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Journal articles on the topic 'Documentary Theory'

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Published: 4 June 2021
Last updated: 6 February 2022

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1

Kuehl, Jerome. "Documentary Media: History, Theory, Practice." Historical Journal of Film, Radio and Television 40, no. 1 (2019): 233–34. http://dx.doi.org/10.1080/01439685.2018.1543234.

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2

Semege, Mahoro. "Film as dialogue: Documentary theorization through practice." New Cinemas: Journal of Contemporary Film 17, no. 2 (2020): 183–208. http://dx.doi.org/10.1386/ncin_00016_1.

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A large body of documentary scholarship approves of the documentary’s effectiveness in addressing social issues beneficially. However, documentaries that have been made with the primary aim of testing such effectiveness are rare. This article presents the findings based on a documentary made specifically to test this theory. Titled Forsaken, the documentary was made and used as a test tool to assess its rhetorical ability to generate pledges for support of neglected adolescent orphans in South African communities. This article highlights the documentary’s rhetorical strategies and the extent to which such strategies led audience members to pledge support for this category of orphans. Contrary to views in the extant literature that pay little attention to the contextual limitations of the documentary’s rhetorical principles, the present article argues that a documentary’s effectiveness in addressing social issues beneficially is largely dependent on the cultural attuning of the documentary’s rhetorical principles.
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3

GALLAGHER, KATHERINE. "Documentary." Critical Quarterly 37, no. 3 (1995): 101. http://dx.doi.org/10.1111/j.1467-8705.1995.tb01079.x.

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4

Thon, Jan-Noël. "Post/Documentary." Poetics Today 40, no. 2 (2019): 269–97. http://dx.doi.org/10.1215/03335372-7298550.

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5

Toshio, Matsumoto, and Michael Raine. "A Theory of Avant-Garde Documentary." Cinema Journal 51, no. 4 (2012): 148–54. http://dx.doi.org/10.1353/cj.2012.0099.

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6

Gershon, Ilana, and Joshua Malitsky. "Actor-network theory and documentary studies." Studies in Documentary Film 4, no. 1 (2010): 65–78. http://dx.doi.org/10.1386/sdf.4.1.65_1.

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7

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 Foundationabout improving their mindset after attending the documentary film production training. This is a qualitative research. The data for this study was collected from early June to August 2019, which the Data collection techniques used in the research were interview and FGD. The data analysis stage was carried out on September 2019 after the documentary film training was completed. The data analysis is carried out by using the Miles & Hubermen style, in which activities in the analysis include data reduction, data display, and conclusion drawing / verification. From this research, it can be concluded that the use of documentary films as a learning medium can improve the participants' critical thinking, eventhough the level of criticism obtained by each individual is different.
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8

Stones, Rob. "Social theory, documentary film and distant others." European Journal of Cultural Studies 5, no. 2 (2002): 217–37. http://dx.doi.org/10.1177/1364942002005002873.

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9

Bandosz, Benjamin. "Framing and Staging Madness in the Ethico-aesthetic Paradigm: How Witold Gombrowicz's Operetka Expresses Nicolas Philibert's La moindre des choses." Deleuze and Guattari Studies 15, no. 3 (2021): 411–31. http://dx.doi.org/10.3366/dlgs.2021.0448.

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Nicolas Philibert's 1997 documentary, La moindre des choses, depicts the daily lives of residents and staff at the private psychiatric clinic La Borde, and their production of Witold Gombrowicz's play Operetka. This paper will analyse the aesthetic and ethical implications of La Borde's production of Gombrowicz's play by mapping the documentary, text and production's collective expressions. The film's capacities to reconfigure audience subjectivities through a filmic and intensive entanglement will be explored at length by framing the documentary's cinematography in Félix Guattari's theories of the ethico-aesthetic paradigm and minor cinema.
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10

Baetens, Jan, and Éric Trudel. "Introduction: The Documentary Mode." L'Esprit Créateur 61, no. 2 (2021): 1–9. http://dx.doi.org/10.1353/esp.2021.0021.

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11

Foskett, Douglas J. "Systems Theory and its Relevance to Documentary Classification." KNOWLEDGE ORGANIZATION 44, no. 2 (2017): 129–34. http://dx.doi.org/10.5771/0943-7444-2017-2-129.

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12

Bondebjerg, Ib. "Documentary and Cognitive Theory: Narrative, Emotion and Memory." Media and Communication 2, no. 1 (2014): 13–22. http://dx.doi.org/10.17645/mac.v2i1.17.

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This article deals with the benefits of using cognitive theory in documentary film studies. The article deals with general aspects of cognitive theory in humanities and social science, however the main focus is on the role of narrative, visual style and emotional dimensions of different types of documentaries. Dealing with cognitive theories of film and media and with memory studies, the article analyses how a cognitive approach to documentaries can increase our understanding of how documentaries influence us on a cognitive and emotional level and contribute to the forming of our social and cultural imagination. The article analyses case studies of documentaries dealing with climate change and the environment and documentaries dealing with social history.
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13

Holland, Patricia. "Documentary Media: History, Theory, Practice, by Broderick Fox." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 250–54. http://dx.doi.org/10.33178/alpha.17.23.

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14

Corner, John. "New nonfiction film: art, poetics and documentary theory." Studies in Documentary Film 13, no. 1 (2019): 90–91. http://dx.doi.org/10.1080/17503280.2019.1572302.

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15

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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16

Sweeney, JF. "Historical research: examining documentary sources." Nurse Researcher 12, no. 3 (2005): 61–73. http://dx.doi.org/10.7748/nr2005.01.12.3.61.c5949.

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17

Cahill, James Leo. "Forgetting Lessons: Jean Painlevé’s Cinematic Gay Science." Journal of Visual Culture 11, no. 3 (2012): 258–87. http://dx.doi.org/10.1177/1470412912455616.

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The French scientific and documentary filmmaker and para-Surrealist Jean Painlevé (1902−1989) established his reputation as the author of over 200 films, as well as an accomplished film programmer and activist. During the 1930s he made a series of critically ambivalent remarks about the pedagogical vocation of documentary films, describing film’s primary function in the classroom as causing spectators to ‘forget’ or ‘unlearn’ their lessons and expressing the desire to contribute to the total abolition of secondary education. Reflecting upon the relationship between Painlevé’s often overlooked pedagogical interventions and his films (particularly the documentaries Sea Urchins, 1929, and The Seahorse, 1935), this article develops a reading of the scientific documentary’s ‘forgetting function’ as part of an elaboration of a cinematic ‘gay science’: a film practice and theory regarding the epistemological and pedagogical stakes of documentary through both critical negation and an ethos of committed, creative experimentation.
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18

Griffin, Benjamin. "Moby-Dickand the Documentary Hypothesis." Leviathan 10, no. 3 (2008): 134. http://dx.doi.org/10.1111/j.1750-1849.2008.01317_4.x.

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19

Dameron, J. Lasley, and Thomas C. Carlson. "A Documentary Life of Poe." Poe Studies 21, no. 2 (1988): 44–46. http://dx.doi.org/10.1111/j.1754-6095.1988.tb00029.x.

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20

FOX, ROBIN LANE. "THUCYDIDES AND DOCUMENTARY HISTORY." Classical Quarterly 60, no. 1 (2010): 11–29. http://dx.doi.org/10.1017/s0009838809990413.

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21

TSOLIN, D. "Diachrony of the Biblical Hebrew and “the Documentary Theory”." World of the Orient 2015, no. 1 (2015): 92–105. http://dx.doi.org/10.15407/orientw2015.01.092.

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22

Brick, Shannon. "Identifying Documentary; Against the Trace Account." Film and Philosophy 24 (2020): 63–83. http://dx.doi.org/10.5840/filmphil2020245.

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This article argues that we ought to reject Gregory Currie’s “Trace Account” of documentary film. According to the Trace Account, a film is a documentary so long the majority of its constitutive images are traces of the film’s subject matter. The argument proceeds by considering how proponents of the Trace Account could respond to Noel Carroll’s charge that their analysis is radically revisionary. I argue that the only responses available are either implausible or show that a fully worked out version of the Trace Account collapses into Carroll’s own, rival definition of documentary. I then consider how advocates of the Trace Account might attempt to rescue the theory by reframing it as an account of a genre or as a theory of evaluation and argue that neither attempt would succeed. Given this, we ought to embrace Carroll’s own account of documentary, according to which a film is documentary if and only if it is a film of presumptive assertion.
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23

David Lazar. "Playing Ourselves: Pseudo-Documentary and Persona." Antioch Review 71, no. 2 (2013): 233. http://dx.doi.org/10.7723/antiochreview.71.2.0233.

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24

Zabus, Chantal. "Against All Odds: A Documentary(DVD)." Research in African Literatures 39, no. 4 (2008): 165–66. http://dx.doi.org/10.2979/ral.2008.39.4.165.

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25

Sauerberg, Lars Ole. "The Novel in Transition: Documentary Realism." Orbis Litterarum 44, no. 1 (1989): 80–92. http://dx.doi.org/10.1111/j.1600-0730.1989.tb00889.x.

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26

Nichols, Bill. "The Documentary Film in America." Canadian Review of American Studies 16, no. 2 (1985): 231–36. http://dx.doi.org/10.3138/cras-016-02-07.

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27

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 a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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28

Plantinga, Carl, and Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction." Journal of Aesthetics and Art Criticism 45, no. 3 (1987): 316. http://dx.doi.org/10.2307/431467.

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29

Pleshkevich, Evgenii A. "The Theory of Documentary Information: Library Bibliological Aspect (Problem Definition)." Bibliotekovedenie [Library and Information Science (Russia)], no. 3 (June 7, 2011): 22–27. http://dx.doi.org/10.25281/0869-608x-2011-0-3-22-27.

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The fundamentals of document information theory, especially scientific principles and basic concepts are revealed. Their methodological potential for subsequent use in the library and bibliological researches is analyzed.
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30

McH., B., and Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction." Poetics Today 8, no. 2 (1987): 455. http://dx.doi.org/10.2307/1773053.

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31

Heyne, Eric, and Barbara Foley. "Telling the Truth: The Theory and Practice of Documentary Fiction." Journal of the Midwest Modern Language Association 20, no. 1 (1987): 111. http://dx.doi.org/10.2307/1315002.

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32

Raine, Michael. "Introduction to Matsumoto Toshio: A Theory of Avant-Garde Documentary." Cinema Journal 51, no. 4 (2012): 144–54. http://dx.doi.org/10.1353/cj.2012.0093.

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33

Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.

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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.
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34

Flinn, Margaret C. "Documenting Limits and the Limits of Documentary: Georges Lacombe'sLa Zoneand the “documentaire romancé”." Contemporary French and Francophone Studies 13, no. 4 (2009): 405–13. http://dx.doi.org/10.1080/17409290903096269.

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35

Valassopoulos, Anastasia. "The international Palestinian resistance: documentary and revolt." Journal of Postcolonial Writing 50, no. 2 (2014): 148–62. http://dx.doi.org/10.1080/17449855.2014.883172.

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36

Xiang, Sunny. "Race, Tone, and Ha Jin’s “Documentary Manner”." Comparative Literature 70, no. 1 (2018): 72–92. http://dx.doi.org/10.1215/00104124-4344086.

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37

Petty, Sheila, and Brahim Benbouazza. "Representational Sovereignty in Moroccan Amazigh Documentary Film." Studies in American Indian Literatures 32, no. 3-4 (2020): 129–48. http://dx.doi.org/10.1353/ail.2020.0021.

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38

Kobzowicz, Keara. "New Nonfiction Film: Art, Poetics, and Documentary Theory, Dara Waldron (2018)." Film Matters 10, no. 3 (2019): 161–62. http://dx.doi.org/10.1386/fm_00031_4.

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39

Losiyevsky, I. Ya. "Appraisal of documentary heritage objects value in scientific library, archives, museum: topical problems of theory and practice." Scientific and Technical Libraries, no. 4 (June 28, 2021): 93–116. http://dx.doi.org/10.33186/1027-3689-2021-4-93-116.

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The article is devoted to the topical problems of theory and practice of appraisal of documentary heritage objects value in scientific libraries, archives, museums taking into consideration functional and stock specifics of these institutions. Its goals and tasks, principles and axiological criteria are described. It is shown that the main goal of such appraisal is determining the place of documentary heritage objects as the objects of the appraisal in the system of cultural values of modern society, establishing the belonging of these objects to cultural heritage objects of world, national, regional, local significance. Appraisal of documentary heritage objects is analyzed as one of important areas of scientific and administrative activities which to a large extent ensures the functioning, improvement of information potential and accordingly the image of the library, archives, museum. The Ukrainian experience of the recent decades is highlighted in many aspects, namely: regulation, organization and appraising documentary heritage objects at the state, interdepartmental and departmental levels, at the level of the profile institution fund-holder. The features of the appraisal, the objects of which are archival heritage objects and book heritage objects, are revealed. It is emphasized that the appraisal of value of the existing funds and collections of documentary heritage objects is the basis for the development and implementation of modern individual concepts and integrative projects for libraries, archives and museums, which provides for the coexistence and interrelation of material expositions and various forms of virtual information.
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40

Fibla-Gutiérrez, Enrique. "Cinema of Crisis and the Documentary Impulse: The UPF Masters in Creative Documentary." Hispanic Research Journal 20, no. 1 (2019): 26–41. http://dx.doi.org/10.1080/14682737.2019.1584466.

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41

Prozhiko, Galina S. "The 60s. Half a Century Later. Nostalgia." Journal of Flm Arts and Film Studies 8, no. 1 (2016): 8–19. http://dx.doi.org/10.17816/vgik818-19.

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The author of such books on film history and theory as Masterpieces of the Documentary Screen (2015), The World Documentary Screen (2011),The Concept of Reality in Pre-Television Era (2004), The Concept of Master Shot in the Screen Document (2002), The Issues of Modern Soviet Documentary Filmmaking (1988), and a number of articles published in various academic journals. Summary: Overlooking the misery of artistic search in modern practice of the national documentary cinema prompts to turn to the experiences obtained half a century ago: the rise of artistic search in the documentaries of the 60-s. The article (conclusion, for the beginning see issue № 4 (26) 2015) examines the socio-psychological atmosphere, which formed the moral solidarity" of the generation that devoted itself to the renovation of documentary cinema; as well as looking into the makeover of the aesthetics of screen documentary of that time.
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42

Kerr, Paul. "Authorship, Autobiography and the Archive." VIEW Journal of European Television History and Culture 4, no. 8 (2015): 67. http://dx.doi.org/10.18146/2213-0969.2015.jethc094.

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In 2004, documentary theorist Michael Renov described ‘the recent turn to filmic autobiography’ as ‘the defining trend of “post-verite” documentary practice...’ In 2008 Renov went further still, suggesting that ‘the very idea of autobiography challenges/reinvents the VERY IDEA of documentary.’ Archive based autobiographical filmmaking, meanwhile, is even more problematic for documentary theory. Indeed, a number of recent documentaries, because of their status somewhere in the spectrum between biography and autobiography, have prompted the construction of an entirely new conceptual category, deploying archival film, often in the form of home movies, to document the lives of their human subjects in Renov’s formulation ‘shared textual authority’. In this article I examine one of ‘my’ own archive based documentaries, ‘Marilyn on Marilyn’ (BBC2 2001), as a way of asking questions not just about biographical and autobiographical documentary but also - and perhaps more urgently - about attributions of authorship in archive-based documentary.
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43

Minh-Ha, Trinh T. "Documentary Is/Not a Name." October 52 (1990): 76. http://dx.doi.org/10.2307/778886.

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44

Besomi, Daniele. "Keynes and Harrod on the Classical Theory of Interest: More on the Origin of the Only Diagram in the General Theory." Journal of the History of Economic Thought 22, no. 3 (2000): 367–76. http://dx.doi.org/10.1080/10427710050122576.

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Rod O'Donnell's (1999a, 1999b) and James Ahiakpor's (1999) contributions on the origin of the only diagram in J. M. Keynes's General Theory raise some interesting points regarding the use of documentary evidence for interpreting authors' ideas or specific passages in their writings.
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45

Rector, Liam. "The Documentary of What Is." Hudson Review 41, no. 2 (1988): 393. http://dx.doi.org/10.2307/3850889.

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46

Varga, Darrell. "New Nonfiction Film: Art, Poetics, and Documentary Theory, by Dara Waldron." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 253–57. http://dx.doi.org/10.33178/alpha.18.26.

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47

Paulson, Steven K., Thomas Leonard, and Jeff Steagall. "The Use of Documentary Cases to Internationalize the Organization Theory Course." Journal of Teaching in International Business 11, no. 3 (2001): 17–35. http://dx.doi.org/10.1300/j066v11n03_02.

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48

Cardullo, Robert J. "Cinema as ‘social documentary’: The film theory of André Bazin, revisited." Studies in French Cinema 13, no. 1 (2013): 33–46. http://dx.doi.org/10.1386/sfc.13.1.33_1.

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49

Dobovšek, Zala. "Documentary = arbitrary: A few practical-theoretical impulses." Maska 30, no. 172 (2015): 160–73. http://dx.doi.org/10.1386/maska.30.172-174.160_5.

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The 2014 Mladi levi international festival directed its overall programme scheme towards documentary and participatory performances, and it also offered a workshop on documentary theatre. The formats of documentary and participatory theatre (with all their variants) don’t just trace the artistic maturity of a certain environment in itself but are always also indices showing the broader picture of the social (political, cultural, etc.) and thereby mental situation of a certain space and time. This contribution combines theory and practice; it considers documentary theatre in various theoretical frameworks, compares its various staging approaches (personal memory, collective memory, simulations, reconstructions) and offers a brief insight into the creation and the procedures of this genre.
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50

Brylla, Catalin, and Mette Kramer. "A Pragmatic Framework for the Cognitive Study of Documentary." Projections 12, no. 2 (2018): 159–80. http://dx.doi.org/10.3167/proj.2018.120216.

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Traditionally, there has been little intersection between cognitive film theory and documentary studies. This article initially outlines the main reasons for this lacuna, but it also highlights the few existing exceptions. While these remain too embryonic to initiate a large, overarching, and evolving discourse, they constitute seminal landmarks and stepping stones for the future of cognitive documentary studies, which, as we argue, needs to be a pragmatic endeavor. Based on this premise, we propose a research framework consisting of four areas of interest: the mediation of realities; character engagement; emotion and embodied experience; and documentary practice. This framework takes into account intratextual and extratextual aspects in relation to documentary production and reception, as well as potential social impacts.
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