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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.
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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 case for research innovation also draws upon the first author’s previous experiences with video ethnography and the second author’s expertise as a documentary film maker. Their collaboration resulted in a longitudinal research project that foregrounded documentary practices as key to data gathering and sense making. This research project sought to understand the early career experiences of Australian graduate teachers from their perspective. Using this research project as a context, this paper unpacks how seven quality criteria can be explored and addressed using documentary filmmaking as method. This work highlights the possibilities and challenges inherent in innovating in the qualitative methodology space when considering the use of documentary filmmaking practices. It also adds meaningful and practical insights to a growing groundswell of voices that recognize documentary filmmaking as a viable and valuable research method.
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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 (March 24, 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 understand film-making and distribution processes. These understandings and dialogic processes are important if participants are to have a real say in how they are represented. Process: In 2011, Maya Newell and Charlotte Mars began to develop an observational feature documentary Gayby Baby (2015) focused on same-sex families, for the first time revealing the child’s perspective on debates concerning Lesbian, Gay, Bisexual, Trans, Intersex, Queer and their children’s equality. They were interested in empowering participants to have a real say in the film. Jen Skattebol’s family was one of the four families featured in the film. This shared activist experience grounds the authors’ discussion of ethical care in representative practices. Discussion: Recently, documentary film-making and academic research has seen the emergence of a new value system that measures success in terms of ‘impact’ in the public sphere. This developing interest amplifies the ethical issues involved in representational work and raises new questions concerning the implications of subject participation in the development of resources that aim to improve health and well-being in broad political terms. This article sketches out the contours of a more ethical form of social impact making that grew out of kitchen table conversations between documentary subject and maker – the researched and researcher. Ethical frameworks of care need to be recalibrated in line with the issues foregrounded by burgeoning social impact agendas.
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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 (April 1, 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 leader, a spiritualist, a Constructive Worker and above all a humane person who practiced Truth and Nonviolence till his last breath.A.K.Chettiar was a Tamil Documentary Film Maker, Journalist and Traveloque writer. He ventured a priceless documentary on Mahatma Gandhi. A.K.Chettiar widely travelled in England, USA, South Africa and India. He met and filmed innumerable number of leaders like Romain Rolland, Maria Montessori, Sir C.V.Raman, Dr.S.Radhakrishnan, Pandit Jawaharlal Nehru, C.F.Andrews and many others. He collected about 50,000 feet (15,000 m) of film footage, edited them into 12,000 feet (3,700 m). That documentary film was released on 23rd August 1940 in Chennai. Later the Hindi Version was shown on 15th Aug. 1947 in Delhi and later the English version was shown in Los Angeles in the U.S. Without his efforts, many live pictures of Mahatma Gandhi would not have been available for us. His documentary, In the Footsteps of the Mahatma. Without him, we would not have got the opportunity to see the valuable footages of Gandhiji.
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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 lockers and, discovered decades later, is now among the 20th century’s greatest photographers. Directed by John Maloof and Charlie Siskel, Maier’s strange and riveting life and art are revealed through never before seen photographs, films, and interviews with dozens who thought they knew her.’ This article was submitted to the European Journal of Life Writing in August 2014 and published on 16 March 2015.
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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 (January 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 of the rural audiences' response. This paper thus argues against the view that science and technology communication is simply the mediated diffusion of knowledge from scientists and engineers to the public (in this case, knowledge about the social and economic aspects of rural electrification) and supports an interactive model. The paper also compares Power and the Land with the better known documentaries by Lorentz, The Plow that Broke the Plains and The River, and with other `fact films' of the New Deal era that portray a relationship between technology and social change.
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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 (December 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 (October 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 film together enables a recalibration of (in a variant of Raymond Williams's formulation) the structure of feminist feeling in both the film and, to an extent, the wider public realm in the immediate post-war period. Paying attention to the film's affective dynamics in this way is also revealing, it is suggested, of its class and race positionality, enabling a more nuanced critical account of its politics.
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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 (December 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 like Sheetal Sathe; on the Supreme Court judgment that failed the Narmada Bachao Andolan as well as the belief in the justice system, making irrelevant a whole body of evidence built by the Andolan over the years that underlined the huge financial and human costs of the Sardar Sarovar dam project; and on the whole climate of intolerance that was behind the attack on M. F. Husain for his depiction of Hindu goddess Saraswati. This piece also includes a commentary by Alex Napier on Patwardhan’s documentary of the Narmada Bachao Andolan, drawn from Patwardhan’s blog. These are important social commentaries of our times.
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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 (May 11, 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, the authors highlight how identity play and identity work appear in self-fuelling interaction through four processes (fragmenting, developing, mixing, and extracting). Practical implications – The authors suggest new ways to deal with career transitions as well as identity construction in constraining environments. Originality/value – The authors offer a theoretical framework that makes it possible to combine understandings of identity play and identity work. In particular, the authors develop on how, through play, individuals can create circumstances favourable for performing identity work in the future.
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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 (April 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 also suggests that while Barnard's work seeks, on the surface, to question the relationship between representation and the real in the genre of documentary, The Arbor also provokes and invites a radical reimagining of the hitherto male-dominated legacy of British art cinema by bringing the voices and visions of women, past and present, into the contemporary frame.
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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 (December 22, 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 secondary schools across the world. At the time of its creation, celluloid motion picture film was a relatively new technology and the documentary format a nascent art form. Nevertheless, it was lauded almost immediately as a visually stunning imagining of the new regime and its leader. Though the film maker was subsequently reviled for her Nazi associations, as an art work her film has retained an almost miasmic aura that justifies continued re-assessment of its standing as a monument to the Nazi regime and the horrors perpetrated in its name.
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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 (July 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 programme itself and Anderson's personal papers in the University of Stirling library, this article analyses Anderson's personal conception of Free Cinema – according to his understanding, a short-lived documentary movement in the 1950s which eventually transformed itself into a series of feature films in the ensuing decades, particularly his own trilogy If…. (1968), O Lucky Man! (1973) and Britannia Hospital (1982). The polemic in the programme was particularly aimed at the general idea of the British Film Year of 1985 and at the successful film producer David Puttnam, at the time well known for his contribution to what was sometimes called the ‘New British Cinema’ of the 1980s. Anderson, however, dismissed Puttnam as a film-maker concerned only with Oscars and economic success, and instead lauded the qualities of ‘Free Cinema’, a realist, non-conformist and radical aesthetic, as the most artistically rewarding tradition in British cinema. The programme was highly entertaining and was generally well received by the British press, but did not really strengthen Anderson's position within the British film industry, which might, or might not, have been Anderson's intention.
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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 (December 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 proposta particular de cinema a afirmação do documentário, na medida do seu alinhamento com as ciências, como forma privilegiada que poderia ser mobilizada para o conhecimento e registro de manifestações culturais “autenticamente brasileiras”. *This article aims to examine the reinterpretation made by Geraldo Sarno of Euclides da Cunha`s work, one of the interpreters of Brazil mobilized by the film-maker for the elaboration of his own "cinematographic aesthetics" (1966 -1969). The main theme analyzed will be the “isolation of the sertão”. In order to approach Euclides de Sarno, two exponents of quite different generations of Brazilian intellectuals, I will examine the film Jornal do sertão by the scheme proposed by Luiz Costa Lima for his analysis of the composition of Os sertões. Thus, throughout this study, I intend to assert that one of the foundations of this particular film proposal is the affirmation of the documentary, allied to the sciences, as a privileged form that could be mobilized for the knowledge and registration of "authentically Brazilian" cultural manifestations.
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Jamili, Marzia, Brittany Nugent, and Dove Barbanel. "Unimaginable Dreams." Journal of Anthropological Films 3, no. 02 (October 21, 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 observational approaches in migration research and the lack of refugee voices in public discourse. Through reenactment and Marzia’s epistolary narrative, Unimaginable Dreams resurfaces notions of belonging and citizenship within the imagination, weaving together oneiric and real geographies situated in the past and future. Facing perpetual displacement and public erasure, the film medium offers a declarative space of visibility in Athens, where its maker articulates rights and desires denied by the state.
Unimaginable Dreams is the first production by the Melissa Network's Film Club, a collaborative program cofounded by Brittany Nugent and Dove Barbanel that challenges hegemonic representations of migrant women by empowering members to reclaim the gaze and create narratives of their own. A creative group of women from Afghanistan, Iran, Syria, Iraq, Kenya, Nigeria and Ethiopia share diverse perspectives to analyze their favorite movies, learn filmmaking skills and collaborate on original productions that add urgent personal nuance and depth to migration storytelling.
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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 (June 12, 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 with contemporary Basotho artists commissioned to produce elaborate naturalistic paintings of historical significant characters, sites, events and social practices of the period being depicted. Through an exploration of the concepts of multimodality and intermediality, the article uses a semiotic analysis of selected paintings to examine the multiple layers of potential meanings communicated by the film-maker. We argue that Ramakhula’s retelling strategy explicitly creates a link with the experience of nation building in the past and the present. The paintings are a significantly expressive form of media in this regard, creating a consciousness of Bosotho-ness as the one concept that in principle remains constant despite transformation over the centuries. Ramakhula’s work is seen therefore, as having the potential to create space for negotiations around contemporary debates on nation building in Lesotho.
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Middleton, Jason. "Documentary Comedy." Media International Australia 104, no. 1 (August 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 essay then explores the broader implications of this comic style in more recent documentary film-making. With a particular focus on Chris Smith and Sarah Price's American Movie (1999), it examines how the editing strategies in documentary films characterised as ‘offbeat character studies' alternately position viewers to laugh at and laugh with the subjects, to occupy a position that can be at once derisory and empathetic.
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Schuster, Joshua. "Coral Cultures in the Anthropocene." Cultural Studies Review 25, no. 1 (September 25, 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 kinships it enables. However, in recent decades, as evidence of bleaching and mass coral die-offs have been registered by marine scientists, coral is also fast becoming a barometer for the sixth mass extinction. I look at how contemporary cultural representations of coral are straining to reconfigure the life of coral as caught between associations of fragility and resilience, seeing coral as capable of supporting indigenous island civilizations while not being able to survive ocean warming of less than one degree Celsius. I examine the work of recent artists (Courtney Mattison and Alison McDonald) whose coral-themed work combines science and spectacle. These artists return to older visions of coral figured fantastically as both living and dead, yet updating this view for today, as we find coral to be a primary figure for life and death in the Anthropocene. I finish with a discussion of the recent documentary film Chasing Coral (2017) as negotiating multiple simultaneous visual tropes and coral conditions. This film aims to provide viewers with a sense of time constraints for scientists, filmmakers, and for coral reef colonies under extreme stress in areas including the Great Barrier Reef. The film tries to articulate a pathway between scientific documentation, environmental activism, and visual drama, ultimately composing these perspectives into a work that suggests that the imbalance and overlap of these ways of engaging with coral will provide a model for how to form a global coral culture movement.
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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 (September 27, 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 years 1965 and 1966. For this, we used documentary and bibliographical sources in order to reconstitute the experience of the director in the region and the social conditions of production of the film. We also try to identify wich representations does the film make of Amazonas and the Amazon region.
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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 (March 31, 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 industry as it is considered a less attractive medium. Most indie documentary filmmakers no longer produce documentaries as they are not well received. The objective of this study is to identify the problems faced by documentary filmmakers, especially those called indie filmmakers in Malaysia. Interviews with five indie documentary film makers and filmmakers were conducted in this research to examine the problems they faced in producing documentary films. The results have shown that the lack of distribution and broadcasting platforms, finance, promotions, legal restrictions, production techniques and flawed production plans are the main problems faced by indie documentary filmmakers in the Malaysian industry. Keywords: Indie documentary film, documentary filmmaker, Malaysia film industry, broadcasting and distribution, Critical thinking.
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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 (November 4, 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 of Duty: World at War (Activision, 2008) and the database narrative Tracing the Decay of Fiction: Encounters with a Film by Pat O’Neill (Pat O’Neill, Rosemary Comella, and Kristy H.A. Kang, 2002) – and their respective historiographic effects. I argue that the appropriations of indexical archival footage in each of these two digital media works produce in the user a phenomenological experience of the documentary “real,” but at the same time shape and limit the meanings that may be attributed to this footage. Indeed, I suggest that Call of Duty, while at the cutting edge of game design, imports and reinforces a conservative and even reactionary historiographic model into the emergent genre of digital history. Moreover, I argue that although Tracing the Decay of Fiction offers a less teleological and more open-ended encounter with the historical past, it is precisely its lack of a singular narrative that may ultimately (and paradoxically) undermine the user’s sense of historiographic agency as she is confronted with the unruly indexical traces of the past.
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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 documentary films and at explaining the main issues at stake from the professional historian's point of view.Keywords: Documentaries, War, Environment, Vietnam, Kuwait, Kosovo.Parole chiave: Documentari, Guerra, Ambiente, Vietnam, Kuwait, Kosovo.
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Fredriksson, Antony. "The Art of Attention in Documentary Film and Werner Herzog." Film-Philosophy 22, no. 1 (February 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 falling back on a generic epistemological or representational framework. I start by discussing the final scene in Werner Herzog's film Echoes from a Somber Empire (Echos aus einem düsteren Reich, Werner Herzog, 1990) as an example of the aspect of documentary film, that aids us in refraining from projecting our preconceptions on the uncanny. I continue by discussing Nietzsche's understanding of knowledge as a process of domestication and contrasting it with Merleau-Ponty's and Bernhard Waldenfels's phenomenological account of perception, in which the role of attention becomes paramount. This is an attempt to show how the question – what makes the documentary image unique – is entangled in epistemological questions concerning the relationship between vision, image, self and object. A closer investigation of the ambiguities inherent in the concept of “documentary” reveals something important concerning how the unknown becomes known.
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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 (June 30, 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 not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.
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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 (May 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 of the Java Island (Ambon, Aceh and Bali), where digital documentary filmmaking and civil organizations are active and vibrant, our study indicates that rather than simply producing documentaries, film communities or non-governmental organizations disseminated documentaries through public screenings to invite further engagement of audiences by discussing the film with authorities (policy makers) that were often invited in that event. In this article, we attempt to illuminate how documentary filmmaking allows the unseen and neglected issues to be articulated visually and sonically. Therefore, it would be compelling public or media attention and encouraging further government policy to resolve that matters. In other words, documentary films are a catalyst for social change by taking their roles as witness for the public and demanding responsibilities of the political authority.
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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 (October 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 their inclusion. It provides an overview of women in British documentary histories, followed by case studies of three women who worked in the sector: Mary Field, Margaret Thomson and Kay Mander. It investigates their collegial networks and considers the impact of gender discrimination on their careers in order to understand why they have received so little recognition in histories of the British documentary film movement.
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Trusevich, Yelizaveta Sergeyevna. "Dramatic Peculiarities of Ecological film." Journal of Flm Arts and Film Studies 2, no. 3 (October 15, 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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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 experience in an emotional, spectacular and accurate way, therefore possessing the inherent features of other screen arts. Like other forms of screen arts, it forms an image capable of evoking certain emotions and makes the viewer think and draw their own conclusions. The combination of artefacts and quotes adds volume and artistic value to the image. The article explores the genesis and development of television docudrama and gives it a definition based on key characteristics. It shows how films of various genres can be created within docudrama, proving that docudrama is not a subgenre within the genre of documentary film but a new independent branch of screen arts. The author highlights that the reason for the popularity of docudrama lies in the fact that the historical and informative material, which can be interesting and useful to the viewer, is presented in a spectacular and lightweight form. This idea is supported through the analysis of the documentary drama trilogy The Chronicle of the Minsk Ghetto, in which an image of the Holocaust, the unspeakable tragedy of the Jews during the Second World War, is shown.
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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 important part of the documentary aesthetics of Iranian films. As the representative of the third cinema, the Iranian film is facing various difficulties in reality, breaking through in the context of globalization, and providing a development road of combining nationality with the world and individuality with localization for other countries’ films.
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Hu, Brian. "Getting Real." Film Quarterly 76, no. 2 (2022): 61–68. http://dx.doi.org/10.1525/fq.2022.76.2.61.
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FQ contributing editor Brian Hu interviews Grace Lee about her distinctive brand of first-person nonfiction filmmaking, suggesting that her insider-outsider perspective has made her a unique yet exemplary voice in Asian American cinema. At the same time, Lee’s career challenges an auteurist framework to instead emphasize the institutional practices that shape film production and reception. What makes Grace Lee a pivotal author in Asian American documentary isn’t just her significant body of films, but also her vision in seeing documentary production as a form of institution building
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Sartori, Caterina. "Film review of ‘PUSH’: A documentary by Fredrik Gertten." Radical Housing Journal 2, no. 1 (May 4, 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 work that carries the audience along and makes a complex but digestible argument.
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Pērkone, Inga. "DOCUMENTARY FILMMAKERS’ ANTI-COMMUNIST MANIFESTO. THE FILM “KULDĪGA FRESCOES” (AIVARS FREIMANIS, 1966)." Culture Crossroads 10 (November 10, 2022): 19–30. http://dx.doi.org/10.55877/cc.vol10.139.
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In his book The Communist Post Scriptum, philosopher Boris Groys defines communism as a revolutionary project, the aim of which was to subordinate the economy to politics and to transform society from a financial medium into a lin- guistic medium. In order to achieve communism, it was first necessary to verbalise society. At the beginning of the 1960s, efforts by Riga poetic documentary film- makers to work in the cinéma vérité style failed because the Soviet people, having experienced a linguistic turn, clearly knew what to say and how to speak when approached by film cameras. It was one of the reasons why part of Soviet film- makers started avoiding the spoken word in cinema in the hope of approaching truth solely through image. In the middle of the 1960s, there were two monumental documentaries created at Riga Film Studios that were entirely based on the dramatic expressivity of image: 235,000,000 (1967) by Uldis Brauns and “Kuldīga Frescoes” (Kuldīgas freskas, 1966) by Aivars Freimanis. However, I believe that the films went in opposite directions. The epic documentary 235,000,000, which was dedicated to the 50th anniversary of the USSR, actually offered an equivalent visual expression to the leading Soviet linguistic discourse, whereas “Kuldīga Frescoes” liberated visual aesthetics from the shackles of political language, “taking it to another horizon where it becomes free, a new creature in nation humanity” (Rainis). The topic of my paper will be “Kuldīga Frescoes”.
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Thalhofer, Florian, Judith Aston, and Stefano Odorico. "Enacting polyphony." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 106–12. http://dx.doi.org/10.33178/alpha.15.07.
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Florian Thalhofer is a documentary filmmaker and the inventor of Korsakow, a software to create a new form of film and a principle to create a new kind of story. Florian’s system allows video makers to create nonlinear and interactive films and to tell stories through a number of links generated by keywords. Thalhofer’s Korsakow films include Planet Galata and The Other Fun Stuff. Starting from a SNU (Smallest Narrative Units, as he calls them) his film are polyphonic representations of our world. Florian gave a keynote at the first i-Docs Symposium in 2011, and has been an active and deeply committed member of the i-Docs community ever since.
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Canella, Gino. "Youth Documentary Academy: The social practices of filmmaking and media advocacy." Journal of Alternative & Community Media 4, no. 2 (July 1, 2019): 31–43. http://dx.doi.org/10.1386/joacm_00047_1.
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Youth Documentary Academy (YDA) is a seven-week documentary workshop in Colorado Springs, Colorado. Through ethnographic research and collaborative filmmaking, I examine documentary production and exhibition as social practices that foster meaningful relationships between media makers and community organisations working for social justice. Between November 2016 and July 2018, I conducted 20interviews with current and former YDA filmmakers, faculty and community organisers. Many YDA filmmakers produced films through first-person point-of-view testimonials, which explored intimate details of their lives and the issues facing their families and communities. Although this narrative style may individualise systemic injustices, I argue that the affective nature of filmmaking and film exhibition, and the partnerships that YDA developed with community organisations, helped youth realise an advocacy role. For filmmakers, the empathic dialogues that emerged at public screenings of YDA films illuminated the way media have the potential to foster solidarity.
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Boon, Tim. "British Science Documentaries: Transitions from Film to Television." Journal of British Cinema and Television 10, no. 3 (July 2013): 475–97. http://dx.doi.org/10.3366/jbctv.2013.0151.
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The relationship between documentary films made for projection and television documentaries has not been studied in any sustained way. This is partially a product of the weakness of the literature on both postwar documentary and of the development of the form within the new medium. This article uses a combination of biography and formal analysis to begin to address this lacuna in the literature as it relates in particular to films and programmes with scientific themes. It examines four individuals who worked in documentary film before spending varying amounts of time in television: Duncan Ross, Paul Rotha, Michael Orrom and Ramsay Short, who joined the BBC respectively in 1947, 1953, 1954 and 1963. The analysis shows that those who stayed long term at the BBC (Ross and Short) adapted their technique to the new medium, while Rotha and Orrom – who both left after a comparatively short time – mainly sought to use TV as a medium for broadcasting existing documentary styles. It concludes that the approach of taking biographical details and formal qualities is useful, but that larger samples of programme-makers would be required to reach firm conclusions about the relationship between documentary films made for projection and television documentaries
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Premaratna, Nilanjana. "Dealing With Sri Lanka’s Demons: Using Documentary Film for Peacebuilding." Journal of Peacebuilding & Development 16, no. 1 (January 12, 2021): 39–54. http://dx.doi.org/10.1177/1542316620985756.
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Documentary film is a popular resource amongst peacebuilding organisations and practitioners. Despite this popularity, research on documentary film is still emerging in peace and conflict studies. This article explores documentary film’s role in the study and practice of peacebuilding by examining the documentary Demons in Paradise and its engagement with issues of peace and conflict in post-war Sri Lanka. This article makes conceptual, methodological, and empirical contributions. Drawing from empirical research, I identify and discuss documentary film’s engagement along three analytical angles: documentary film as a text, within social processes, and within research processes. Under each angle, I explore how empirical observations and understanding of peace emerge through the visual, using diverse methods and data, including interviews, participant observation, visual elicitation in post-screening focus groups, and film analysis. I conclude that documentary film can contribute to the study and practice of peacebuilding by offering multiple analytical angles that elucidate plural, disparate understandings of peace in post-war societies.
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Rice, Tom. "Distant Voices of Malaya, Still Colonial Lives." Journal of British Cinema and Television 10, no. 3 (July 2013): 430–51. http://dx.doi.org/10.3366/jbctv.2013.0149.
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Through the example of the Crown film Voices of Malaya (1948), this article examines interrelated postwar shifts in colonial history and British documentary cinema. Produced over three tumultuous years (1945–8) – in Malaya and England, with local film-makers and British documentarians – Voices of Malaya is a hybrid text torn between traditions of British documentary cinema and an emerging instructional, colonial cinema; between an international cinema for overseas audiences and a local cinema used within government campaigns and between an earlier ideal of empire and a rapidly changing, late liberal imperialism. The article challenges the traditional decline and fall narrative of the British documentary movement, as I examine the often overlooked ‘movement overseas’ of film-makers, practices and ideologies into the colonies after the war. In charting the emergence of the Malayan Film Unit, I examine the role of the British documentary movement in the formation of local postcolonial cinemas.
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MacDonald, Richard. "Evasive Enlightenment:World Without Endand the Internationalism of Postwar Documentary." Journal of British Cinema and Television 10, no. 3 (July 2013): 452–74. http://dx.doi.org/10.3366/jbctv.2013.0150.
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This article explores the discursive theme of documentary's crisis and renewal through internationalism as it evolved at the Edinburgh International Film Festival, established in 1947. During its first decade Edinburgh was the most significant forum for discussion on the future of documentary as an international genre, a debate to which all the key figures of the prewar generation contributed, as critics, panelists, advisors, speakers and film-makers. Amid a sense of crisis for British documentary, marked by the perceived dominance of instructional film-making of limited social and aesthetic ambition, these figures urged film-makers to look to the developing world, where the old themes of documentary could inspire new work to match the canonical works of the past. Presented at Edinburgh in 1953 World Without End, an aesthetically ambitious film made in Siam and Mexico, sponsored by the international agency UNESCO and co-directed by two of the British documentary movement's most celebrated film-makers Basil Wright and Paul Rotha, was widely praised as renewing the prewar traditions of the sponsored documentary. The article argues that the well-intentioned critical discourse of renewal through thematic engagement with international development, evident in the reception of World Without End, evades the contemporary politics of the British state's relationship to its empire, the movements of national liberation that actively sought to end it and the new forms of despotism nurtured by the geopolitics of the Cold War.
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Small, Helen. "Assisted Living." Age, Culture, Humanities: An Interdisciplinary Journal 1 (January 1, 2014): 89–112. http://dx.doi.org/10.7146/ageculturehumanities.v1i.129497.
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Documentary film and television have played, and continue to play, a major role in shaping public conversations about standards of care today for those in later life who are no longer able to live independently. The starkest example in the UK in recent years was the BBC Panorama documentary Undercover Care: The Abuse Exposed, aired in May 2011, which contributed heavily to official denunciation of the Care Quality Commission as “unfit for purpose.” This paper looks in detail at a less gruelling example of the genre. Neither an exposé of malpractice nor a fly-on-wall documentary, Room 335 (HBO Documentary Films, 2006) is closer to participant anthropology—though it is not quite that either. The paper, delivered as a plenary lecture to the British Society of Gerontology Annual Conference, September 2013, makes a case for valuing the quality of the film’s improvisational, non-“findings driven” engagement with its subjects, and the light it sheds on the nature and sig- nificance of friendship in old age. The film can be downloaded from Apple iTunes at https://itunes.apple.com/ca/artist/andrew-jenks/id563448630.
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Tang, Ruohan, and Lai Wei. "Aural Authenticity and Reality in Soundscape of VR Documentary." Interactive Film & Media Journal 2, no. 4 (December 30, 2022): 33–41. http://dx.doi.org/10.32920/ifmj.v2i4.1644.
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The documentary concept is a 'notoriously slippery eel,' or even the slipperiest one in the history of cinema (Kahana, 2016). With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept even more elusive. Does documentary exist in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, can it still be considered an authentic form of a documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when the film is based entirely on fictional visual input? This paper aims to put the discussion on visual realities aside and provides a perspective for understanding how real auditory characteristics are built up in virtual environments (VE) of virtual reality documentaries. We develop this argument in three parts. In the first part, we define a virtual reality documentary and distinguish it from other virtual reality films based on Bill Nichols’s analysis of the boundary between traditional documentary and other types of films. Then, we describe the design and implementation of the aural simulation systems with HRTF (Head-Related Transfer Function) in virtual reality documentary sound design to illustrate how it could reproduce realistic physical hearing for viewers. In the final part, we explore the concept of ‘soundscape’ as it applies to VR documentaries, attempting to show that the sense of authenticity in the audition is related to generating the genius loci (spirit of place) of the viewers based on the case analysis of Anne Frank House VR. Such a spirit of place is embedded in the hearing experience of those who experienced it.
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Krotowski, Michał. "Manggha – Feliks Jasieński. O mało znanym filmie Kazimierza Muchy." Gdańskie Studia Azji Wschodniej, no. 18 (2020): 120–30. http://dx.doi.org/10.4467/23538724gs.20.039.12876.
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Manggha (Feliks Jasieński) – on a little-known film by Kazimierz Mucha This article contains an analysis of an educational documentary film released in 1981 and directed by Kazimierz Mucha. The film is not accessible to a wider public, and a copy (not of the highest quality) is stored in the archive of the Wytwórnia Filmów Oświatowych (Educational Film Studio) in Łódź. However, this film is an interesting and unique example of the interest of Polish filmmaking in Japanese art. Despite what the title might suggest, this is not a biographical documentary. In it, only a few selected facts drawn from the life of Feliks Jasieński are presented, frequently interspersed with quotations. Above all, the makers of the film focused on a presentation of the collection of Japanese art gathered by Manggha (Jasieński’s artistic pseudonym), and also on its reception in Poland during Jasieński’s period of activity, that is at the turn of the nineteenth and twentieth centuries. Because it is a short film (this was surely a requirement imposed on the majority of educational films), the film refers to the abovementioned issues in a synthetic and incomplete fashion. Besides offering an analysis of the film, this article throws light on the somewhat forgotten figure of Jasieński and the Promethean ideas that he espoused of grafting several models drawn from Japanese culture on to Polish art, at a time when a broad Polish public encountered Japanese culture for the first time.