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Journal articles on the topic 'Documentary representation'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

MATTHEWS, HARRIET. "Persuasion, Representation, and Emotional Heightening." Music, Sound, and the Moving Image 15, no. 1 (2021): 71–93. http://dx.doi.org/10.3828/msmi.2021.4.

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Synthesising real events with creative treatment, increasingly emotive and cinematic documentary presents now more than ever an ethically challenging dichotomy between factual broadcasting and fictional entertainment. Within the discussions of documentary ethics, this dichotomy is largely explored in relation to visual and editorial decisions which might be accused of manipulating or reframing the ‘truth’. However, within both ethical guidelines for documentary production, and academic debate around documentary ethics, reference to music is somewhat scarce. Potential challenges faced by non-mu

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2

Fuhs, Kristen. "How Documentary Remade Mike Tyson." Journal of Sport and Social Issues 41, no. 6 (2017): 478–92. http://dx.doi.org/10.1177/0193723517719668.

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This article will theorize the relationship between stardom and documentary by considering the ways in which documentary representations contribute to the discursive formation of a star. Specifically, the article will explore the central role that documentary film has played in remaking Mike Tyson’s public image by analyzing the boxer’s representation across three distinct films: Fallen Champ: The Untold Story of Mike Tyson (Barbara Kopple, 1993), Tyson (James Toback, 2008), and Mike Tyson: Undisputed Truth (Spike Lee, 2013).

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Jeon, Gyongran, and Young Chul Kim. "Changes and Variations in Documentary Representation." Journal of Image and Cultural Contents 19 (February 29, 2020): 117–37. http://dx.doi.org/10.24174/jicc.2020.02.19.117.

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4

김한주. "Representation of Post-World Cup Documentary." Korean Society for the Sociology of Sport 20, no. 2 (2007): 249–68. http://dx.doi.org/10.22173/jksss.2007.20.2.249.

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5

Leuthold, Steven, Victor Masayesva, Roy Bigcrane, et al. "Historical Representation in Native American Documentary." Ethnohistory 44, no. 4 (1997): 727. http://dx.doi.org/10.2307/482886.

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Ad-deen, Hafidh Shams. "The Ethics of Representation: Documentary Film and Islam." Khazar Journal of Humanities and Social Sciences 18, no. 3 (2015): 82–103. http://dx.doi.org/10.5782/2223-2621.2015.18.3.82.

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The great artistic potential of the documentary film photograph as well as the filmmakers’ intervention and manipulation impact viewers as well as interviewees to believe that the camera is able to capture a “real” moment in time. Both viewers and documentary subjects are exploited: the latter’s “informed consent” is not built on true, honest and clear relationship. That is, informing subjects, before camera proceeds, about the possible consequences of their participation is absent. For instance, interviewees know nothing of the overall goals of the project and have no idea about the intended

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Shin, Boo Ja. "Representation of Tradition for Healing in Documentary - Focussing on The Documentary [Dharma]." CONTENTS PLUS 17, no. 4 (2019): 83–106. http://dx.doi.org/10.14728/kcp.2019.17.04.083.

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8

Carta, Silvio. "Orientalism in the Documentary Representation of Culture." Visual Anthropology 24, no. 5 (2011): 403–20. http://dx.doi.org/10.1080/08949468.2011.604592.

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Andrade Nunes, Thatiany, та Hyunseok Lee. "애니메이티드 다큐멘터리와 다큐멘터리 게임의 사실 재현에 대한 비교연구". CONTENTS PLUS 17, № 5 (2019): 23–42. http://dx.doi.org/10.14728/kcp.2019.17.05.023.

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10

Riter, Robert B. "Book art and the representation and communication of original sources." Art Libraries Journal 44, no. 4 (2019): 167–73. http://dx.doi.org/10.1017/alj.2019.25.

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Works of book art can express archival and documentary values. Book artists whose work is informed by archival and documentary evidence contribute to the wider dissemination of original sources. In supporting this function, their generative practices can be viewed as curatorial and editorial functions. How does archivally informed book art represent and communicate evidence? How can these sources operate as documentary sources? This essay offers a discussion of these questions.

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11

Favorini, Attilio. "Representation and Reality: The Case of Documentary Theatre." Theatre Survey 35, no. 2 (1994): 31–42. http://dx.doi.org/10.1017/s0040557400002775.

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From its origins and throughout its history, Western theatre has engaged, represented, and/or attempted to affect the course of history. Phrynichus and Aeschylus wrote plays on the Persian wars when they were still fresh in the memories of their auditors—too fresh in the case of Phrynichus, who was censured by the Athenians. Early in the sixteenth century French sotties commented on Papal politics; late in the same century Elizabethan playwrights began to exploit contemporary crime stories. During the French Revolution hack writers issued dramatic accounts of Marat's death within a month of it

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12

UTTERSON, ANDREW. "Destination Digital: Documentary Representation and the Virtual Travelogue." Quarterly Review of Film and Video 20, no. 3 (2003): 193–202. http://dx.doi.org/10.1080/10509200390210576.

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13

Mills, B. "Towards a theory of documentary representation for animals." Screen 56, no. 1 (2015): 102–7. http://dx.doi.org/10.1093/screen/hjv013.

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14

Beacom, Aaron, Liam French, and Scott Kendall. "Reframing Impairment? Continuity and Change in Media Representations of Disability Through the Paralympic Games." International Journal of Sport Communication 9, no. 1 (2016): 42–62. http://dx.doi.org/10.1123/ijsc.2015-0077.

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This study, which examines key features of contemporary media representations of disabled athletes in the context of the Paralympic Games, engages with established literature on representations of disability to critically interpret recent trends in journalistic inquiry. The analysis of media coverage of the 2012 and 2014 Paralympic Games identifies salient themes concerning the representation of disability. This, along with an investigation of documentary evidence concerning attempts by key stakeholders including the International Paralympic Committee to influence the nature of representation,

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15

Reid, M. A. "Struggles for Representation: African American Documentary Film and Video." American Literature 72, no. 4 (2000): 894–95. http://dx.doi.org/10.1215/00029831-72-4-894.

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16

Kim, L. S., Phyllis R. Klotman, and Janet K. Cutler. "Struggles for Representation: African American Documentary Film and Video." Journal of American History 89, no. 1 (2002): 256. http://dx.doi.org/10.2307/2700867.

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17

Pomian, J., L. Fabbri, and C. Rist. "Knowledge Representation and Reasoning in an Intelligent Documentary System." IFAC Proceedings Volumes 20, no. 10 (1987): 77–81. http://dx.doi.org/10.1016/s1474-6670(17)59036-9.

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18

Pullen, Christopher. "Transpeople in Performative Documentary: Self-Representation, Citizenship, and Transparency." Journal of Popular Culture 50, no. 6 (2017): 1376–99. http://dx.doi.org/10.1111/jpcu.12625.

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19

Haines, Gina, and Christopher Klopper. "Using Documentary Film for Authentic Representation of Phenomenological Research." Journal of Social Science Studies 2, no. 1 (2014): 250. http://dx.doi.org/10.5296/jsss.v2i1.6754.

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20

Rehman, Faiza, Liaqat Iqbal, and Yusra Mukhtar. "Representation of Gender in Documentary Saving Face: A Semiotic Analysis." Global Sociological Review V, no. III (2020): 72–85. http://dx.doi.org/10.31703/gsr.2020(v-iii).09.

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The purpose of the current study is to analyze how gender is represented in the documentary Saving Face through the use of different signs. The study of the portrayal of gender in Pakistani documentary has been conducted through the analysis of signs. For this purpose, 8 visuals from Saving Face were analyzed using elements of the stills such as camera angle, character's body language, physical appearance, gestures, dressing, background objects or props and colors. Employing the theoretical framework of Peirce's theory of signs on documentary, various types of signs such as iconic, indexical a

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21

Duffy, L. "Incorporations hypodermiques et épistémologiques chez Zola." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 44, no. 2 (2009): 293–312. http://dx.doi.org/10.1075/rro.44.2.05duf.

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This article, starting from an identification of key differences between realism and naturalism, develops an argument premised on the implicit metaphorical relationship between body and text expressed in Le Docteur Pascal, the last novel in Émile Zola’s Rougon-Macquart series. It examines aspects of the metaphorical problematics surrounding the incorporation of documentary material into nineteenth-century French fiction, arguing that the documentary novel’s representation of the human body, and of medical practices concerned with the body’s ingestion of substances — specifically, Le Docteur Pa

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22

Flynn, Bernadette. "Factual Hybridity: Games, Documentary and Simulated Spaces." Media International Australia 104, no. 1 (2002): 42–54. http://dx.doi.org/10.1177/1329878x0210400107.

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Documentary theorist John Corner's suggestion that we might be moving into a post-documentary period echoes concerns raised earlier by Brian Winston that the documentary is facing some type of crisis. This paper argues that this is only the case if one ignores a broader notion of media hybridity that takes into account directions offered by new technologies and aesthetic regimes. This paper proposes that, rather than signalling an unravelling of documentary's purpose, emerging forms of factuality point towards more localised forms of communication that have been effaced in ‘discourse of sobrie

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23

Joo, Hyoung-Il. "Documentary Photography in the Digital Age : from Representation to Performance." Journal of Aesthetics & Science of Art 57 (June 30, 2019): 183–214. http://dx.doi.org/10.17527/jasa.57.0.07.

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24

Yoon-Ju, Yoon-Ju. "Women Representation in the Post-War Documentary - Focusing on the Agenda-Setting in the 1950s Iwanami Documentary." Korean Journal of Japanese Language and Literature 72 (March 31, 2017): 405. http://dx.doi.org/10.18704/kjjll.2017.03.72.405.

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25

Hunter, Aaron. "Exercising radical democracy." Alphaville: Journal of Film and Screen Media, no. 15 (October 9, 2018): 16–32. http://dx.doi.org/10.33178/alpha.15.02.

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The utopian promise of the digital era and the seemingly open, democratic power of the Internet have raised the hopes of activists and documentarians alike. The immediacy, reciprocity and accessibility of the emergent communication technologies appeared to be particularly suitable for media projects that aspire to mobilise for action, engage communities, and challenge the existing power structures in order to have direct influence on policy making. Over the last ten years, a whole new crop of documentary projects involving new modalities and unorthodox ways of knowledge production came into ex

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26

Rouleau, Joëlle. "Film: Réflexions sur la Représentation du Handicap Retrouvée dans le Cinéma Québécois." Canadian Journal of Disability Studies 5, no. 3 (2016): 57. http://dx.doi.org/10.15353/cjds.v5i3.296.

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Réflexions sur la représentation du handicap retrouvée dans le cinéma québécois est un court- métrage documentaire s’articulant autour de deux questions principales : comment aborder la représentation du handicap telle qu’elle se retrouve dans certains films québécois ; et, dans quelle mesure l’étude critique de cette représentation permet-elle de concevoir le cinéma comme un régime de la représentation (Hall 1997a) québécois articulé autour de certaines normativités (Butler, 2004)? Pour y parvenir, la réalisatrice a entretenu une discussion avec des réalisateurs, réalisa

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27

Merewether, Janet. "Filming Non-Normative Embodiment: Power, Sexuality and Genetic Difference inJabe Babe – A Heightened Life, a Documentary about a Dominatrix with Marfan Syndrome." Somatechnics 1, no. 2 (2011): 334–56. http://dx.doi.org/10.3366/soma.2011.0023.

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This article will examine the ethical and directorial challenges faced by the documentary filmmaker when collaborating with a central subject who lives with a potentially fatal genetic condition, whilst pursuing a career as a professional dominatrix. What modes of representation and collaboration are open to the director, when artificial boundaries and television genre categorisations such as ‘the science documentary’, ‘the biography’ and the fetish or ‘porno film’ seem limiting? Jabe Babe – A Heightened Life ( Merewether 2005 ) seeks to collapse and merge these conventionally distinct practic

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28

Bottoms, Stephen. "Putting the Document into Documentary: An Unwelcome Corrective?" TDR/The Drama Review 50, no. 3 (2006): 56–68. http://dx.doi.org/10.1162/dram.2006.50.3.56.

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“Verbatim drama,” the current trend in British documentary theatre, capitalizes on the presumed authenticity of the voices represented and on the “unmediated” theatricalization of the truths they ostensibly reveal. The works of Moisés Kaufman and his Tectonic Theater Project present an alternative, appropriating avantgarde theatre techniques and acknowledging the presence of the artist in shaping the representation of the realities depicted.

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29

Voces Staff. "Latinas/os in Documentary Filmmaking: Issues of Representation, Funding, and Opportunity." US Latina & Latino Oral History Journal 3 (October 2019): 45–67. http://dx.doi.org/10.7560/ohj303.

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30

Crosta, Suzanne. "(In)Visibility And Representation: Social Justice In Recent Chadian Documentary Films." Critical Interventions 11, no. 3 (2017): 287–300. http://dx.doi.org/10.1080/19301944.2017.1401382.

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31

Shuqin, Cui. "Alternative visions and representation: independent documentary film-making in contemporary China." Studies in Documentary Film 4, no. 1 (2010): 3–20. http://dx.doi.org/10.1386/sdf.4.1.3_1.

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32

LEE, Sung Wook. "Documentary, Representation, and the Truth - Focusing on the Movie Diving Bell." CONTENTS PLUS 14, no. 6 (2016): 93–106. http://dx.doi.org/10.14728/kcp.2016.14.06.093.

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33

Cao, Qing. "China Through Western Eyes. A Case Study of the BBC Television Documentary Roads to Xanadu." European Journal of East Asian Studies 6, no. 2 (2007): 275–97. http://dx.doi.org/10.1163/156805807x256890.

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AbstractDespite a growing body of literature on the study of the Western media's portrayal of China, little attention has been paid to the structures underlying the representation of China. This essay aims to address this issue through an in-depth analysis of a British television documentary series, Roads to Xanadu (1990). It focuses on dominant perspectives constructed in the series by analysing documentary narrative as a mode of realising discourse. The essay argues that underlying the representation is a technological view of society. Shifting between realpolitik industrialism and liberal d

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34

Míčová, Pavlína. "Obraz sportu i wychowania fizycznego w czechosłowackich filmach dokumentalnych (1945–1959)." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 2, no. 3 (2019): 59–70. http://dx.doi.org/10.16926/sit.2019.02.23.

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35

Steir-Livny, Liat. "Aftereffects: The representation of the Holocaust, its universal moral implication and the transgenerational transformation of the trauma based on the Israeli documentary fim OY MAMA." Kultura Popularna 1, no. 50 (2017): 118–0. http://dx.doi.org/10.5604/01.3001.0010.4080.

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36

Radner, Susan. "Ethnic Notions." Radical Teacher 113 (February 14, 2019): 29–30. http://dx.doi.org/10.5195/rt.2019.578.

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37

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

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

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38

Turnbull, Gemma-Rose. "Navigating Socially Engaged Documentary Photographic Practices." Nordicom Review 36, s1 (2020): 79–95. http://dx.doi.org/10.1515/nor-2015-0031.

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AbstractAs Documentary Photographers increasingly introduce the collaborative and participatory methodologies common to socially engaged art practices into their projects (particularly those that are activist in nature, seeking to catalyse social change agendas and policies through image making and sharing), there is an increased tension between the process of production and the photographic representation that is created. Over the course of the last five years I have utilised these methodologies of co-authorship. This article contextualizes this kind of transdisciplinary work, and examines th

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39

Hope Finnegan, Elizabeth. "To See or Not to See: A Wittgensteinian Look at Abbas Kiarostami's Close-up." Film-Philosophy 22, no. 1 (2018): 21–38. http://dx.doi.org/10.3366/film.2018.0060.

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Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up (1990) as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects of documented reality and u

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40

Brito, Regina. "Lusophone geopolitical space: vidas em Português." Comunicação e Sociedade 34 (December 17, 2018): 133–45. http://dx.doi.org/10.17231/comsoc.34(2018).2940.

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Língua – vidas em Português (2004), by Victor Lopes, shows the presence of Portuguese culture and language from around the world; the basis of representation of the lusophone universe are Goa, Mozambique, Brazil, Portugal, and Japan. Our work stems from the hypothesis that opinions, feelings, practices and behaviors manifested in Portuguese by common individuals present in the documentary can indicate significant elements for the comprehension of Lusophony. It is by the social spaces they occupy that their speech can be taken as a way of life, which encompasses opinions of the Portuguese langu

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Tengku Sabri, Tengku Intan Maimunah. "Filming Visual Artist Biopic: Reflections on the Making of Short Documentary Dark Drawings Unpacked." International Journal of Creative Multimedia 1, no. 1 (2020): 51–64. http://dx.doi.org/10.33093/ijcm.2020.1.1.7.

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This article reflects on my experience in making the short documentary Dark Drawings Unpacked (2019). The documentary explores the life of a Malaysian artist, Tengku Sabri Tengku Ibrahim after a stroke attack. Essentially an artist biopic, the documentary traces the various implications of stroke pertaining to the artist’s life and work, including immobility and post-stroke depression. The documentary also unpacks the underlying themes of the artworks Dark Drawings as well as advances understanding on the artist’s struggles with stroke, sanity, and God. Finally, the documentary emphasizes the

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42

Kraenzle, Christina. "Risking Representation: Abstraction, Affect, and the Documentary Mode in Birgit Weyhe’s Madgermanes." Seminar: A Journal of Germanic Studies 56, no. 3-4 (2020): 212–34. http://dx.doi.org/10.3138/seminar.56.3-4.01.

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43

Bruzzi, Stella. "‘From innocence to experience: the representation of children in four documentary films’." Studies in Documentary Film 12, no. 3 (2018): 208–24. http://dx.doi.org/10.1080/17503280.2018.1503861.

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44

Reason, Matthew. "Representing Soldiers to Soldiers Through Dance: Authenticity, Theatricality, and Witnessing the Pain of Others." Dance Research Journal 49, no. 2 (2017): 79–95. http://dx.doi.org/10.1017/s0149767717000213.

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Representations of war recur throughout art, whether celebrating the glories and heroism of conflict, or depicting its horrors and follies. This paper uses qualitative audience research to examine soldiers' own responses to the representation of soldiers in choreographer Rosie Kay's dance performance 5 Soldiers: The Body is the Frontline. This article explores how for military audiences the satisfaction of an internalized sense of authenticity allowed them to accept the performance as a legitimate representation; at the same time the presentation of war in a choreographic language meant that t

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45

Zhang, Jane. "Correspondence as a documentary form, its persistent representation, and email management, preservation, and access." Records Management Journal 25, no. 1 (2015): 78–95. http://dx.doi.org/10.1108/rmj-03-2014-0015.

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Purpose – The aim of this paper is to construct a systematic way of thinking about correspondence as a documentary form and discuss the role its persistent representation features play in management, preservation and access of email correspondence. Design/methodology/approach – Using the method of diplomatic analysis as a guiding theory, the paper conducts a historical review of correspondence recordkeeping and email systems in the American context, analyzes the evolution of its persistent representation features and discusses the implications on current email management and archival practices

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Sánchez Espinosa, Adelina, and Orianna Calderón Sandoval. "Queer Gender Performativity in Documentary Cinema: The Transgender Look of Italian Filmmaker Simone Cangelosi." Comunicación y Género 3, no. 1 (2020): 27–35. http://dx.doi.org/10.5209/cgen.67500.

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This article analyses the ways in which Italian filmmaker Simone Cangelosi enacts a queer countervisuality in his documentary films Dalla testa ai piedi (2007) and Una nobile rivoluzione (2014). The theoretical framework traces a genealogy from what has been termed as fe/male gazes up to what can be understood as transgender, queer and feminist gazes. Connections between the performative mode of representation, performative documentary cinema and gender performativity are also established. By means of a close reading of both films and an interview with the filmmaker, this paper argues that que

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47

Inoue, Miyo. "The Ethics of Representation in Light of Minamata Disease: Tsuchimoto Noriaki and His Minamata Documentaries." Arts 8, no. 1 (2019): 37. http://dx.doi.org/10.3390/arts8010037.

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In this paper, I will examine how Japanese documentary filmmaker Tsuchimoto Noriaki (1928–2008) tackled the issue of visual ethics through the representation of Matsunaga Kumiko and Kamimura Tomoko—two young female patients known for the symbolic roles they each played in the history of Minamata disease. I will introduce the ethical challenge Tsuchimoto encountered upon his first visit to Minamata in 1965—especially how he grappled with the question of filming subjects (shutai) who were unconscious and/or unable to express whether they approved the act of filming or not—and how such conundrums

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48

Jaffe, Alexandra. "Sociolinguistic diversity in mainstream media." Thematising Multilingualism in the Media 10, no. 4 (2011): 562–86. http://dx.doi.org/10.1075/jlp.10.4.05jaf.

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This article explores the attribution of authority and authenticity to speakers of “accented” or dialectal speech portrayed in the American documentary on dialectal diversity, “Do You Speak American?”. The focus is on the role of mediation and mediatization in this fundamentally political and ideological process: that is, the extent to which particular sequences of the documentary foreground the work of representation being done by media producers. The central claim made in the analysis is that speakers’ authenticity is produced through the backgrounding of this work of representation, but tha

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49

Inštitorisová, Dagmar. "The Figure of Milan Rastislav Štefánik in Television and Radio Production." Slovenske divadlo /The Slovak Theatre 65, no. 4 (2017): 416–27. http://dx.doi.org/10.1515/sd-2017-0025.

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Abstract This study deals with television and radio artistic, documentary, and investigative programmes whose thematic focus is the historical figure of Milan Rastislav Štefánik. The analysis examines television and radio recordings from the archives of RTVS, the Slovak Film Institute in Bratislava, and two documentary films produced by the company Kanimex. It focuses on the form of their artistic treatment as well as representation of the personality of Štefánik. In its conclusion, the study summarizes findings about the manner of interpretation of his personality in a model of an audiovisual

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50

Nault, Curran. "Documenting the Dead." TSQ: Transgender Studies Quarterly 8, no. 1 (2021): 24–57. http://dx.doi.org/10.1215/23289252-8749568.

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AbstractCall Her Ganda (dir. PJ Raval, 2018) chronicles the murder of transpinay Jennifer Laude by a US marine, and the subsequent court case. This essay draws from theories of necropolitics and hauntology, as well as the author's experience as a documentary producer of Call Her Ganda to raise critical questions about the representation of trans death, and to reflect on the possibilities and limitations of documentary as a trans activist tool. In doing so, the author lays out a looping logic as a parallel proposition to the vortical violences of colonization and transmisogny. This loop begins

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