Academic literature on the topic 'Ethics in filmmaking'
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Journal articles on the topic "Ethics in filmmaking"
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Aburghif, Hsham. "Ethics Reflexivity in Documentary Film (An i-doc as a model)." Academic Journal of Research and Scientific Publishing 4, no. 41 (September 5, 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 makes his experience and expertise different from the ethics of theoretical filmmaking. This paper aims to show how an increasing number of academic scholars and filmmakers' industry stakeholders working for one goal can help improve the arguments on documentary filmmaking ethics to capitalise in the subsequent films. The method is to review published reports and articles on the ethics in documentary film and reflexivity, further including observed data about the experiences of others to help understand the ethics that guide documentary filmmaking, including my experience as a filmmaker in producing the interactive documentary Eden Again (2017) as a model. The problem discussed in this paper relates to what kills the documentary: the conflict between professional ethics and ideological biases. Some agendas negate professionalism and credibility by promoting or seeking to serve particular interests that push those behind the film to hide the truth instead of being completely open to exploring the participants' matters and following filmmaking's ethics. Documentary filmmakers are recommended that if they have ideological biases and solid feelings or preconceived ideas, set them aside and ethically interact with the facts they encounter while working on a documentary.
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An, Grace, and Catherine Witt. "Ethics of care in documentary filmmaking since 1968." French Screen Studies 22, no. 1 (January 2, 2022): 1–5. http://dx.doi.org/10.1080/26438941.2021.2003551.
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Sanders, Willemien. "The ethics of documentary filmmaking: an empirical turn." New Review of Film and Television Studies 10, no. 3 (September 2012): 315–17. http://dx.doi.org/10.1080/17400309.2012.695982.
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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 (March 25, 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 him to develop other concepts and methods for documentary filmmaking. From the perspective of Kieślowski’s creative oeuvre, the thesis Documentary Film and Reality reads as a manifesto by the young filmmaker.
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Thomas, Steve. "Collaboration and ethics in documentary filmmaking – a case study." New Review of Film and Television Studies 10, no. 3 (September 2012): 332–43. http://dx.doi.org/10.1080/17400309.2012.695979.
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Brown, William. "Non-Cinema: Digital, Ethics, Multitude." Film-Philosophy 20, no. 1 (February 2016): 104–30. http://dx.doi.org/10.3366/film.2016.0006.
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In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light.
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Boeykens, Tessa. "Exile, Return, Record Exploring Historical Narratives and Community Resistance through Participatory Filmmaking in ‘Post-conflict’ Guatemala." Journal of Extreme Anthropology 3, no. 1 (July 23, 2019): 30–56. http://dx.doi.org/10.5617/jea.6705.
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Following previous experiences of violence and forced displacement, ‘the returnees’ from the Guatemalan campesino community ‘Copal AA la Esperanza’ are now defending their territory against the construction of a hydroelectric dam. The returnees unexpectedly mobilized me as a Belgian historian to ‘make’ their ‘shared history’ and produce a documentary about their past and present struggle. The aim of this article is to reflect on how and why I developed a participatory, filmmaking-based methodology to tackle this challenge. I focus on filmmaking, participation and knowledge production to demonstrate the epistemological and ethical benefits of a dialogue between disciplines and methodologies as much as between academic and community practices and concepts. As such, I exemplify my visual participatory approach through its engagement with post-colonial histories and the co-creation of shared knowledge at the intersection of community and research interests. Moreover, I demonstrate how filmmaking can be developed as a grounded, visual, and narrative approach connecting media activism with ‘performative ethnography’. Combining insights from participatory action research (PAR) with Johannes Fabian’s notion of ‘performance’, I argue for ‘nonextractivist methodologies’; ‘knowing with’ instead of ‘knowing-about’. From being a side project and a matter of research ethics, participatory filmmaking turned for me into an investigative tool to explore the collective production and mobilization of historical narratives. I argue that participatory research should not be limited to communities participating in research projects; researchers can equally participate in community projects without this obstructing scientific research. In sum, participatory visual methods challenge us to reconsider the role of academics in (post-conflict) settings.
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Allen, Victoria, Joe Duffy, and Garret Scally. "Cilliní: (Re)addressing the past in the present." Scene 8, no. 1-2 (December 1, 2020): 175–93. http://dx.doi.org/10.1386/scene_00031_1.
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This article examines the ‘Cilliní’ project’s interdisciplinary approach of research and filmmaking practice to explore the phenomena of cilliní. The project has created artwork that investigates and visualizes landscapes and provides a spatial narrative on the subject of cilliní, which were historic sites in Ireland used for the burial of ‘unfortunates’, principally stillborn and unbaptized infants. The article draws on the material created and experiences involved in making the short film The Lament and creating a virtual reality installation, Cilliní Tales, which, respectively, employ the technologies and approaches of drone and 360° camera filmmaking. As the article combines the perspectives of digital storytelling, cultural memory and a consideration of the ethics of undertaking such a project, it is written in the form of a triptych. This article addresses how the (re)visitings and difficult enquiries of arts-based research in the ‘Cilliní’ project contribute to an ongoing social, political and ethical reappraisal of cilliní and the implications of (re)addressing the past in the present.
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Hermans Amir, AdamPérou. "Folk Filmmaking: A Participatory Method for Engaging Indigenous Ethics and Improving Understanding." Conservation and Society 17, no. 2 (2019): 123. http://dx.doi.org/10.4103/cs.cs_17_123.
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Sanders, Willemien. "Documentary Filmmaking and Ethics: Concepts, Responsibilities, and the Need for Empirical Research." Mass Communication and Society 13, no. 5 (October 29, 2010): 528–53. http://dx.doi.org/10.1080/15205431003703319.
Full textDissertations / Theses on the topic "Ethics in filmmaking"
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Weys, Daniël Jan. "Responsible filmmaking: ethics and spectatorship through the lens of Michael Haneke." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/24933.
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My dissertation uses, as starting point, an interview with Michael Haneke in which the Austrian filmmaker criticises Downfall and Schindler's List for manipulating audiences and for generating entertainment from real-life and unspeakable horrors. He argues that filmmakers have a responsibility to enable audiences to form their own opinion regarding a film and its subject matter. I set forth to engage, theorise and develop Haneke's call for responsibility by asking the following questions as I move chronologically through his films: why is responsible filmmaking important, how does Haneke approach his own filmmaking and how does a responsible approach to filmmaking influence the position of spectators. Firstly, I draw from Stanley Cavell's film theory to read our current experience in a media saturated society, describing the ways in which the media positions and influences the characters' understanding of the world and their relationships with each other in The Seventh Continent, Benny's Video and 71 Fragments of a Chronology of Chance. Thereafter, I discuss Haneke's use of genre in Funny Games, the long take and continuity editing in Code Unknown, music in The Piano Teacher and sound in Time of the Wolf to analyse Haneke's approach to filmmaking. My readings are underpinned by Cavell's understanding of automatism and the manner in which Haneke uses and reflects upon film's automatisms. Finally, I illustrate Levinas' concept of responsibility for the Other through a reading of Georges and Majid's relationship in Caché, Kelly Oliver's work on witnessing in The White Ribbon and Judith Butler's work on responsibility in Amour in order to demonstrate how Haneke's responsibility ensures the audience's response-ability.
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Jørgensen, Christine Sander. "Ethical Issues in Documentary Filmmaking - A Case Study of DR's Generation Hollywood." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22615.
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This thesis focus on ethical issues within documentary filmmaking in the largest broadcasting institution in Denmark. It is a case study of the documentary serial Generation Hollywood, produced by Danmarks Radio (DR) in 2016. DR has produced many documentaries, using same style and format as in Generation Hollywood. But something is different with this one, and the thesis aims to find out why this one stands out, from the presumption that ethical issues are involved. It examines the participants’ motives and expectations, DR’s intentions and how ethical issues affected the final product. In the attempt to understand the complexity of ethics, a small sample of interviews are conducted and analyzed and presented together with a partial content analysis. The notions of truth, authenticity, and representation are applied as the theoretical framework to understand: not merely ethical procedures, but underlying feelings possessed by the participants.The thesis brings to light that ethical issues are not only embedded in already established procedures but also caused by unforeseen circumstances and participants’ motives in relation to the project. The research shows how ethical issues affect the final representation, especially concerning authenticity. It also shows how a discrepancy between intentions and expectations, and the understanding of truth (in its start-up phase) impacts the process. Furthermore, it concludes that entertainment demands and modern technology can affect how filmmakers treat people when representing them and it explains how the line between the modern ‘everyday life’ documentary and Reality TV is seemingly blurred.
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Noonan, Michael. "Laughing & disability : comedy, collaborative authorship and Down Under Mystery Tour." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/48647/1/Michael_Noonan_Thesis.pdf.
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This thesis is an exploration of representation, authorship and creative collaboration in disability comedy, the centre piece of which is a feature-length film starring, co-created and co-written by three intellectually-disabled people. The film, entitled Down Under Mystery Tour, aims to entertain, and be accessible to, a mainstream audience, one that would not normally care about disability or listen to disabled voices. In the past, the failure of these voices to reach audiences has been blamed on poor training, marginal timeslots and indifferent audiences. But this project seeks an alternative approach, building collaboration between disabled and non-disabled people to express voice, conceive, construct and produce a filmed narrative, and engage willing audiences who want to listen.
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Baggio, Eduardo Tulio. "Da teoria à experiência de realização do documentário fílmico." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/4610.
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Previous issue date: 2014-03-24The main objective of this research is the analysis of the experience of making a documentary film, considering the fundamental traditional theories of documentary filmmaking and also the thoughts of the documentary filmmakers. The starting point of it is that a problem was verified due to the low number of studies on filmmaking, especially on making documentaries, so it reaches up to this essential question: what does the experience of making a documentary film presents the theories do not contemplate? Some complementary objectives are the delimitation of the concept of documentary film, guided by realistic expectations and the organization of a theoretical framework on the thought of documentary filmmakers. The methodology is based on a comparative literature tracing that has three main theoretical routes. First, the realistic thinking that guides the conceptual definition of documentary that I work with, especially authors such as Charles Sanders Peirce and Ivo Assad Ibri, who allow the understanding of man's relationship with the world and its realistic representations, regardless of being filmic or not. Also, the theories of André Bazin, which consider a theoretical framework of realism in cinema, in his ontology of kinetic picture. Secondly, the theories of documentary filmmaking in its transit from the phenomenological perspective, through post- structuralism and coming to cognitive- analytic perspective, as proposed by Bill Nichols, Manuela Penafria, Carl Plantinga and Fernão Ramos. Finally, the thought of the documentary filmmakers, collected and organized in this work as theoretical proposals. The ten documentary filmmakers selected, following specific criteria are: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles and Pedro Costa. Given the prevailing relativism concept presented in film studies today, both in brazilian and international film documentaries, I propose a realistic understanding of documentarism, with contribution of the predominant theoretical trends related to their ethical and formal styles of interaction with the world of documentary filmmakers and their logical consequent of representation thoughts. With this presented, I could then get to the analysis of the realization process itself. The object of analysis of this research is the realization process of the documentary Santa Teresa, which was created for this research, and at it, analyzed. The performance runs the period between mid-2011 and the end of 2013
O objetivo principal da pesquisa é a análise da experiência de realização de um filme documentário, considerando como bases as teorias tradicionais do cinema documentário e o pensamento dos documentaristas. Parte-se do problema verificado quanto ao baixo número de pesquisas sobre realização fílmica, em especial sobre realização de documentários, e chegase até a questão essencial: o que a experiência de realização de um filme documentário apresenta que as teorias não contemplam? Tornam-se objetivos complementares a delimitação de um conceito de cinema documentário norteado por perspectivas realistas e a organização de um arcabouço teórico relativo ao pensamento de cineastas documentaristas. A metodologia de trabalho está fundada em um rastreamento bibliográfico comparativo que apresenta três percursos teóricos principais. Primeiro, o pensamento realista que norteia a definição conceitual de documentário com a qual trabalho, com destaque para autores como Charles Sanders Peirce e Ivo Assad Ibri, que permitem o entendimento da relação do homem com o mundo e suas representações realistas, independente de serem fílmicas ou não. Também, as teorias de André Bazin, que tratam de um aporte teórico do realismo no cinema, em sua ontologia da imagem cinética. Em segundo lugar, as teorias do cinema documentário em seu trânsito desde o viés fenomenológico, passando pelo pós-estruturalismo e chegando ao viés cognitivo-analítico, como proposto por Bill Nichols, Manuela Penafria, Carl Plantinga e Fernão Ramos. Por fim, o pensamento dos documentaristas, coletado e organizado no trabalho como propostas teóricas. Foram selecionados, seguindo critérios específicos, dez documentaristas: Robert Flaherty, Dziga Vertov, John Grierson, Frederick Wiseman, Jean Rouch, Errol Morris, Sergei Dvortsevoy, Eduardo Coutinho, João Moreira Salles e Pedro Costa. Diante do relativismo conceitual predominante nos estudos de cinema documentário atuais, brasileiros e internacionais, proponho um entendimento realista do documentarismo, com aporte das tendências teóricas predominantes em seus pensamentos relacionados aos estilos ético-formais de interação dos documentaristas com o mundo e suas consequentes lógicas de representação, para então chegar à análise do processo de realização propriamente dito. O corpus de análise da pesquisa é o processo de realização do documentário Santa Teresa, realizado para a pesquisa e, nela, analisado. A realização percorre o período compreendido entre a metade de 2011 e o fim de 2013
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Lange, Shara K. "Ethical Documentary Filmmaking in Appalachia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/3648.
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Nicoletti, Martino. "Submerged landscapes : aesthetics of visual primitivism." Thesis, University of the West of Scotland, 2012. http://hdl.handle.net/10545/303736.
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This practice-based thesis presents the results of experimental research devoted to ethnic tourism among the Kayan minority and has involved the interconnection of artistic and anthropological languages. Known worldwide for the traditional female custom of wearing a long coiled brass necklace aimed at causing a considerable extension to the neck, the Kayan are a Tibeto-Burman ethnic group originally from Burma. Due to the prolonged civil war in their own homeland, a large number of Kayan recently fled from Burma to refuge in neighbouring Thailand. Here, over the past years, in response to the “incisive” tourism policy promoted by the Thai government in the northern areas of the country, some families, abandoning the refugee camps where they were hosted, have been resettled in several new villages open to tourists, on payment of a modest entrance fee. Here the Kayan, their culture and their daily life, have been transformed into an authentic tourist attraction capable of drawing about 10,000 visitors a year. Founded on a strictly “visual media primitivist” approach and inspired by its peculiar aesthetics – as systematically presented in the first, theoretical, section of the thesis –, the enquiry involves a multimedia perspective. In such a context, analogue photography and filmmaking, creative writing and sound composition have been combined to give concrete shape to an original artwork firmly grounded in ethnographic practice. The choice, far from being a solely arbitrary and subjective option, has indeed been motivated by the critical employment of specific theoretical assumptions of some of the most recent streams of anthropology and epistemology of the human sciences. The multidisciplinary methodology adopted to develop the research, as well as the multifaceted language employed to display its results, represent an innovative and experimental way of approaching the complex theme of cultural identity in present-day Asian contexts, as well as of highlighting the most aesthetic and philosophic implications connected to the revival of analogue vintage media in contemporary artistic practice.
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Lang, Ian William, and n/a. "Conditional Truths: Remapping Paths To Documentary 'Independence'." Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Frampton, Anthony. "Cross-Border Film Production: The Neoliberal Recolonization of an Exotic Island by Hollywood Pirates." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1394999350.
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Hartzell, Lea Claire. "Ethics in documentary filmmaking : an anthropological perspective." Thesis, 2003. http://hdl.handle.net/2429/14094.
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Making a documentary film that features human beings as subjects requires extensive thought about the potential impact on the actual lives of people. Similarly, the pursuit of anthropological knowledge via social science research also affects individuals and communities. Along with this awesome power that documentary filmmaking and anthropological research have to change peoples' lives, comes a heavy responsibility to use this power in an ethical way. By examining the cross-sections between documentary filmmaking and anthropological research, I have found several intersections of ethical considerations that seem pertinent to both fields. The main ethical considerations I have found to be common to both documentary filmmaking and anthropology can be classified into four major categories. They are (1) the intention of the filmmaker/researcher, (2) the filmmaker/researcher's relationship with her subjects, (3) the various responsibilities of the filmmaker/researcher, and (4) how the filmmaker/researcher presents herself, her work, and the subjects to an audience. In the first part of this thesis, I provide a review of some of the recent literature from anthropology and visual communication to establish a theoretical background based in visual anthropology. In the second part, I apply the discussed theoretical concerns to practical examples of ethical questions that specific documentary filmmakers have faced. The particular instances that I draw upon come from a recent public forum and panel debate on the topic of "Ethics in Documentary Filmmaking" held in Vancouver B.C. on March 26,2002, sponsored by the Canadian Independent Film Caucus (CIFC). The three filmmakers from the panel that I discuss are Nettie Wild, Mark Achbar, and David Paperny. In the name of reflexivity, I also include a short discussion of some ethical concerns relating to my own documentary videos. I conclude this thesis with a summary discussion of ethics in documentary filmmaking. Perhaps as long as a filmmaker or researcher thinks about the ethics of her actions while she is carrying out her project, she is acting in an ethical way. Thoughtfulness and reflection bring about conscious actions, whereas the act of following strict guidelines often leads to robotic, mindless behaviour. Ultimately, it is the filmmaker who must consider each ethical issue individually and make decisions based on the specific circumstances of her project.
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Bilbrough, Paola. "Givers, takers, framers : the ethics of auto/biographical documentary." Thesis, 2015. https://vuir.vu.edu.au/26229/.
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The tensions between ethical practice and aesthetic freedom in documentary film are particularly magnified in auto/biographical films that involve representations of family members or participants from a different cultural background to the artist, both contexts that demand a greater awareness of self and other. In this doctoral thesis I use 'auto/biographical' in its most expansive sense to signify the blurring of autobiographical stories with biographical material - the impossibility of telling the self's story without implicating others and vice-versa.
Also accompanying this thesis is a booklet of poems, titles "Porous", which is held in the Victoria University Library. The related URL links to the catalogue entry for this booklet.
Books on the topic "Ethics in filmmaking"
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Commission, Australian Film, ed. "Well, I heard it on the radio and I saw it on the television": An essay for the Australian Film Commission on the politics and aesthetics of filmmaking by and about Aboriginal people and things. North Sydney, NSW: Australian Film Commission, 1993.
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Adventures in the Lives of Others: Ethical Dilemmas in Factual Filmmaking. Bloomsbury Publishing Plc, 2015.
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There's No Business Like Soul Business: A Spiritual Path to Enlightened Screenwriting, Filmmaking, and the Performing Arts. Michael Wiese Productions, 2007.
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Warren, Shilyh. Subject to Reality. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042539.001.0001.
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This book reconsiders the history and study of women’s documentary filmmaking in the United States from 1920 to 1940, and during the long 1970s--when significant transformations in cinematic technologies coincided with major transformations in sociopolitical discourses surrounding gender and race. Rather than comprehensive, the approach is transhistorical, setting women’s cultural expression during these two periods into conversation, and thereby provoking a reconsideration of a number of key debates about subjectivity, feminism, realism, and documentary that have had lasting epistemological and material consequences for film and feminist studies. The book excavates a lost ethnographic history of women’s documentary production and investigates the political and aesthetic legacy of this early history in later, more deliberately feminist and yet equally misremembered periods, especially the 1970s. In particular, Subject to Reality asks how ethnographic thinking and seeing shaped the historical arc and aesthetic, ethical, and political commitments of women’s realist documentaries throughout the twentieth century. The shared interests of women in anthropology, academic film studies, and political feminism have long shaped the production and reception of documentary in the United States. Subject to Reality explores the consequences of this cross-pollination as it has shaped women’s documentaries, and especially the realist films that have been glossed over as “boring” “organizing tools” or merely “talking head films.”
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Smith, Jane I., and Yvonne Yazbeck Haddad, eds. The Oxford Handbook of American Islam. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199862634.001.0001.
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This Handbook offers an up-to-the-minute analysis of Islam in America by 30 of the best scholars in the field. It covers the initial growth of Islam in the US from the earliest arrivals through the beginnings of African American Islam, as well as the waves of pre- and post-WWII immigrants when Muslims had little sense of religious identity in relation to their American compatriots. Providing basic information about Sunni, Shi‘ite, sectarian and Sufi movements in America, the volume considers the role of ethnic and racial identity in religious formation. Special attention is given to the role and status of women, marriage, and family. The rise of religious and educational institutions, leadership and youth movements, along with the expansion of Islam through outreach in prisons and through volunteerism, have served to give cohesion and a growing sense of what it means to be part of American Islam. The final section of the book deals with the component pieces of contemporary Islam in America such as politics and government, intellectual life and interfaith endeavors. The process of integration and assimilation that has been intensified as a response to 9/11 has brought about a creative response in which Muslims are eager to be Muslim and American at the same time. The volume concludes with elements of Muslim culture that are part of the current creative response to the reality of American Islam, including Islamic dress and fashion, art and architecture, film and filmmaking, health and medicine, politics, and Muslim-Christian relations. Bracketing these articles on integration and assimilation are thorough investigations of both the effects of the war on terror and the continuing Islamophobia that it has engendered, and of the relationship of American Islam to international Islam.
Book chapters on the topic "Ethics in filmmaking"
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Meager, Nigel. "Ethics." In Observational Filmmaking for Education, 117–30. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-90626-3_4.
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Trencsényi, Klára, and Vlad Naumescu. "Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking." In IMISCOE Research Series, 117–40. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_7.
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AbstractThe so-called European ‘refugee crisis’ has bred a profusion of audiovisual accounts throughout the region, many of which aimed to give voice to hitherto voiceless, uprooted people. But as many of these ‘untold stories’ gain material expression as storylines, we are urged to consider the implications of yet another form of displacement: from the historical person to the film character, from personal stories to media representations. The growing interest into the migrant issue and visual representations of refugees have played an important role in the public construction of the ‘crisis’ but have also, paradoxically, obscured or silenced migrant voices. The authors of this paper, a documentary filmmaker (Trencsényi) and a social anthropologist (Naumescu) seek to explore narrative strategies and ethics of representation in European documentaries made after 2010 as well as their participatory filmmaking project developed in the wake of the 2015 refugee crisis in Hungary. Having collaborated on several documentary films and filmmaking workshops, they approach this issue from the perspective of practitioners, offering a critical reflection as well as possible strategies for those aiming to produce audiovisual works in this field. The inclusion of refugees’ insight and their ways of constructing their own stories as well as their own observations on the receiving societies can open new possibilities for collaboration and creative engagement for social scientists and filmmakers preparing visual fieldnotes, ethnographic and documentary films as well as participatory projects.
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Desille, Amandine. "On the Use of Visual Methods to Understand Local Immigration Politics." In IMISCOE Research Series, 67–84. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_4.
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AbstractIn this chapter, I present the making of an ethnographic film, which I filmed during a research project in geography carried out from 2013 to 2017 and entitled Victory Day. The chapter provides a reflection on the use of film to capture political actions, specifically the ones targeting immigrant groups. It also shows the extent to which filmmaking relates to experiences of the participants involved, and to the sensorial experience of a place. With this, it builds on previous works that have highlighted the potential of moving images to represent the sensory, experiences and intersubjectivities. Finally, it tackles the ethics of working in conflict cities, and even more specifically, when participants take a hawkish stand in that conflict.
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Callahan, William A. "Methods, Ethics, and Filmmaking." In Sensible Politics, 61–89. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071738.003.0005.
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This short introduction explains how Part II, “Visual Images,” engages with existing debates in visual international politics through chapters addressing the aesthetic turn in international relations (Chapter 4), visual securitization (Chapter 5), and ethical witnessing (Chapter 6). To make these arguments, it uses a range of visual images—photographs, documentary films, feature films, online videos, and visual art—to discuss visuality/visibility, ideology/affect, and cultural governance/resistance. Using these examples, Part II examines how visual culture studies and visual IR have used the visibility strategy to deconstruct visual images in order to reveal their hidden ideology. It argues that while exploring important issues, this research agenda is also limited by its hermeneutic mode of analysis and by its narrow focus on Euro-American images of security, war, and atrocity. It seeks to push beyond this verbally-inflected mode of analysis to see not just what images mean, but what they can “do” in provoking affective communities of sense. Part II thus employs comparative analysis and critical aesthetics to juxtapose concepts, practices, and experiences from different times and places.
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MacDougall, David. "Anthropological filmmaking: an empirical art." In The looking machine, 137–56. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526134097.003.0012.
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This chapter provides an overview and guide to the methodology, theory, practice, and ethics of ethnographic filmmaking. Examining in turn the various uses of film in anthropology, the differences between anthropological writing and anthropological films, and the kinds of knowledge produced by each, it proceeds to discuss the practical concerns of the anthropological filmmaker: questions of point-of-view, method, and different approaches to the construction of films. It considers the pros and cons of teamwork and single-author filmmaking, aspects of film aesthetics, relationships with the subjects of films, the filmmaker’s behaviour in the field, and different modes of camera use. Finally, it addresses the different practical strategies possible for this kind of filmmaking, including a focus on individuals as subjects, the uses of narrative, and thematic approaches. Also considered is the filmmaker’s relation to the viewer, and ways of making the filmmaker’s intentions and practice more evident within the film.
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Martin, Sylvia. "6. STEALING SHOTS The Ethics and Edgework of Industrial Filmmaking." In Anthropology, Film Industries, Modularity, 163–80. Duke University Press, 2021. http://dx.doi.org/10.1515/9781478022190-009.
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Moss-Wellington, Wyatt. "Moral and Cognitive Dissonance in Cinema." In Cognitive Film and Media Ethics, 89–110. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197552889.003.0005.
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Cognitive dissonance provides a model for understanding how we experience film texts as profound. This chapter looks at the ways in which filmmakers might motivate or exploit the pleasure of resolving familiar narrative dissonance to inspire emotions associated with profundity, sublimity, or transcendence. David Lynch scholarship is presented as a primary case study in the conflation of cognitive dissonance and transcendence; however, it is contended that moral obligations to rape and trauma victims are sublimated in the process. Alternative moral dissonances across a range of cinematic modes are subsequently addressed. Comparative analysis of vigilantism in American revenge and “social cleansing” films, Ken Loach’s social realism, and John Sayles’s Lone Star (1996) permits an exploration of variability in filmic dissonance and narrative comprehension, as well as alternative approaches to filmmaking ethics and responsibility. The chapter concludes with suggestions for an applied ethics extended from theories of cognitive dissonance.
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Lamberti, Edward. "Introduction." In Performing Ethics Through Film Style, 147–50. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0010.
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Part 3 considers the work of director Paul Schrader. Schrader is not as intuitive a fit for Emmanuel Levinas as the Dardennes or even Schroeder: many of Schrader’s films focus on a lone figure struggling with his relationships with other people and with the world. As these relationships are so often violent, destructive or denied, ethical concerns often seem to be far away, and Schrader’s filmmaking – by turns visually dazzling, overtly stylised, and more low-key and contemplative, often within the course of a single film – muddies the ethical waters further, as it is unclear whether Schrader wants to stimulate our senses, excite us with violent drama or draw us into passivity. But this approach, the book argues, invites the audience to remain alert and involved, and, in doing so, kindles ethical awareness. Thus, Schrader’s uses of style, as much as those of the Dardennes and Schroeder, are examples of style performing ethics, just as Levinas does in his prose. This introductory section sets up the discussions to follow on five Schrader films: American Gigolo (1980), Mishima: A Life in Four Chapters (1985), The Comfort of Strangers (1990), Dominion: Prequel to the Exorcist (2005) and Adam Resurrected (2008).
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Lamberti, Edward. "Je Pense à Vous and La Promesse: From Describing to Performing." In Performing Ethics Through Film Style, 33–49. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444002.003.0003.
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This chapter looks at two early Dardenne films, Je Pense à Vous (1992) and La Promesse (1996). The gap between these two films proved momentous in the Dardennes’ career, as they were able, after the critical, commercial and, in their eyes, personal failure of Je Pense à Vous, to rethink their approach to film style, which led to La Promesse, the true ‘beginning’ of their career as it is commonly known and their first explicit engagement with Levinas’s ethical philosophy. The chapter considers this radical change in film style to be akin to the distinction that J. L. Austin, in his lectures on performativity, makes between constative and performative uses of language, the first being description and the second being performance. The chapter begins by positing a parallel between the shifts in Emmanuel Levinas’s ethical philosophy from the descriptions of Totality and Infinity to the literary performance of Otherwise than Being and the Dardennes’ reconfiguration of their style between Je Pense à Vous and La Promesse. This will show how, just as Levinas sought to clarify his ethics by deploying a more overtly performative style, so the Dardennes achieve a similar, Levinasian style in their filmmaking in La Promesse.
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McLaughlin, Cahal, and Siobhán Wills. "Possibilities and Challenges: Issues in Ethical Filmmaking using It Stays with you as a Case Study." In Ethics and Integrity in Visual Research Methods, 93–103. Emerald Publishing Limited, 2020. http://dx.doi.org/10.1108/s2398-601820200000005010.
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