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Journal articles on the topic 'Documentary'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

EKIMOVA, ANASTASIYA V. "INTERACTIVE DOCUMENTARY: DOCUMENTARY AND VIRTUALITY." Art and Science of Television 15.2 (2019): 93–106. http://dx.doi.org/10.30628/1994-9529-2019-15.2-93-106.

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2

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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3

Yu, Kiki Tianqi. "Documentary." Journal of Chinese Cinemas 10, no. 1 (2016): 7–11. http://dx.doi.org/10.1080/17508061.2016.1142727.

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4

&NA;. "Documentary." Nurse Educator 13, no. 6 (1988): 37. http://dx.doi.org/10.1097/00006223-198811000-00007.

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5

Ali, Isra. "Documentary." Feminist Media Histories 4, no. 2 (2018): 67–71. http://dx.doi.org/10.1525/fmh.2018.4.2.67.

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6

Le Roy, Frederik, and Robrecht Vanderbeeken. "The Documentary Real: Thinking Documentary Aesthetics." Foundations of Science 23, no. 2 (2016): 197–205. http://dx.doi.org/10.1007/s10699-016-9513-8.

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7

형대조. "Between Documentary and Fiction, and these combination: Documentary Fiction or Fictional Documentary?" Film Studies ll, no. 67 (2016): 185–213. http://dx.doi.org/10.17947/kfa..67.201603.007.

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8

Diansyah, Muhamad Nur. "Maetro Tenun Songket Bungo Tanjung Dalam Fotografi Dokumenter." Matalensa: Journal of Photography and Media 2, no. 2 (2023): 190. https://doi.org/10.26887/matalensa.v2i2.2962.

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The scription of this work is entitld “Songket Weaving MaestroBungo Tanjung in documentery photography”. The purpose of this thesis is to create documentery photography of songket woven fabric craftsmen of Bungo Tanjung. The data collection method used is:observation, study of literature, and interview. From the results of the study it is known that the number of songket woven fabric craftsmen has been much reduced.songket cloth is currently less attractive to the younger generation in Muara Bungo as a successor, this is due to the declining public interest in traditional songket woven fabrics

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9

Townsend, Dana, and Kuldeep Niraula. "Documentary Filmmakers." International Journal of Conflict Engagement and Resolution 4, no. 1 (2016): 28–40. http://dx.doi.org/10.5553/ijcer/221199652016004001003.

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10

Pfister, Christian, and Heinz Wanner. "Documentary Evidence." PAGES news 10, no. 3 (2002): 2. http://dx.doi.org/10.22498/pages.10.3.2.

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11

Tobia, Blaise. "Undermining Documentary." Afterimage 18, no. 2 (1990): 16–17. http://dx.doi.org/10.1525/aft.1990.18.2.16.

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12

Donnelly, F. "Documentary Essay." Labour History Review 55, no. 1 (1990): 35–43. http://dx.doi.org/10.3828/lhr.55.1.35.

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13

Morgan, Kevin, and Robert Duncan. "Documentary Essay." Labour History Review 60, no. 1 (1995): 35–51. http://dx.doi.org/10.3828/lhr.60.1.35.

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14

Sayigh, Yezid. "Documentary Misrepresentation." Journal of Palestine Studies 15, no. 1 (1985): 120–23. http://dx.doi.org/10.2307/2536582.

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15

Irani, George. "Italian Documentary." Journal of Palestine Studies 18, no. 3 (1989): 154–55. http://dx.doi.org/10.2307/2537354.

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16

Gaines, Jane M. "Documentary Radicality." Canadian Journal of Film Studies 16, no. 1 (2007): 5–24. http://dx.doi.org/10.3138/cjfs.16.1.5.

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17

Sarkar, Bhaskar, and Nicole Wolf. "Documentary Acts." BioScope: South Asian Screen Studies 3, no. 1 (2012): 21–34. http://dx.doi.org/10.1177/097492761100300103.

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18

MACK, MICHAEL. "DOCUMENTARY DILEMMAS." Art Book 1, no. 4 (1994): 23a. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00203.x.

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19

Koortbojian, Michael. "Documentary values." Art History 17, no. 1 (1994): 109–16. http://dx.doi.org/10.1111/j.1467-8365.1994.tb00565.x.

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20

Penley, Constance. "Documentary/Documentation." Camera Obscura: Feminism, Culture, and Media Studies 5, no. 1-2 (1985): 84–85. http://dx.doi.org/10.1215/02705346-5-1-2_13-14-84.

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21

Harris, Emily. "Documentary Review." Metal Music Studies 4, no. 2 (2018): 381–83. http://dx.doi.org/10.1386/mms.4.2.381_5.

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22

Strøm, Gunnar. "Animated documentary." Studies in Documentary Film 9, no. 1 (2015): 92–94. http://dx.doi.org/10.1080/17503280.2014.1002253.

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23

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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24

Bowers, Roger. "Documentary synthesis." Early Music XXVII, no. 3 (1999): 481–83. http://dx.doi.org/10.1093/earlyj/xxvii.3.481.

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25

Hagerty, Bill. "Documentary drama." British Journalism Review 25, no. 3 (2014): 5–7. http://dx.doi.org/10.1177/0956474814550591.

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26

Etting, S. "Documentary Anthropology." Current Anthropology 49, no. 3 (2008): 361. http://dx.doi.org/10.1086/529408.

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27

Purvis, June. "Documentary article." Women's History Review 10, no. 3 (2001): 379. http://dx.doi.org/10.1080/09612020100200293.

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28

Forceville, Charles. "Animated Documentary." Journal of Pragmatics 89 (November 2015): 66–68. http://dx.doi.org/10.1016/j.pragma.2015.09.008.

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29

Langendorf, Richard. "Documentary photography." Computers, Environment and Urban Systems 15, no. 1-2 (1991): 74. http://dx.doi.org/10.1016/0198-9715(91)90058-l.

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30

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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31

Moon, Won-Leep. "Why Documentary?" Film Studies ll, no. 62 (2014): 109–32. http://dx.doi.org/10.17947/kfa..62.201412.005.

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32

Rice, Mark. "Documentary Declension." Reviews in American History 28, no. 3 (2000): 437–44. http://dx.doi.org/10.1353/rah.2000.0062.

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33

Chrisler, Joan C. "Fattitude [documentary]." Fat Studies 8, no. 2 (2019): 203–5. http://dx.doi.org/10.1080/21604851.2019.1546515.

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34

Thomas, Erika. "Editorial: documentary." Studies in French Cinema 18, no. 3 (2018): 171–77. http://dx.doi.org/10.1080/14715880.2017.1382250.

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35

Aston, Judith. "Interactive Documentary." Interactive Film & Media Journal 2, no. 4 (2022): 7–18. http://dx.doi.org/10.32920/ifmj.v2i4.1732.

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This article responds to the 4th Interactive Film and Media International Conference (IFM 2022) themes of eco-media, epistemologies and listening by focusing on the role that interactive documentary can play in addressing the existential and pressing issue of climate change. It re-visits the article Interactive Documentary: setting the field which I co-authored with Sandra Gaudenzi in 2012 in light of this now central concern and asks how the affordances of interactive documentary can be used to help re-frame our engagement with the human and the non-human. It places metamodern and polyphonic

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36

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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37

Ivan Kapustin. "DOCUMENTARY TIES." Current Digest of the Russian Press, The 75, no. 051-052 (2023): 15. http://dx.doi.org/10.21557/dsp.95021515.

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38

Mehta, Rijuta. "Manifest Documentary." JCMS: Journal of Cinema and Media Studies 63, no. 1 (2023): 53–79. http://dx.doi.org/10.1353/cj.2023.a910938.

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abstract: This article argues that the symbolic and material power of Manifest Destiny inhered in the norms of documentary photography at Life magazine, particularly in preexisting shooting scripts. An analysis of visual re-takes and narrative fixity in the 1947 photo-essay on the Indian Partition, "The Great Migration," reveals how tropes of US settler colonialism were projected onto distressed refugees in South Asia. The norm of having photographed subjects enact script-image correlation was a revenue-minded colonial action; it absorbed a range of racial differences—South Asian, Black Americ

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39

Jekanowski, Rachel Webb. "Green Documentary: Environmental Documentary in the 21st Century." Interdisciplinary Studies in Literature and Environment 22, no. 1 (2015): 187–88. http://dx.doi.org/10.1093/isle/isv017.

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40

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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41

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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42

Nash, Kate. "Documentary-for-the-Other: Relationships, Ethics and (Observational) Documentary." Journal of Mass Media Ethics 26, no. 3 (2011): 224–39. http://dx.doi.org/10.1080/08900523.2011.581971.

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43

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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44

Cohen, Hart. "Database Documentary: From Authorship to Authoring in Remediated/Remixed Documentary." Culture Unbound 4, no. 2 (2012): 327–46. http://dx.doi.org/10.3384/cu.2000.1525.124327.

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The engagement with documentary from its inception as a film form is frequently a set of references to documentary auteurs. The names of Flaherty, Grierson, Vertov and later Ivens, Leacock and Rouch are immediate signifiers of whole documentary film practices. These practices have given rise to histories and criticism that have dominated discussion of documentary and provided the foundation for more nuanced thinking about problems of the genre. One of the seminal texts in the field, Documentary by Erik Barnouw (1974) celebrates the auteur as the structuring principle for his historical review

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45

Strøm, Gunnar. "The animated documentary." Norsk medietidsskrift 8, no. 02 (2001): 51–65. http://dx.doi.org/10.18261/issn0805-9535-2001-02-04.

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46

Ogden, Michael. "Interactive/Transmedia Documentary:." INTERIN 25, no. 1 (2019): 121–38. http://dx.doi.org/10.35168/1980-5276.utp.interin.2020.vol25.n1.pp121-138.

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Este artigo explora o desenvolvimento da realidade da contação de histórias através do veículo de documentário interativo imersivo, participativo, dirigido pelo usuário e multiplataforma. O que surge é uma alfabetização evolutiva mediada como resposta às tecnologias emergentes da narrativa e o surgimento da "cultura da convergência" que está refazendo a maneira como vivenciamos as histórias. O resultado é uma recuperação da narrativa da Indústria Cultural e o surgimento de uma nova ecologia da narratividade para histórias atraentes e interativas. Ademais, a natureza participativa dessa narrato

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47

Хатунцев, Станислав. "Diplomat (Documentary Heritage)." Полис. Политические исследования, no. 2 (2004): 183–85. http://dx.doi.org/10.17976/jpps/2004.02.19.

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48

Aufderheide, Pat. "Theorizing Documentary:Theorizing Documentary,." Visual Anthropology Review 11, no. 1 (1995): 132–33. http://dx.doi.org/10.1525/var.1995.11.1.132.

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49

Patterson, Wendy. "Far from Documentary." Afterimage 13, no. 7 (1986): 4–7. http://dx.doi.org/10.1525/aft.1986.13.7.4.

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50

Kenny, Lorraine. "Theorizing Feminist Documentary." Afterimage 13, no. 9 (1986): 25. http://dx.doi.org/10.1525/aft.1986.13.9.25.

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