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Journal articles on the topic 'Ethics in documentary'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 January 2023

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1

Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)." Academic Journal of Research and Scientific Publishing 4, no. 41 (2022): 28–40. http://dx.doi.org/10.52132/ajrsp.e.2022.41.2.

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This article highlights the ethics of documentary filmmaking. It focuses on filmmakers' task to consider these ethics based on the ethical philosophy of Emmanuel Levinas in exploring the dilemmas of representation in documentaries adopted by Nash (2011), who notes that stories and ethics always go hand in hand. Determining the ethics of regulating documentary filmmaking is not easy and has been controversial over time. It is possible to define the ethics of a filmmaker academically. However, in practice, the matter is different as conditions and reality are imposed on the filmmaker, which make

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2

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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3

Rangan, Pooja, Brett Story, and Paige Sarlin. "Humanitarian Ethics and Documentary Politics." Camera Obscura: Feminism, Culture, and Media Studies 33, no. 2 (2018): 197–207. http://dx.doi.org/10.1215/02705346-6923166.

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4

Frohmann, Bernd. "Documentary ethics, ontology, and politics." Archival Science 8, no. 3 (2008): 165–80. http://dx.doi.org/10.1007/s10502-008-9073-y.

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5

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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6

Loewy, Monika. "Psychoanalysis and Ethics in Documentary Film." International Journal of Psychoanalysis 97, no. 1 (2016): 225–28. http://dx.doi.org/10.1111/1745-8315.12300.

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7

Bayley, Nicholas. "Psychoanalysis and ethics in documentary film." European Journal of Psychotherapy & Counselling 16, no. 3 (2014): 288–90. http://dx.doi.org/10.1080/13642537.2014.929261.

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8

Eadie, Bruce. "Psychoanalysis and ethics in documentary film." New Review of Film and Television Studies 15, no. 3 (2016): 381–84. http://dx.doi.org/10.1080/17400309.2016.1219557.

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9

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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10

Ebberfeld, Peter. "Dokumentarfilmens etik: Mellem Den Hemmelige Krig med det hemmelige plot og Michael Moores satiriske dokumentarmassakre." K&K - Kultur og Klasse 36, no. 106 (2009): 142–65. http://dx.doi.org/10.7146/kok.v36i106.22028.

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Ethics of Documentary Films: In Between the Secret Plot of Den Hemmelige Krig and Satirical Documentary- massacre by Michael Moore:In this article I focus on ethics, and the way it is usually interpreted in the context of documentary television – that is normative and aimed at creators. This way of thinking is illustrated in my setting out of Jan Foght Mikkelsen’s contribution to ethics of mediation, and in that respect I argue that the request for ethical sensitivity among creators of mass-mediated communication must be complemented with an offer of a recipient-oriented vocabulary. Audiovisua

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11

Jungstrand, Anna. "Svetlana Aleksijevitj och den dokumentära rösten." Tidskrift för litteraturvetenskap 46, no. 2 (2016): 49–63. http://dx.doi.org/10.54797/tfl.v46i2.8791.

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”To whom am I shouting? Who listens?”: Voice and Ethics in Svetlana Alexievich’s Zinkyboys Few authors have engaged so intensively with the human voice as Svetlana Alexievich. In her interview books, the monologues of testimony run over hundreds of pages, completely dominating the narration. In Zinkyboys (1998) the technique of the interview-book attains perhaps its fullest realization: the interviewees’ speech seems to operate freely in quotations, without authorial comments, confirmations, or denials. But how shall we understand this ”pure” documentary voice? This article proposes a fe

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12

Byrdal Jørgensen, Tine. "Biografier på scenen." Peripeti 11, no. 21 (2014): 64–73. http://dx.doi.org/10.7146/peri.v11i21.109416.

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Through an analysis of the performance Gardenia the article discusses the negotiation between aesthetics and ethics in contemporary documentary theatre. Gardenia is a performance with and about aging transvestites. The author combines Lévinas’ ethics with a poststructural understanding of the subject in order to methodically grasp how the performance is activating an ethical relationship between the Other on stage and the spectator.

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13

An, Grace, and Catherine Witt. "Ethics of care in documentary filmmaking since 1968." French Screen Studies 22, no. 1 (2022): 1–5. http://dx.doi.org/10.1080/26438941.2021.2003551.

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14

Nash, Kate. "Telling stories: the narrative study of documentary ethics." New Review of Film and Television Studies 10, no. 3 (2012): 318–31. http://dx.doi.org/10.1080/17400309.2012.693765.

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15

Sanders, Willemien. "The ethics of documentary filmmaking: an empirical turn." New Review of Film and Television Studies 10, no. 3 (2012): 315–17. http://dx.doi.org/10.1080/17400309.2012.695982.

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16

Heinemann, David, and Sharon Lin Tay. "The French documentary in context: genealogy, aesthetics, ethics." Studies in French Cinema 14, no. 3 (2014): 157–66. http://dx.doi.org/10.1080/14715880.2014.949452.

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17

Poster-Su, Tobi. "A grotesque act of ventriloquism: Raising and objectifying the dead on stage." Applied Theatre Research 8, no. 1 (2020): 45–56. http://dx.doi.org/10.1386/atr_00025_1.

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As a real-life figure who was extensively written about in medical journals after his death, but whose voice is entirely absent from the historical record, the character of Tarrare presents the theatre-maker with a number of ethical and artistic considerations. In documenting Tarrare’s life through puppetry and opera, Wattle and Daub engaged in both a literal and a metaphorical act of ventriloquism, wherein we put our own words into the mouths of the dead. Drawing on Levinas’s ethics of the ‘other’ and Salverson’s reflections on the ethics of documentary theatre, this article interrogates The

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18

Paço, Sandra, and Sérgio Deodato. "Conscientious objection: reflections for nursing in Portugal." Revista Gaúcha de Enfermagem 36, no. 4 (2015): 112–16. http://dx.doi.org/10.1590/1983-1447.2015.04.53242.

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Objective: to discuss conscientious objection in nursing, identifying the ethic and legal basis for this decision-making. Methodology: qualitative study in which the methodology used was ethical reflection based on a legal analysis of the laws in question, proceeding to a bibliographical and documentary research Conclusions: Portuguese law and ethical pillars that form the basis of the Code of Ethics of nurses in Portugal defend the freedom of conscience as a professional practice. However, the obligation to protect human life, which imposes the need for coordination between this protection an

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19

Carter, William H., and Kate Padgett-Walsh. "Introduction: On the ethics of debt." Finance and Society 2, no. 1 (2016): 1. http://dx.doi.org/10.2218/finsoc.v2i1.1660.

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This special issue stems from a 2015 conference on the ‘Ethics of Debt’, organised by the guest editors and held at Iowa State University. Three themes emerged from the conference and are represented in the articles and documentary film selected for the special issue. The first concerns representations of debt in art and literature. The second theme demonstrates how debt arises and functions in specific contexts. The final theme addresses moral and ethical responses to debt within society.

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20

Dana, Cassandra. "Documentary Ethics and Criminal Justice Reform in "The Jinx"." Journal of Communication and Media Studies 6, no. 3 (2021): 15–28. http://dx.doi.org/10.18848/2470-9247/cgp/v06i03/15-28.

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21

Diniz, Debora. "Research ethics in social sciences: The Severina’s Story documentary." IJFAB: International Journal of Feminist Approaches to Bioethics 1, no. 2 (2008): 23–35. http://dx.doi.org/10.3138/ijfab.1.2.23.

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22

Landesman, Ohad. "Agnieszka Piotrowska (2014) Psychoanalysis and Ethics in Documentary Film." Film-Philosophy 20, no. 2-3 (2016): 380–83. http://dx.doi.org/10.3366/film.2016.0022.

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23

Cooper, Sarah. "Looking back, looking onwards: selflessness, ethics, and French documentary." Studies in French Cinema 10, no. 1 (2010): 57–68. http://dx.doi.org/10.1386/sfc.10.1.57/1.

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24

Butchart, Garnet C. "On Ethics and Documentary: A Real and Actual Truth." Communication Theory 16, no. 4 (2006): 427–52. http://dx.doi.org/10.1111/j.1468-2885.2006.00279.x.

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25

Zhang, Gaoheng. "Documentary films on migrations in Italy: Characteristics and ethics." Journal of Italian Cinema & Media Studies 6, no. 1 (2018): 3–14. http://dx.doi.org/10.1386/jicms.6.1.3_2.

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26

Thomas, Steve. "Collaboration and ethics in documentary filmmaking – a case study." New Review of Film and Television Studies 10, no. 3 (2012): 332–43. http://dx.doi.org/10.1080/17400309.2012.695979.

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27

Weber, Brenda R. "Mormon Lifestyles: Communicating Religion and Ethics in Documentary Media." Journal of Contemporary Religion 37, no. 3 (2022): 574–76. http://dx.doi.org/10.1080/13537903.2022.2075547.

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28

Ponce-Correa, Andrés Mauricio, Alexander Alonso Ospina-Ospina, and Rosa Elvira Correa-Gutierrez. "Curriculum analysis of ethics in engineering: a case study." DYNA 89, no. 222 (2022): 67–73. http://dx.doi.org/10.15446/dyna.v89n222.101800.

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For several decades, there have been warnings about certain ethical faults in engineers regarding corruption in different works, which lead to collapses and the death of people, calling engineering into question and affecting the social development of communities. Ethics is an educational responsibility, the ethical debate must take place inside and outside the classroom, since studies carried out in different universities indicate that ethics continues to be a pending subject in engineering programs. This study seeks to contribute to educational innovation for the teaching of ethics in engine

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29

Martin, Philip. "Cinema's Vital Histories: Wabi-Cinema, Forces and the Aesthetics of Resistance." Film-Philosophy 21, no. 3 (2017): 349–70. http://dx.doi.org/10.3366/film.2017.0055.

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Many films, both narrative and documentary, explore the relationship between history and politics or ethics. This may be accomplished when fictional narrative films enact ethical arguments regarding history in cinematic form, when documentary films explicitly seek to uncover lost histories of political oppression, or films may experientially and aesthetically stage ethical experience with respect to historical meanings and contexts. There are some cases where such ethical-historical experience is explored through the specific aesthetic form of the film in relation to its narrative. Ask This of

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30

Jazdon, Mikołaj. "To film an inconceivable reality: the manifesto of the young Kieślowski." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 24, no. 33 (2019): 155–66. http://dx.doi.org/10.14746/i.2018.33.13.

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In his master’s thesis, Documentary Film and Reality, Krzysztof Kieślowski dealt with a number of problems that turned out to play a vital role in his future film career, and its documentary period in particular. This range of topics includes the concept of ‘the dramaturgy of reality’, one of the methods for factual filmmaking he intended to put into practice, but also such ideas as the relation between film and literature, between documentary film and ethics, and the difference between reportage and documentary filmmaking. These concepts had an influence on his documentary filmmaking andled h

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31

Graham, Caroline, and Kylie Stevenson. "‘It doesn’t feel right to say how much I enjoyed this’: Listener perspectives on ethics in true crime podcasts." Australian Journalism Review 44, no. 2 (2022): 211–28. http://dx.doi.org/10.1386/ajr_00104_1.

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This research seeks a clearer understanding of listener perspectives on issues of ethics in true crime podcasts (TCPs). To do so, the study first divides TCPs into three subgenres: Documentary, Recap and Expert. Then, it uses a mixed methods content analysis of listener reviews (n = 1200) of TCPs to ascertain listeners’ value systems and preferences when assessing podcasts, the role of ethics in audience evaluations of TCPs and the impact of subgenre on listener response. It finds that a large subsection of the reviewer audience (29.7 per cent) privileged ethics as a key criterion for evaluati

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32

Fisher, Joshua A., and Arnau Gifreu Castells. "The Ethics of Realism as a New Media Language in Immersive Media." Revista FAMECOS 29, no. 1 (2022): e43375. http://dx.doi.org/10.15448/1980-3729.2022.1.43375.

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This work explores the ethical and moral limits of practicing realism in immersive nonfiction. To establish these practices, the nonfiction media ecosystem is analyzed from traditional to emerging immersive forms. Four significant forms of nonfiction works are discussed that reflect different ethics of realism: documentary, journalism, education, and cultural heritage. Through the description and presentation of each form, a provisional set of elements, variables, indicators and parameters that impact practices and ethics of realism are presented. These compositional elements can be implemente

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33

Ahnert, Laurel. "Ilona Hongisto (2015)Soul of the Documentary: Framing, Expression, Ethics." Film-Philosophy 22, no. 1 (2018): 138–41. http://dx.doi.org/10.3366/film.2018.0068.

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34

Ahnert, Laurel. "Ilona Hongisto (2015)Soul of the Documentary: Framing, Expression, Ethics." Film-Philosophy 22, no. 2 (2018): 313–16. http://dx.doi.org/10.3366/film.2018.0081.

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35

Munk. "Ethics and Responsibility: The Feminization of the New Israeli Documentary." Israel Studies 16, no. 2 (2011): 151. http://dx.doi.org/10.2979/israelstudies.16.2.151.

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36

Korhonen, Timo. "Capturing freedom: direction, dramaturgy and ethics in contemporary Finnish documentary." Studies in Documentary Film 10, no. 2 (2016): 145–68. http://dx.doi.org/10.1080/17503280.2016.1221678.

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37

Hayes, Matthew. "Get that camera outta my face: ethics in documentary media." COMPASS 1, no. 2 (2012): 1–11. http://dx.doi.org/10.29173/comp38.

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38

Alamouti, David. "The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view." Transnational Screens 11, no. 2 (2020): 103–20. http://dx.doi.org/10.1080/25785273.2020.1734305.

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39

Szasz, Ileana Gabriela. "Dare to Record! The Ethics of Decision Making in Fieldwork Documentary Practice." Martor. The Museum of the Romanian Peasant Anthropology Review 25 (November 15, 2020): 199–213. http://dx.doi.org/10.57225/martor.2020.25.13.

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The ethics of documentary practice is often brought into discussion after the screening of the film, when the production is already finished. Except for a minimum formal requirement of consent, there is no standard set of rules that filmmakers are compelled to follow during fieldwork, regulating their relationship with the people in front of the camera. Viewers make ethical judgments based on cultural expectations regarding consent, disclosure, motive, and structure. The diversity of fieldwork situations is considered the main reason for the lack of formal guidelines in this practice. Fieldwor

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40

Craft, Stephanie. "TRUE, FALSE, BOTH, NEITHER? USING DOCUMENTARY FILM IN TEACHING JOURNALISM ETHICS." Journal of Mass Media Ethics 24, no. 4 (2009): 307–8. http://dx.doi.org/10.1080/08900520903332717.

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41

Mukherjee, Debashree. "A Night of Knowing Nothing." Film Quarterly 76, no. 1 (2022): 11–22. http://dx.doi.org/10.1525/fq.2022.76.1.11.

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Payal Kapadia’s feature debut, A Night of Knowing Nothing (2021), is at once a political chronicle of contemporary India, an ode to the intimate struggles of love, and a love letter to cinema. Winner of the Best Documentary award at Cannes, the film radically blurs the lines between fiction and documentary by using an epistolary narrative structure interspersed with multiple genres of staged and documentary footage, animation, news reportage, and home movies. In its promiscuous crossing of genre-boundaries and its critical citational ethics, A Night of Knowing Nothing does more than simply mob

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42

Hooper, Keith, and Jenny Wang. "Ethics and auditing: Setting the bar too low." Corporate Ownership and Control 12, no. 4 (2015): 549–61. http://dx.doi.org/10.22495/cocv12i4c5p5.

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Purpose - from a philosophical and empirical perspective this paper seeks to show how the big audit firms have managed to set the bar low so that they offer only opinions on whether financial statements meet accounting standards. It is argued that while the concepts of virtue ethics have now largely disappeared, ethical legitimacy has moved beyond consequential ethics to a form of social Darwinism. It is a Social Darwinism that is legalistic and technical as evidenced by the audit firms’ widespread use of the Bannerman clause attached to their opinions. Design - to illustrate the shift of ethi

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43

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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44

Offen, Julia. "Documentary Anthropology and Ethics Education: Conveying Anthropological Sensibilities through Community-Based Projects." Anthropology News 49, no. 6 (2008): 14–15. http://dx.doi.org/10.1111/an.2008.49.6.14.

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45

Downing Roberts, M. "The Ethics of Japanese Social Documentary in the Wake of 3/11." Journal of Japanese and Korean Cinema 11, no. 1 (2019): 68–84. http://dx.doi.org/10.1080/17564905.2019.1600699.

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46

Sanders, Willemien. "Documentary Filmmaking and Ethics: Concepts, Responsibilities, and the Need for Empirical Research." Mass Communication and Society 13, no. 5 (2010): 528–53. http://dx.doi.org/10.1080/15205431003703319.

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47

Evrard, Audrey. "Shifting French Documentary Militancy: From Workers' Rights to an Ethics of Unemployment." Nottingham French Studies 55, no. 1 (2016): 96–116. http://dx.doi.org/10.3366/nfs.2016.0141.

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If the critique of neoliberal capitalism has become a staple of leftist documentary filmmaking in France since the late 1990s, few films have gone as far in their rejection of work as those made by Pierre Carles, Stéphane Goxe and Christophe Coello. Attention, Danger, Travail (2003) and Volem rien foutre al païs (2007) unapologetically and uncompromisingly reject the normative legitimacy of waged employment as a warrant of individual and social productivity. Nonetheless, it would be highly reductive to see in these two films and in the filmmakers' project a celebration of idleness. Rather, as

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48

Schneider, Dulcinéia Ghizoni, and Flávia Regina Souza Ramos. "Moral deliberation and nursing ethics cases: Elements of a methodological proposal." Nursing Ethics 19, no. 6 (2012): 764–76. http://dx.doi.org/10.1177/0969733011420096.

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A qualitative study with an exploratory, descriptive and documentary design that was conducted with the objective of identifying the elements to constitute a method for the analysis of accusations of and proceedings for professional ethics infringements. The method is based on underlying elements identified inductively during analysis of professional ethics hearings judged by and filed in the archives of the Regional Nursing Board of Santa Catarina, Brazil, between 1999 and 2007. The strategies developed were based on the results of an analysis of the findings of fact (occurrences/infractions,

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49

Morton, Tom, and Mark Pearson. "Zones of silence: Forensic patients, radio documentary, and a mindful approach to journalism ethics." Pacific Journalism Review 21, no. 2 (2015): 11. http://dx.doi.org/10.24135/pjr.v21i2.113.

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This article explains a collaborative and critically reflective journalism research project stemming from the wish of an incarcerated forensic mental health patient to be named in public communication about his case. The authors are academics and journalists who embarked upon a combination of journalism, legal processes and academic research to win the right to name Patient A in a radio documentary and in academic works—including this journal article and research blogs. As a case study, it explains the theoretical and ethical considerations informing the journalism and the academic research, d

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50

Sinnerbrink, Robert. "Re-enactment and Traumatic Memory: Cinematic Ethics in The Act of Killing and S21: The Khmer Rouge Killing Machine." Emotions: History, Culture, Society 5, no. 1 (2021): 124–42. http://dx.doi.org/10.1163/2208522x-02010117.

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Abstract The Act of Killing (Oppenheimer, 2012) and its companion piece, The Look of Silence (2014), are powerful works of cinematic ethics. The former is a ‘perpetrator documentary’ that invites killers to make movie re-enactments of their crimes, the latter a case of ‘ethical witnessing’ in which a victim’s descendant questions his brother’s killer. In what follows, I explore The Act of Killing’s use of stylised re-enactments, using various movie genres as distancing and mediating devices, which enable the perpetrators to approach and expose their traumatic acts of violence. I contrast this

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