article hypothesizes that docudrama has long exceeded the boundaries of documentary films and asserted its own place in the system of screen arts on par with feature films, documentaries and animated films. The author claims that docudrama is a unique phenomenon generated by television and it combines all the modern innovations in cinema. Docudrama allows for the text information to be reformatted into an audio-visual experi

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Han, Chuyi. "Documentary Aesthetics and International Communication of Iranian Films from the Perspective of the Third Cinema." BCP Social Sciences & Humanities 18 (June 30, 2022): 337–43. http://dx.doi.org/10.54691/bcpssh.v18i.1131.

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The Iranian film represented by The White Balloon includes a series of elements such as colonialism, class, race, sex and gender in the third cinema. Religious culture makes Iranian films not only contain humanitarian concerns, but also become the representative of ideology. The description of women’s survival dilemma and the displacement of Hazara reflects the complexity of the social environment. Under strict censorship, Iranian directors cast their eyes on the lives of children at the bottom. Long shots, single-line narrative logic, circle narrative structure and open ending constitute an i

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Gierszewska, Barbara Lena. "Ukraiński ruch filmowy we Lwowie w latach 30. XX wieku." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 34, no. 43 (2023): 157–72. http://dx.doi.org/10.14746/i.2023.34.43.10.

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   Title of the article: The Ukrainian film movement in 1930s Lviv The Ukrainian film movement in the 1930s was not developed on a wider scale. Due to the cost of the equipment and the film, few people could make films. Those who did included the members of the Ukrainian Photographic Society, who had completed specialist film courses. Their achievements included short feature films and documentary films, some of which were of true artistic merit. From the circle of Ukrainian cinematographers, J. Dorosz, S. Kułykiwna, W. Humecki and J. Bochenski deserve mention special. Moreov

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Sartori, Caterina. "Film review of ‘PUSH’: A documentary by Fredrik Gertten." Radical Housing Journal 2, no. 1 (2020): 207–9. http://dx.doi.org/10.54825/cdln8892.

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Push is a film of great ambition and great skill. Director Fredrik Gertten takes on the global housing crisis, and aims to uncover and expose the systemic forces that increasingly make contemporary cities unaffordable to working and middle class residents. The concept of gentrification no longer seems useful in this quest, and Gertten is looking for a new language to speak of the phenomenon. It is notoriously difficult to make cinematic, gripping films about the inner workings of the economy, and Gertten skilfully uses every trick in the filmmakers’ hat to produce an engaging and relatable wor

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