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Journal articles on the topic 'Documentary film'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Lieberman, Janice S. "Film Review: Documentary Films." Journal of the American Psychoanalytic Association 58, no. 4 (2010): 819–25. http://dx.doi.org/10.1177/0003065110379488.

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Przylipiak, Mirosław. "Defining documentary." Panoptikum, no. 29 (June 30, 2023): 11–38. http://dx.doi.org/10.26881/pan.2023.29.01.

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The aim of this paper is to define documentary film. After a brief review of existing definitions, the author proposes his own. The methods of working on the set and the textual features of the films are considered as distinguishing documentary filmmaking from other film genres. Issues such as the filmmakers’ interference with the filmed reality, the criteria for distinguishing between fictional and non-fictional elements, the admissibility of special effects, the specificity of editing, and the place of the documentary film among other nonfictional genres are considered. The final definition

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Li, Manxi, Wenqing Su, and Xinman Li. "New Documentary Film Seeks to Be “More Real”." Scientific and Social Research 3, no. 5 (2021): 169–73. http://dx.doi.org/10.36922/ssr.v3i5.1246.

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After the birth of documentary film, the discussion of “fiction” and “non-fiction” has not stopped. Influenced by the ideological trend of postmodernism, “new documentary film” overturns the concept of traditional documentary film and believes that it is feasible and meaningful for documentary to take “fiction” as a means. Adhering to the “new” exploration of this documentary, the author discusses the historical origin of new documentary films, the authenticity of new documentary films at home and abroad and the creative techniques of new documentary films, in order to provide innovative suppo

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Toba, Koji. "On the Relationship between Documentary Films and Magic Lanterns in 1950s Japan." Arts 8, no. 2 (2019): 64. http://dx.doi.org/10.3390/arts8020064.

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In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by

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Louw, Lieza. "Documentary film politics and the politics of documentary film." Communicare: Journal for Communication Studies in Africa 40, no. 1 (2022): 49–66. http://dx.doi.org/10.36615/jcsa.v40i1.1511.

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This paper sets out to consider the production of political documentary films in post-apartheidSouth Africa at a time when massification of the media and state capture of the South AfricanBroadcasting Corporation, the country’s public broadcaster, silenced oppositional voices. RehadDesai’s award-winning film, Miners Shot Down (2014) serves as the main case study for theresearch. The film deals with the days leading up to the final and tragic outcome of strike action by minersat a time when the print media predicated the state and the mine owners’ points of view. Thefilmmaker, a self-acclaimed

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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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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.

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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video

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Shestakova, I. V. "ALTAI DOCUMENTARY FILM TEXT." Culture and Text, no. 44 (2021): 116–28. http://dx.doi.org/10.37386/2305-4077-2021-1-116-128.

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The article defines the methodological principles of the analysis of a film text, considers the historical, thematic, genre dynamics of «Altai documentary film text». The author uses the concept of text proposed By V. Toporov and developed in the research of «local texts» using the methods of intertextual and intermediate analysis. The article traces the formation of symbolic constants in films about Altai that determine the status of the region in the Russian and foreign media space.

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Ribke, Nahuel. "Documentary Filmmakers as Characters." Projections 17, no. 3 (2023): 64–82. http://dx.doi.org/10.3167/proj.2023.170304.

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Abstract Despite the increasing documentary filmmakers’ on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers’ on-screen presence and performance, making three central assumptions. First, documentary filmmakers’ on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in

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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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Edmund, Chukwuma Onwuliri &. Barth Oshionebo. "The Documentary Film as Social Discourse in James Amuta's Nightfall in Lagos and Femi Odugbemi's Bariga Boy." International Journal of Sub-Saharan African Research (IJSSAR) 2, no. 3 (2024): 324–35. https://doi.org/10.5281/zenodo.13860838.

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<strong>Background:</strong> The documentary film arguably is famed to be a film of facts as it deals with actual life issues as opposed to fiction films, which express the creative imagination of the auteur. Scholars have severally argued that documentary film provides the filmmaker and society with a potent platform for open and factual engagement towards addressing socio-political, economic, environmental, and cultural issues. <strong>Objective:</strong> This paper, therefore, investigates the nature, content, and direction of the documentary film genre in Nigeria as an effective tool for s

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Konovalov, Dmytro, Nataliia Markhaichuk, and Anna Kulyk. "A DOCUMENTARY FILM IN REALM OF NATIONAL IDENTITY (UKRAINIAN AND FOREIGN EXPERIENCE OF COMPREHENSION)." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 69 (June 30, 2024): 16–25. https://doi.org/10.26565/2306-6687-2024-69-02.

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The article examines the main approaches of Ukrainian and foreign researchers to the analysis of such a complex cinematic practice as the documentary film. In particular, the study focuses on key discussions about the genres of documentary films, their ability to construct "historical memory" as one of the key components of national identity constructing, and the notion of "truth" in relation to the analysis of the ability of a documentary to articulate "truth". The article explores the function of Ukrainian documentary films in the process of deconstructing Soviet myths of Ukrainian identity,

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Nushur, Rizki Dhian, and Diyana Dewie Astutie. "THE PERCEPTION OF ACEH DOCUMENTARY TRAINING PARTICIPANTS ON IMPROVING CRITICAL THINKING THROUGH DOCUMENTARY FILM APPLICATION." Getsempena English Education Journal 8, no. 1 (2021): 81–95. http://dx.doi.org/10.46244/geej.v8i1.1245.

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The times are progressing rapidly so that the need for critical thinking is increasing. Some experts argue that those who think critically are able to solve problems responsively. Therefore, education practicer take various ways to create nowdays critical generation, as well as the Aceh Documentary (ADC) Foundation in Banda Aceh. The documentary film production training which is conducted annually by the ADC Foundation is believed to be able to improve the critical thinking of the participants. This study aims to determine the perceptions of four participants of Aceh Documentery Foundationabou

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Nichols, Bill. "Jak możemy zdefiniować film dokumentalny?" Kwartalnik Filmowy, no. 75-76 (December 31, 2011): 238–64. https://doi.org/10.36744/kf.2846.

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Tekst jest pierwszym rozdziałem ze słynnej książki Billa Nicholsa Introduction to Documentary, która stała się najczęściej używanym podręcznikiem wprowadzający w tej dziedzinie. Nichols analizuje potoczne definicje filmu dokumentalnego i odnosi je do korpusu klasycznych czy ważnych dzieł filmowych, a jednocześnie daje wyobrażenie tego, jak różne filmy radziły sobie z rozwiązywaniem wspólnych problemów i jak zajmowały się znanym nam światem. Przyjrzenie się tym zagadnieniom pozwala nam zrozumieć, w jaki sposób tradycja filmu dokumentalnego wyrosła, ukształtowała się i co dzisiaj ma nam do zaofe

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Lestari, Emilika Budi. "KONSEP NARATIF DALAM FILM DOKUMENTER PEKAK KUKURUYUK." Jurnal Nawala Visual 1, no. 1 (2019): 9–17. http://dx.doi.org/10.35886/nawalavisual.v1i1.3.

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Documentary movie that present reality in various ways and are made for various purposes. Social, political and cultural life mostly inspiresthe documentary. The concept of documentary movie is to build a storyline based on the reality. Documentary movie are made according to certain versions based on the reality. Various techniques can be used to convey information and convince the audience about the situation and conditions in the movie. Unlike fiction films that have a clear narrative structure, documentary films do not have a narrative structure. The main key to a documentary is the presen

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Gbambu, Abdul Rashid, Jemilatu Saaka Dramani, and Morolake Omowumi Adekunle. "A Contextual Analysis of Documentary Film as a Product and Tool for Academic Exercise." European Journal of Communication and Media Studies 2, no. 4 (2023): 25–35. http://dx.doi.org/10.24018/ejmedia.2023.2.4.22.

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This paper examines the justifications for using documentary film as a product of academic exercise, using the films "Return of the Biblical Plague: Mosquitoes" and "Bitter Lake" as case studies. Through an analysis of the production and reception of these films, the paper explores how documentary can be used to visually tell stories that follow the replicability of academic research procedures, from the selection of subject matter and site to planning and interviewing subjects to data collection and analysis. The paper also addresses the challenges and ethical considerations associated with u

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Kusum Kullu, Neel. "Future of Jharkhand Documentary Film Industry." International Journal of Science and Research (IJSR) 10, no. 9 (2021): 1296–300. https://doi.org/10.21275/sr21925183023.

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Shirobokov, A. N. "DOCUMENTARY TELEVISION FILM." RUDN Journal of Studies in Literature and Journalism 22, no. 2 (2017): 361–67. http://dx.doi.org/10.22363/2312-9220-2017-22-2-361-367.

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Krstić, Igor. "Documentary film philosophy." New Cinemas: Journal of Contemporary Film 15, no. 1 (2017): 3–12. http://dx.doi.org/10.1386/ncin.15.1.3_2.

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Knoll, Eva. "Documentary Film Review." Journal of Mathematics and the Arts 5, no. 3 (2011): 167–68. http://dx.doi.org/10.1080/17513472.2011.589287.

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Calder, Wynn. "Documentary Film: DamNation." Journal of Education for Sustainable Development 9, no. 2 (2015): 233–34. http://dx.doi.org/10.1177/0973408215600605.

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Kostina, Anastasia. "“Documentary Filmmaking Is an Absolute Delight”." Film Quarterly 77, no. 3 (2024): 79–85. http://dx.doi.org/10.1525/fq.2024.77.3.79.

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Vitaly Mansky is an internationally recognized documentary filmmaker whose writings, films, and programming practice have actively shaped the Russian documentary scene since the early 1990s. As a filmmaker, he has directed over thirty documentary productions that impress in their thematic scope and stylistic diversity. As the president of the ArtDocFest film festival, Mansky gave hundreds of independent filmmakers an opportunity to reach a broader audience. As a public figure, he has been vigorously promoting documentary cinema in his speeches and writing. In this interview with Film Quarterly

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Weste, Marija. "CONNECTIVITY: THE SPACE OF DOCUMENTARY SEQUENCES IN THREE FICTION FILMS OF RIGA FILM STUDIO." Culture Crossroads 10 (November 10, 2022): 31–45. http://dx.doi.org/10.55877/cc.vol10.140.

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The subject of this study is the augmentation of portrayal of reality in fiction films by inclusion of documentary sequences. This article explores a hypothesis that in the spacetime continuum, film borders of cinematic genres, the divide between documentary and fiction cinema is disregarded. This divide appears if not artificial, then subordinated to the unity of each particular film as a text. The concept of con- nectivity can be applied to describe the relation of spaces of the documentary and the fictional sequences in a film. The Latvian cinema offers a wide range of instances for the gen

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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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Moskalenko-Vysotska, Оlena. "Film-portrait in Ukrainian Documentary Filmmaking Art." Bulletin of KNUKiM. Series in Arts, no. 38 (August 16, 2018): 12–21. https://doi.org/10.31866/2410-1176.38.2018.141734.

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The purpose of the article is an attempt to outline the main ideological and thematic tendencies that prevail in the films created in the genre of documentary film-portrait. The research field of the article is based on the content produced by the Ukrainian Studio of Chronicle and Documentary Films over the period of 2003–2005. The article concerns the features of the film-portrait genre, its varieties and modifications. The research methodology consisted in the application of the methods of scientific analysis in order to elucidate the manifestation of interpretation

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Bezruchko, Oleksandr, and Volodymyr Hryftsov. "Documentary Style in Fiction Film." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 8, no. 1 (2025): 60–78. https://doi.org/10.31866/2617-2674.8.1.2025.332389.

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The purpose of the research is to analyse the genesis and development of the documentary style in fiction film; to investigate the prerequisites for its emergence, its main characteristics and their evolution, and the reasons and peculiarities of its use by various filmmakers in different historical periods; to examine the influence of the significant trends of documentary, television and amateur video content on its formation and application in fiction films; to identify essential trends in modern fiction filmmaking related to the use of the documentary form and its influence on the emergence

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Roy, Carole, and Lindsay McVicar. "Screening Inspiration." Journal of Festive Studies 4, no. 1 (2023): 101–15. http://dx.doi.org/10.33823/jfs.2022.4.1.131.

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Documentary film festivals foster critical thinking and media literacy, exposing problems while also announcing possibilities (Paulo Freire). Attendees report gaining information and some claim perspective transformation from attendance at documentary festivals. Given such impact, documentary films were showed in carceral settings for some years before a research project examine the learning from a series of documentary film screening and group discussion with women in a carceral institution. Participants reported appreciation of the informal learning opportunities. They identified being inspi

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Dwiyani, Ni Kadek, I. Kadek Puriartha, and Dewa Ayu Leliana Sari. "The Cultural Philosophy Values in The “Denpasar-Style Bridal Makeup: Symbols and Meanings” Documentary Film." Mudra Jurnal Seni Budaya 38, no. 1 (2022): 9–15. http://dx.doi.org/10.31091/mudra.v38i1.2221.

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Documentary film is a film genre that has a very important role in human civilization. Documentary films can "revive" everything that did not exist before, so that it can be known by a wide audience through visualization and verbal information that can be accounted for. One of the functions that documentaries also have is as a cultural educational medium that is easily accessed digitally by anyone, anywhere. This writing will examine the philosophical values that are visually transformed in the Cultural Documentary Film "The Balinese Bride Makeup: Symbols and Meanings". This writing uses a qua

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Sapija, Andrzej. "“The Intensity of Looking” at Karabasz, 2018." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (2019): 166–78. http://dx.doi.org/10.14746/i.2018.33.14.

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The origins of particular documentary films are sometimes difficult to determine, precisely locate and capture in time and space. It is like searching for the source of a river. What marked the beginning of Intensity of Looking, a film about the great documentary film director Kazimierz Karabasz? The beginning of a documentary film’s creation determines the artistic process and elements that shape its strength, energy and main thought. These elements, which sometimes verge on intuition, guide this process, shaping the subject of the film, as well as its meaning, climate and aura. There is a th

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Fisher, Duncan, and Jolyon Mitchell. "Portraying Forgiveness through Documentary Film." Studies in World Christianity 18, no. 2 (2012): 154–68. http://dx.doi.org/10.3366/swc.2012.0013.

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At the heart of this article is an analysis of two documentary films that focus on the topic of forgiveness, one in Rwanda, in the wake of the 1994 genocide, and the other in northern Uganda, following the ravages of the Lord's Resistance Army. This essay includes a description of the production background of both films, a brief outline of the historical context in which they are set, and a more detailed examination of both documentaries. Special focus is placed upon how these films reflect the way in which local traditions are used in the aftermath of violence in an attempt to bring about rec

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Lakatos, Róbert. "A dokumentumfilm-tervek piaci követelményeiről és ezek átalakulásáról – első rész." Symbolon 24, no. 2(45) (2023): 71–78. http://dx.doi.org/10.46522/s.2023.02.9.

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The international market of the documentary projects – the so called “pitching forums” – was formed about 30 years ago at the International Documentary Forum Amsterdam (IDFA) film festival. There the commissioning editors of different documentary TV slots could pre-buy the films at the level of project. Many documentaries could be made thanks to those pre-buys. After a while, many similar financing forums were formed in different countries, connected to different festivals, and they continue to play an important role regarding the documentary productions, although, due to the decreasing number

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Wessels, Josepha Ivanka. "Cosmopolitanism, Activism and Arab Documentary Film." Middle East Journal of Culture and Communication 13, no. 2 (2020): 210–31. http://dx.doi.org/10.1163/18739865-01302003.

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Abstract Since the 1970s, Arab documentary filmmakers have highlighted struggles for personal freedom, dignity and democracy by those restricted by oppressive systems of colonialism, occupation and authoritarianism. In this article I study four contemporary Arab documentary films to identify a path vital for the rethinking of cosmopolitanism and global citizenship in Middle East studies. After the 2011 global interest in the Arab uprisings, Syrian and Palestinian documentaries rose to acclaim at international film festivals, and won Emmys and Oscar nominations. The often character-led stories

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Bradley, Rizvana. "Profane Illumination: On the Racial Limits of Documentary Realism." Film-Philosophy 29, no. 2 (2025): 380–400. https://doi.org/10.3366/film.2025.0310.

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This article discusses Göran Olsson’s 2014 documentary film, Concerning Violence: Nine Chapters of the Anti-Imperialistic Defense. The film’s handling of a continental archive has gone relatively unexamined and has indeed been neglected, given how ambitious Olsson’s documentary is in terms of the breadth of its coverage of African resistance struggles across the continent. This article examines whether and how Olsson’s documentary, in its piecing together of found footage of or pertaining to 1960s and 1970s anticolonial movements, expresses an instance of the cinema becoming yet another appara

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Koutras, Konstantinos. "Documentary Fictions: Jacques Rancière and the Problem of Indexical Media." Film-Philosophy 27, no. 2 (2023): 262–81. http://dx.doi.org/10.3366/film.2023.0229.

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The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of art, it is said, but of argument. In this

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محمد توم, أ. د. مجذوب بخيت, and أ. بهاء الدين محمد إبراهيم. "Documentaries and environmental issues in Sudan." علوم الاتصال 7, no. 3 (2022): 1–42. http://dx.doi.org/10.52981/cs.v7i3.2699.

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 This study, entitled" Utilizing documentary films for environmental issues in Sudan: semiotic analysis of film “looted Kingdom " aims to find out how documentary Films contribute to environmental awareness and social change and how its address the issues of environment in Sudan. The study also aims to explore the connotations and implicit dimensions that the images of this film carries. The study uses a qualitative semiotic analytical approach based on the film script analysis.

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Bruveris, Klara. "THE “CREATIVE TREATMENT OF ACTUALITY”: POETICS AND VERISIMILITUDE IN LAILA PAKALNIŅA’S FILMS." Culture Crossroads 10 (November 10, 2022): 85–90. http://dx.doi.org/10.55877/cc.vol10.144.

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Laila Pakalniņa is a contemporary Latvian filmmaker who works across both documentary and fiction film. Her films are often regarded as avant-garde, experi- menting with genre conventions, challenging her audiences to reconsider their understanding of narrative and the cinematic form. Her work also pushes the boundaries between what constitutes fiction film and what constitutes documen- tary. This arguably occurs because of her engagement with the tropes of poetic documentary cinema, of which there is a strong tradition in Latvia due to the famous Riga School of Poetic documentary established

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Mwakalinga, Mona N. "African Documentary Film: Jean Marie Teno and Hybridism in Afrique, je te Plumerai." Tanzania Zamani: A Journal of Historical Research and Writing 11, no. 1 (2019): 103–26. http://dx.doi.org/10.56279/tza20211115.

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Documentary film has been known for its capacity to interrogate issues of social, economic, cultural and political significance, but this interrogation has been at headlocks with African governments who use the documentary genre as showcasing and praising tool. This article examines the utilization of documentary films in Africa by African governments such as Tanzania, and by independent African filmmakers such as Jean Marie Teno. Jean Marie Teno’s film “Afrique, je te Plumerai” is examined and its role in the struggle for social, political, economic, and cultural emancipation of the Camerooni

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Rospitasari, Marina. "Youtube as alternative media for digital activism in documentary film creative industry." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 3 (2021): 665–92. http://dx.doi.org/10.25139/jsk.v5i3.3779.

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The development of the digital world provides ample scope to activists who are also engaged in Documentary Film Industry. In line with the democratic and deliberative spirit, YouTube, one of the social media platforms, has become an alternative media with a strategic positioning to be used by film activists to distribute their works. This research applied literature review and descriptive quantitative content analysis as a methodology. Based on alternative media theory, YouTube is alternative media that filmmakers utilise in the documentary film creative industry. Documentary films are product

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Havran, Iryna, and Marian Botvyn. "Documentary Cinema in Contemporary Screen Discourse." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 3, no. 1 (2020): 11–19. https://doi.org/10.31866/2617-2674.3.1.2020.202649.

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The purpose of the article research is to analyze a contemporary documentary film in the domestic market from the point of view of the functioning of cinema discourse. Research methodology of the study was to use the following methods: historiography was used to review the history of a domestic documentary film; theoretical and methodological analysis was consisted of examining the situation related to broadcasting documentary cinema cycles on television; monitoring to explore the range of contemporary documentary topics; a sociological survey to outline the viewer’s curre

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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.

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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is

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Deng, Tiantian, and Tianzi Zhang. "A Study of the Documentary Aesthetics of Tokyo Story in Terms of Society, Family, and Life." Advances in Humanities Research 8, no. 1 (2024): 42–45. http://dx.doi.org/10.54254/2753-7080/8/2024095.

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Based on the history of documentary film development and related theoretical arguments, this paper analyzes Yasujir Ozus work Tokyo Story. It combines Ozus expressed attitudes towards family, life, and society with the films narrative content, character development, and visual composition to elucidate the documentary aesthetics of the film.

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Stonys, Audrius. "CINEMATIC SHIFT FROM THE FRONT TO THE BACKGROUND. LANDSCAPE IN A POST WORD ERA." Culture Crossroads 14 (November 9, 2022): 63–69. http://dx.doi.org/10.55877/cc.vol14.91.

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With great honour to readers of “Culture Crossroads” we are offering an essay by outstanding Lithuanian documentary film director Audrius Stonys (1966), in which he shares reflections on spatial and temporal changes in documentary films within the historical context by fixating cinematic turns in elements of mise?en?scène, especially in the landscape representation. The author is looking more closely at what is happening in the front and back- ground of the documentary film “Ten Minutes Before the Flight of Icarus” (Dešimt minučių prieš Ikaro skrydį, 1990) directed by Arūnas Matelis (1961), a

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Wahlberg, Malin. "The documentary film book." NECSUS. European Journal of Media Studies 4, no. 1 (2015): 215–19. http://dx.doi.org/10.5117/necsus2015.1.bry2.

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Greenberg, Miriam. "Documentary Film Review Essay." City & Community 12, no. 4 (2013): 396–403. http://dx.doi.org/10.1111/cico.12042.

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Edwards, Dan. "Hong Kong documentary film." Studies in Documentary Film 11, no. 1 (2016): 81–83. http://dx.doi.org/10.1080/17503280.2016.1265765.

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Vandelanoitte, Pascal. "The documentary film book." Historical Journal of Film, Radio and Television 35, no. 3 (2015): 541–43. http://dx.doi.org/10.1080/01439685.2015.1052237.

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Bettinson, Gary. "Hong Kong Documentary Film." New Review of Film and Television Studies 13, no. 2 (2015): 227–30. http://dx.doi.org/10.1080/17400309.2014.993575.

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Liu, Yike. "The application of the pseudo-documentary form in the film "The Evil”." Advances in Education, Humanities and Social Science Research 1, no. 3 (2023): 129. http://dx.doi.org/10.56028/aehssr.3.1.129.

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"The Possessed"is a horror film directed by Ma Kai, cast by hengdian walk-on actors and ordinary actors. The film premiered at the 10th FIRST Youth Film Festival on July 23, 2016. By imitating the creation technique and presentation form of documentary, "The Possessed" imitates the real context of the film, and uses the full DV perspective to narrate, bringing psychological oppression and game experience to the audience. This paper will start with the pseudo-documentary "The Possessed" of the horror type, and analyze its technical level and the formation mechanism of the terror psychology invo

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Moskalenko-Vysotska, Оlena. "Semiotic Documentary Measurement by Pavel Faryenyuk." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 1, no. 1 (2018): 38–48. https://doi.org/10.31866/2617-2674.1.2018.140833.

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The purpose of the research is to reveal the construction of the system of images and signs in the documentary films of the famous Ukrainian film director Pavel Nikolaevich Faryenyuk. The urgency of the problem, which the article is devoted to, is that Ukrainian art critics, in fact, did not investigate the use of artistic images in the national documentary documentary of our time. The methodology of the research is based on the logical-analytical method (for elucidating the artistic means of using technical director’s techniques when creating screen images); formalization

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Zambakhidze, Lia, and Nino Chalaganidze. "INTERPRETATION OF REALITY IN SOVIET DOCUMENTARY FILM (IN CASE OF GEORGIA)." Deutsche internationale Zeitschrift für zeitgenössische Wissenschaft 89 (October 3, 2024): 28–33. https://doi.org/10.5281/zenodo.13887527.

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Georgian documentary film making has a rather rich tradition. The stated thesis is confirmed by the first full length documentary film “Akaki’s trip to Racha-Lechkhumi” recognized all over the world (1912, Director Vasil Amashukeli). Origination of the documentary film in Georgia is solely connected with the name of Vasil Amashukeli. A history started earlier in 1908 continues exitance in propagandistic tongs resulted by the Soviet occupation of 1921. Surely, the sovietisized Georgian documentary film making was not able to avoid the dictate’s influence. Ideologize

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