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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.
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Romanowski, Max, and Zachary Sheldon. "‘Time to Ranch it Up!’: Ethics and satire in new media." Critical Studies in Television: The International Journal of Television Studies 15, no. 3 (September 2020): 239–54. http://dx.doi.org/10.1177/1749602020935746.
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YouTube and Internet culture have changed expressions of comedy, especially on television. Some forms of TV entertainment content emphasise shock value, resulting in a satirical strain of comedy that stresses absurdity. Such a trend may be observed in The Eric Andre Show (2012–) and Nathan for You (2013–2017), two US comedy TV series which satirise an Internet style of filmmaking while simultaneously critiquing the culture that created it. This article examines these shows for how extreme methods support or detract from their perceived effect, and whether or not such satirical tactics are valid as a way of bringing about change.
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Rusca, Maria. "Visualizing urban inequalities: The ethics of videography and documentary filmmaking in water research." Wiley Interdisciplinary Reviews: Water 5, no. 4 (April 23, 2018): e1292. http://dx.doi.org/10.1002/wat2.1292.
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Stewart, Michelle. "Of Digital Selves and Digital Sovereignty: Of the North." Film Quarterly 70, no. 4 (2017): 23–38. http://dx.doi.org/10.1525/fq.2017.70.4.23.
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At its Canadian premier, Dominic Gagnon's Of the North (2015) launched a passionate debate regarding the ethics of image appropriation and digital filmmaking about Indigenous communities. Of the North follows Gagnon's “natively” digital method, which involves the sampling and montage of public domain images and sounds posted by internauts with the stated intent of documenting how people represent themselves online. In a controversy that crystallized around questions of “digital sovereignty,” Inuit critics decried the recontextualization of personal video posts by a film, they argued, that did not promote an Inuit view of Inuit experience. This article addresses the ways in which Gagnon's digital method collapsed cultural contexts, bringing to light divergent cultural and generational expectations regarding digital presence and sovereignty. An analysis of the film's heated reception and new digital works by young Indigenous filmmakers suggests an intercultural ethics for visual ethnographies.
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Piotrowska, Agnieszka. "Animating the Real: A Case Study." Animation 6, no. 3 (September 9, 2011): 335–51. http://dx.doi.org/10.1177/1746847711418566.
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The ethics of collecting testimonies in documentary filmmaking has been the subject of academic discussion for decades, in particular since Claude Lanzmann’s landmark film Shoah (1985). There are occasions however when a subject of a potential film would like to tell his or her story but for some reason is unable to speak. Language breaks down when an attempt is made to symbolize the trauma. This article gives an account of the author’s experience of such an instance in making a three-part documentary series for the National Geographic about refugees coming to London. The article uses Lacanian psychoanalytical thought to give a theoretical framework to the events leading to the use of animation in the series.
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Evrard, Audrey. "Shifting French Documentary Militancy: From Workers' Rights to an Ethics of Unemployment." Nottingham French Studies 55, no. 1 (March 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 they strive to restore the productive value of individuals unable and unwilling to enter the labor market, they reject what the filmmakers see as leftist politics' complacency about capitalism's promotion of work as an ethics of self-realization. Drawing from Jacques Rancière's emphasis on the proletariat's self-identification and incidental political inscription in late nineteenth-century society, this analysis argues that the two films discussed here operate therefore a political and aesthetic shift away from twentieth-century militant cinema by replacing the figure of political consciousness commonly associated with industrial capitalist society, namely the worker, with the unemployed post-industrial subjects of the late-twentieth and early twenty-first centuries.
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Pick, Anat, and Chris Dymond. "Permacinema." Philosophies 7, no. 6 (October 27, 2022): 122. http://dx.doi.org/10.3390/philosophies7060122.
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This article charts the contiguity of farming and film, blending permaculture and cinema to advance a modality of sustainable film theory and practice we call “permacinema.” As an alternative approach to looking and labour, permaculture exhibits a suite of cinematic concerns, and offers a model for cinematic creativity that is environmentally accountable and sensitive to multispecies entanglements. Through the peaceable gestures of cultivation and restraint, permacinema proposes an ecologically attentive philosophy of moving images in accordance with permaculture’s three ethics: care of earth, care of people, and fair share. We focus on work by Indigenous artists in which plants are encountered not only as raw material or as aesthetic resource but as ingenious agents and insightful teachers whose pedagogical and creative inputs are welcomed into the filmmaking process. By integrating Indigenous epistemologies and cosmologies we hope to situate permacinema in the wider project of cinema’s decolonization and rewilding.
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Dalle Vacche, Angela. "André Bazin's Film Theory: Art, Science, Religion." Artium Quaestiones 31, no. 1 (December 20, 2020): 191–207. http://dx.doi.org/10.14746/aq.2020.31.7.
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Always keen on the spectators’ freedom of interpretation, André Bazin’s film theory not only asks the famous question “What is cinema?,” but it also explores what is a human. By underlining the importance of personalist ethics, Angela Dalle Vacche is the first film specialist to identify Bazin’s “anti-anthropocentric” ambition of the cinema in favor of a more compassionate society. Influenced by the personalist philosophy of his mentor, Emmanuel Mounier, Bazin argued that the cinema is a mind-machine that interrogates its audiences on how humankind can engage in an egalitarian fashion towards other humans. According to Bazin, cinema’s ethical interrogation places human spirituality or empathy on top of creativity and logic. Notwithstanding Bazin’s emphasis on ethics, his film theory is rich with metaphors from art and science. The French film critic’s metaphorical writing lyrically frames encounters between literary texts and filmmaking styles, while it illuminates the analogy between the élan vital of biology and cinema’s lifelike ontology. A brilliant analyst of many kinds of films from Europe, Asia, and Latin America, ranging from fiction to documentary, from animation to the avant-garde, Bazin felt that the abstractions of editing were as important as the camera’s fluidity of motion. Furthermore, he disliked films based on a thesis or on an a priori stance that would rule out the risks and surprises of life in motion. Neither a mystic nor an animist, Bazin was a dissident Catholic and a cultural activist without membership of a specific political party. Eager to dialogue with all kinds of communities, Bazin always disliked institutionalized religions based on dogmas.
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Philipsen, Heidi. "En leg med æstetik og etik: Om filmen De fem benspænd." K&K - Kultur og Klasse 36, no. 106 (March 22, 2009): 166–89. http://dx.doi.org/10.7146/kok.v36i106.22029.
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A Game with Aesthetics and Ethics: On the Film The Five Obstructions:In this article my approach is to analyse what kind of ethics is implied in the experimental documentary film The Five Obstructions (2003) made by the Danish directors Lars von Trier and Jørgen Leth. What are the consequences for Leth when Trier tries to push him into making a miserable and ugly film through the help of certain rules that Leth would never have invented himself? What are the consequences for the citizens when Leth chooses to create a scene in the Red Light District in Mumbai? And how is the audience supposed to respond to this unusual film, in which Leth is creating five new interpretations of the short fiction film The Perfect Human Being (1967)? My answers to these questions will be that the life of the prostitutes in the Red Light District will carry on as usual after Leth has left this area. For Leth the constraints given to him by Trier have worked as a kind of ‘scaffolding’ (Wood, Bruner and Ross, 1976) and have inspired him to innovate in his own filmmaking. Concerning the audience of the film, they will be forced to judge for themselves whether they agree with the moral that Trier and Leth use in the film and what kind of ‘ethos’ this produces. Leth is going through an interesting development in The Five Obstructions, but this is certainly not the direction that Trier initially hoped he would take. The short films Leth creates – as demonstrated in the film as a whole – are primarily influenced not by the ethical approach from Trier, but by the scaffolding he offers Leth.
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Kompalic, Verónica González. "Fatherland and Death: An Interview with Mariana Rondón on Her Work, the Ethics of Filmmaking, and the Voice of the Neglected." Film Matters 9, no. 2 (September 1, 2018): 93–101. http://dx.doi.org/10.1386/fm.9.2.93_1.
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Diebschlag, Natalie. "Inventing London: Derrida's Legacies in Sally Potter's Yes and Anthony Minghella's Breaking and Entering." Derrida Today 10, no. 1 (May 2017): 89–109. http://dx.doi.org/10.3366/drt.2017.0144.
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Taking Jacques Derrida's multi-faceted notion of invention as a common denominator of on the one hand artistic practice and, on the other, the writing strategies of deconstruction, this article investigates the ethics of cinematic expression in a reading of two examples of twenty-first-century British filmmaking, Sally Potter's Yes and Anthony Minghella's Breaking and Entering. Both films deploy the demographically diverse cityscape of contemporary London as the stage for their respective geopolitical concerns – that is, post-9/11 in the case of Yes and anxieties surrounding the EU expansion in the case Breaking and Entering – and set out to explore the destructive as well as the convivial possibilities of serendipitous encounters along cultural, social and gender divides. In so doing, they articulate a dual ontology, one which is situated in the reality of present-day politics and one which enacts the messianic structure of deconstruction. More importantly, they do so by reflecting on the transformative potential of invention, whether in the guise of literature, architecture, acrobatics, music or film. The first part of this article touches upon experimentalist features and themes in Yes and relates them to instances of Derridean ethics; the second part is more narrative-oriented and focuses on a parallel reading of Derrida's ‘On Cosmopolitanism’ and Minghella's portrayal of King's Cross, a north London area in transition, as a deconstruction of cosmopolitanism, that is an instantiation of the semi-concept of the city of refuge.
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Rosen, Alan, and Garry Walter. "Way Out of Tune: Lessons from Shine and Its Exposé." Australian & New Zealand Journal of Psychiatry 34, no. 2 (April 2000): 237–44. http://dx.doi.org/10.1080/j.1440-1614.2000.00644.x.
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Objective: The depiction of David Helfgott's life presented in the movie Shine is at odds with other public accounts, notably one by his sister, Margaret. These significant discrepancies have sparked a prolonged media debate and provide the opportunity to examine cinema's apparent ground rules governing depictions of psychiatry in film, the media values and pressures which are claimed to limit the scope of these portrayals, and the implications for psychiatry. Method: Information was obtained from a number of sources, including Shine, books about the movie and Shine film paraphernalia, other films about mental illness, the psychiatric papers on cinema, media images of mental illness and media values, and through discussions with fellow mental health professionals, consumers, carers and media specialists. Results: David Helfgott emerges as an undoubtedly remarkable and resilient individual, who, together with his family, was vulnerable to, and may have experienced, exploitation and violation through the cinema. Conclusions: Filmmakers should reconcile media values and constraints with considerations of ethics and public accountability. Marrying these considerations is both possible and compatible with good filmmaking and audience appeal. There is the potential for a story about those who have mental illness to be told from multiple points of view without compromising dramatic power.
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Jesty, Justin. "Image Pragmatics and Film as a Lived Practice in the Documentary Work of Hani Susumu and Tsuchimoto Noriaki." Arts 8, no. 2 (March 27, 2019): 41. http://dx.doi.org/10.3390/arts8020041.
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This paper focuses on two discrete bodies of work, Hani Susumu’s films of the late 1950s and Tsuchimoto Noriaki’s Minamata documentaries of the early 1970s, to trace the emergence of the cinéma vérité mode of participant-observer, small-crew documentary in Japan and to suggest how it shapes the work of later social documentarists. It argues that Hani Susumu’s emphasis on duration and receptivity in the practice of filmmaking, along with his pragmatic understanding of the power of the cinematic image, establish a fundamentally different theoretical basis and set of questions for social documentary than the emphasis on mobility and access, and the attendant question of truth that tend to afflict the discourse of cinéma vérité in the U.S. and France. Tsuchimto Noriaki critically adopts and develops Hani’s theoretical and methodological framework in his emphasis on long-running involvement with the subjects of his films and his practical conviction that the image is not single-authored, self-sufficient, or meaningful in and of itself, but emerges from collaboration and must be embedded in a responsive social practice in order to meaningfully reach an audience. Hani and Tsuchimoto both believe that it is possible for filmmakers and the film itself to be fundamentally processual and intersubjective: Grounded in actual collaboration, but also underwritten by a belief that intersubjective processes are more basic to human being than “the individual,” let alone “the author.” This paper explores the implications for representation and ethics of this basic difference in vérité theory and practice in Japan.
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Zemp, Hugo. "Ethical issues in ethnomusicological filmmaking." Visual Anthropology 3, no. 1 (January 1990): 49–64. http://dx.doi.org/10.1080/08949468.1990.9966522.
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Maccarone, Ellen M. "Ethical Responsibilities to Subjects and Documentary Filmmaking." Journal of Mass Media Ethics 25, no. 3 (July 30, 2010): 192–206. http://dx.doi.org/10.1080/08900523.2010.497025.
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Baumann, Sara E., Pema Lhaki, and Jessica G. Burke. "Collaborative Filmmaking: A Participatory, Visual Research Method." Qualitative Health Research 30, no. 14 (July 31, 2020): 2248–64. http://dx.doi.org/10.1177/1049732320941826.
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Filmmaking is a visual method that provides a unique opportunity for generating knowledge, but few studies have applied filmmaking in public health research. In this article, we introduce Collaborative Filmmaking as a public health research method, including a description of the six steps for implementation and an illustrative example from Nepal. Collaborative Filmmaking is an embodied, participatory, and visual research method in which participants are trained to create, analyze, and screen films to answer a research question. The method is useful for exploring sensitive health topics and providing nuanced insight into practices, relationships, and spaces that are difficult to capture using existing methods; however, its use requires close attention to ethical considerations. Building upon the trajectory of other visual and community-based research methods, Collaborative Filmmaking is valuable for gathering granular details and sensory data, co-analyzing data in partnership with participants, and producing participant-generated films that serve as powerful and authentic advocacy tools.
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Ferrari, Manuela, Sahar Fazeli, Claudia Mitchell, Jai Shah, and Srividya N. Iyer. "Exploring Empathy and Compassion Using Digital Narratives (the Learning to Care Project): Protocol for a Multiphase Mixed Methods Study." JMIR Research Protocols 11, no. 1 (January 13, 2022): e33525. http://dx.doi.org/10.2196/33525.
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Background Digital stories—first-person, self-made, 2- to 3-minute videos—generate awareness, impart knowledge, and promote understanding on topics such as mental illness. Digital stories are a narrative-based art form often created by individuals without formal training in filmmaking to relate personal experiences. Somewhat like digital narratives, video testimonies created within the social marketing or fundraising campaigns of government agencies and private or public corporations aim to reduce the stigma of mental illness while supporting research and services. In video testimonies, personal stories are captured on camera by professional filmmakers. Sharing critical life events greatly benefits tellers and listeners alike, supporting catharsis, healing, connectiveness, and citizenship. Objective This study explores digital stories and video testimonies featuring mental illness and recovery in their ability to elicit empathy and compassion while reducing stigma among viewers. Methods Using mixed methods, phase 1 will involve a search of Canadian social marketing activities and fundraising campaigns concerning mental illness and recovery. Phase 2 will involve the organization of digital storytelling workshops in which participants will create digital stories about their own experiences of mental illness and recovery. In phase 3, a pilot randomized controlled trial will be undertaken to compare marketing and fundraising campaigns with digital stories for their impact on viewers, whereas phase 4 will focus on knowledge dissemination. Results Ethics approval for this study was received in March 2021. Data on the feasibility of the study design and the results of the controlled trial will be generated. This study will produce new knowledge on effective ways of promoting mental health awareness and decreasing stigma, with practical importance for future social marketing and fundraising campaigns. The anticipated time for completion within the 2-year study period includes 9 months for phase 1 (knowledge synthesis activities identifying social marketing and fundraising campaigns) and phase 2 (storytelling workshops), 11 months for phase 3 (feasibility assessment and data collection: randomized controlled trial), and 2 months for phase 4 (knowledge dissemination). Conclusions The knowledge generated will have practical implications for the public and for future social marketing and fundraising campaigns promoted by government agencies as well as nonprofit and for-profit organizations by enhancing our understanding of how individuals and societies respond to stories of mental distress and what prompts citizens to help others. Trial Registration ClinicalTrials.gov NCT04881084; https://clinicaltrials.gov/ct2/show/NCT04881084 International Registered Report Identifier (IRRID) PRR1-10.2196/33525
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Canet, Fernando. "Filmmaker‐subject relationship in documentary filmmaking." Catalan Journal of Communication & Cultural Studies 14, no. 1 (April 1, 2022): 23–40. http://dx.doi.org/10.1386/cjcs_00058_1.
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This article aims to provide a contextual overview of the filmmaker‐subject relationship in documentary filmmaking. This topic is addressed in those documentary films that require the involvement of the filmmaker in the participants’ everyday lives over a prolonged period, thereby turning their relationship into a central feature of the documentary filmmaking. I argue that the filmmaker‐subject relationship involves a personal engagement that problematizes their professional responsibility as expressed mainly in their commitment to the film project and that it is mainly the personal dimension that informs the ethical decisions made by filmmakers. I begin by considering how long-term relationships allow filmmakers to better understand the reality of participants by earning their trust. I then explore the importance in documentary filmmaking of the calculation of costs and benefits in relation to the film and its participants. Finally, I examine how a filmmaker’s sympathetic and antipathetic attitudes towards a participant determine the nature of their relationship.
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Redmon, David. "Documentary criminology: Girl Model as a case study." Crime, Media, Culture: An International Journal 13, no. 3 (July 4, 2016): 357–74. http://dx.doi.org/10.1177/1741659016653994.
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Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry.
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Hemelryk Donald, Stephanie, and Lucia Sorbera. "Challenges of separation for refugee filmmaking. Introduction." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 123–27. http://dx.doi.org/10.33178/alpha.18.09.
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This dossier on Challenges of Separation for Refugee Filmmaking includes a number of short pieces and visual material from those who have either made films themselves (Su Goldfish; Rana Kazkaz) or who have used film as scholars and activists working in collaboration with people of lived experience (Isobel Blomstein and Caroline Lenette; Mandy Hughes). These writers discuss the questions of ethical and personal narratives and the ways in which certain story arcs present themselves as indicative of a time, a place or a kind of experience. They consider ideas of visibility and invisibility, and of short-term memory and long-term impact. The “separation” in the title for this dossier refers to separation by reason of war, by time and generation, or by experience.
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Aufderheide, Patricia. "Perceived ethical conflicts in US documentary filmmaking: a field report." New Review of Film and Television Studies 10, no. 3 (September 2012): 362–86. http://dx.doi.org/10.1080/17400309.2012.691248.
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DANIEL, DREW. "William Shakespeare's The Merchant of Venice." Film Quarterly 60, no. 1 (2006): 52–56. http://dx.doi.org/10.1525/fq.2006.60.1.52.
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ABSTRACT Lingering controversy about anti-Semitism has kept The Merchant of Venice off the screen. Michael Radford's 2004 film adaptation creates a critique of anti-Semitic violence revealingly at odds with the play's comic form. This review considers the challenge Shakespeare's art poses to the ethical imperatives of contemporary filmmaking.
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Blomfield, Isobel, and Caroline Lenette. "Anonymity and representation." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 175–82. http://dx.doi.org/10.33178/alpha.18.13.
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The five-minute film Mouth of a Shark (Isobel Blomfield, 2018) conveys a young woman’s experiences and precarious situation while she awaits an outcome on her refugee status determination in Australia. Aasiya (pseudonym) lives in community detention. Her interest in creating the film stemmed from her own acknowledgement that she had a platform as a young, literate asylum seeker woman with a “strong” story, and was therefore in a position to portray asylum seekers in a positive light. However, she cannot be identified in the film, even though it depicts her story, due to concerns over safety and her claim for asylum. We use this example to illustrate issues of anonymity and representation, and suggest strategies in line with our commitment to avoid depersonalising tropes in filmmaking. While we are committed to ensuring that people from refugee and asylum seeker backgrounds exercise agency in filmmaking, protecting Aasiya’s identity had to prevail. We wanted to avoid depersonalising tropes, and instead devised filming strategies that were more respectful of the protagonist and, within the constraint of anonymity, ensured that Aasiya could still represent her story in meaningful ways. We argue for an ethical model that reconciles the need for both anonymity and representation in filmmaking, especially through collaborative editing.
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Szabó, Zoltán. "The Ethical Anxiety of Remediation and Speculative Aesthetics in Landscape Film." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (October 1, 2020): 73–87. http://dx.doi.org/10.2478/ausfm-2020-0004.
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AbstractThe link between avant-garde cinema and painting has always been a conspicuous one but perhaps never as much as in the case of landscape films. However, not only repurposing or evoking specific paintings but constructing entire films with the intention of producing cinematic analogies to certain traditions of landscape painting presents a number of issues, especially when the films in question are inspired by the sensibilities of 19th-century Romanticism and explore similar topics, such as the works of Peter Hutton. The problem is essentially twofold: on the one hand, how to break away from the painterly roots and make an exclusively cinematic pictorial representation of landscape and, on the other hand, how to account for the complicit position of the filmmaker with regard to the nature–technology opposition they address. Within the theoretical framework of the recent speculative turn in philosophy and the implications of this with regard to aesthetics, I argue that an object-oriented approach to landscape filmmaking – as seen in the works of Chris Welsby –, by establishing pre-compositional rules within which landscape itself can intervene in the filmmaking process, provides a solution to both the aesthetic and the ethical anxiety that haunt landscape filmmakers.
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Burns, Victoria F. "COMMUNITY-BASED PARTICIPATORY RESEARCH FILMMAKING WITH FORMERLY HOMELESS OLDER ADULTS." Innovation in Aging 3, Supplement_1 (November 2019): S562. http://dx.doi.org/10.1093/geroni/igz038.2078.
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Abstract This methodological paper discusses the process of co-creating a documentary film with seven formerly homeless older adults, highlighting some of the tensions carrying out community-based participatory research (CBPR). This paper is part of a larger study that explored ‘finding home’ through a series of individual and group audio and video-recorded interviews (including walk and drive alongs) with seven adults (aged 50+) with diverse homeless histories. In addition to the main findings, participants shared their experience of filmmaking and CBPR. Findings revealed four main tensions: 1) openness of sharing stories versus privacy and anonymity; 2) balancing participation/engagement and over-burdening; 3) negotiating interpersonal conflict and community building; and 4) ethical issues surrounding copyright and ownership of the film. Ultimately, we advocate for more CBPR film projects, as they not only provide a rich contextualized window into people’s everyday lives but serve to advance the voices of marginalized populations beyond traditional academic circles.
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Stewart, Tyson. "Truth and reconciliation cinema: an ethico-political study of residential school imagery in contemporary Indigenous film." AlterNative: An International Journal of Indigenous Peoples 17, no. 2 (May 2, 2021): 165–74. http://dx.doi.org/10.1177/11771801211012450.
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This article explores an important facet of the New Wave of Indigenous filmmaking in Canada: residential school system history and imagery, its place in the historical archive, and the way it is being retold and reclaimed in films like Rhymes for Young Ghouls (2013), Savage (2009), Sisters & Brothers (2015), Indian Horse (2017), and The Grizzlies (2018). While researching this topic, one unanswered question has left me feeling sometimes frustrated and often troubled: Is there a risk of producing pan-Indigenous readings, or worse, repeating the original propagandistic intentions of the original residential school photographs when they are used in new media?
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Wan Yahaya, Wan Aida WAN, and Shamila Mohamed Shuhidan. "Documentary Storytelling Techniques:." Asian Journal of University Education 16, no. 3 (October 21, 2020): 247. http://dx.doi.org/10.24191/ajue.v16i3.10273.
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Documentaries are a unique form of filmmaking. It allows for the comman man/woman to address large, important issues that is able to shake society. It involves a small portion of power as it addresses a wide range of subject matters such as history, anthropology, trends, as well as, social and political constructs, ethical issues and moral responsibilities. However, even though documentaries have evolved continuously, its approaches and methods remain ambiguous, and its parameters keep enlarging and changing. As students starting out to understand the process of documentary filmmaking, many struggle in terms of identifying appropriate content suited for that of a documentary. Students are unable to develop appropriate strategies towards identifying the type of stories to tell. This research seeks out explore an idea and story identification technique, specifically through the use of strategic mapping, as a means of helping students to understand the layers required in planning and constructing a documentary story. Action research is applied to guide and observe students’ responses through a number of mapping techniques that allows for the identification of the core focus/theme of the documentary. The research discovers that through a repetitive process, students’ are able to develop, change and extend their first impression responses as they begin to understand the process of documentary story and content identification.
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Velásquez, Juan C. "Herculean Unproductivity in Pasolini's La ricotta and Teorema." Cultural Politics 18, no. 2 (July 1, 2022): 208–26. http://dx.doi.org/10.1215/17432197-9716267.
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Abstract This article examines the relationship between work, capitalist productivity, and the filmmaking practice of Pier Paolo Pasolini. This article examines how Pasolini's La ricotta and Teorema represent an interruption of labor and a contestation of the disciplining mechanisms that compel workers to work. Recuperating Jean-François Lyotard's concept of acinema, this inquiry suggests that Pasolini creates scenes that oppose the capitalist work ethic through formal techniques associated with immobility and contingency. It deploys Hannah Arendt's concept of action and Jacques Rancière's dissensus to describe workers’ political actions in these films as gestures where they shed their identity as workers to enjoy life as humans. The purpose of this intervention is to reframe academic debates of anticapitalism around workers’ desire not to work. Pasolini's films give viewers images that highlight workers’ unproductive potentials, thereby giving them examples of immobile, nonwork dissensual actions, or Herculean unproductivity.
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Hughes, Mandy. "Collaborating with refugees." Alphaville: Journal of Film and Screen Media, no. 18 (December 1, 2019): 160–74. http://dx.doi.org/10.33178/alpha.18.12.
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Representing stories through documentary film can offer a means to convey multilayered and sensory accounts of the lived experiences of people in extreme transition, especially former refugees. However, along with the potential of this medium comes the responsibility to engage with participants in an ethical and reciprocal manner. This article examines these prerequisites and applies them to two films about the experiences of people from refugee backgrounds in Australia. The first film, The Last Refuge: Food Stories from Myanmar to Coffs Harbour (2015), explores the Myanmar community, their sociocultural relationship to food and how this informs their identity. The second film, 3Es to Freedom (2017), documents a supported employment program for women from refugee backgrounds. Despite having different purposes and target audiences, the two films reinforced the importance of establishing informed and negotiated consent with marginalised people as the basis of all interactions and representations on film. Such negotiation seeks to minimise power imbalances and forms the ethical starting point for reflexive filmmaking practice that considers the filmmakers’ and participants’ intentions, and that promotes a heightened awareness of how knowledge is created through image-making.
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Helke, Susanna. "Encountering the invisible." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 209–14. http://dx.doi.org/10.33178/alpha.17.15.
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This paper discusses the potential of art-practice-led and research-in-the-arts methodologies, introducing the idea of the theory–praxis–poetics triangle as a process of catalysing new methods, expressions and approaches in filmmaking, especially in the context of documentary cinema. It elaborates upon these approaches in the context of my own filmmaking practice and in relation to the conventions stemming from the tradition of social documentary. What are the methods of making visible the invisible complexities of present-day societal reality, as poverty, exclusion and societal tensions may not be as visually dramatic as they were when the ethos of “social documentary” was defined? How can the invisible and often-abstract core of phenomena such as the neoliberal paradigm shift in post–welfare-state contexts be made visible? Documentary film as a discourse of sobriety mostly relies on the serious and solemn, but can absurdism and parody more accurately capture the core of paradigmatic political phenomena like the current one? The acute global crises create a need for re-evaluating the potential of documentary film practice as a reflexive and critical endeavour beyond the emotion economy of the hegemonic film industries. As the arts function beyond the pre-existing order of commonsensical reality, the pressing question is: how can reality-material–based art construct a transformational ethical address, one which does not rely on individualistically driven social subjectivity but rather creates experiential spaces for agonistic collisions of differences, the paradoxical, dialectical cinematic approaches that can be claimed to be more complex than a mere “emotive” address? In this dangerously polarized era, it is crucial to distinguish between such fluid concepts as the sentimental, emotional or compassionate, in order to rehabilitate the poetics of documentary art in creating a reflexive political address.
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Snelson, Tim. "Old Horror, New Hollywood and the 1960s True Crime Cycle." Film Studies 19, no. 1 (November 2018): 58–75. http://dx.doi.org/10.7227/fs.19.0005.
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This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. While this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps, of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period.
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Ruíz, Diana Flores. "Desire Lines." Film Quarterly 75, no. 3 (2022): 12–25. http://dx.doi.org/10.1525/fq.2022.75.3.12.
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The films of Sky Hopinka (Ho-Chunk Nation/ Pechanga Band of Luiseño Indians) aesthetically intervene in photography and cinema’s historical complicities with settler colonialism. This article explores how Hopinka’s filmmaking practice undisciplines vision as it has been constructed and sustained by settler visual regimes. Situating close readings and his broader practice within Indigenous concepts and contexts, this article accounts for the ethical and political dimensions of Hopinka’s poetic approach. In analyzing the significance of Hopinka’s audiovisual methods, Ruíz introduces the architectural concept of “desire lines” to encompass Hopinka’s contributions to undisciplining vision, both on and off-screen. Selected films in this essay include: wawa (2014), Jáaji Approx. (2015), I’ll Remember You as You Were, not as What You’ll Become (2016), Dislocation Blues (2017), and maɬni – towards the ocean, towards the shore (2020). The postscript introduces the COUSIN collective, a collaboration between Hopinka and fellow Indigenous filmmakers Alexandra Lazarowich, Adam Khalil, and Adam Piron.
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Steimatsky, Noa. "Cinema’s poetics of history." Modern Italy 22, no. 2 (May 2017): 105–22. http://dx.doi.org/10.1017/mit.2017.19.
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In the movie theatre, history risks drowning in sensory response, in pleasure, or in shock. Yet the cinema can also contribute to a special knowledge of history. Cutting across genres and modes of filmmaking, exploring the effects of duration, gesture, movement, mise-en-scène, framing and editing, recognising affective connotations and the intricacy of figural-poetic devices, this article weighs the impact of the senses and the imagination vis-à-vis the cinema’s historical task. In transforming the narrative past tenses of both fiction and history into the present tense of film viewing, the cinema may be said to loosen the critical grip of writing (history’s ‘proper medium’), to destabilise legibility and interpretation, to interfere with the retrospective, synthetic work of history. But this variability, the inherent ‘impurity’, even promiscuity of the medium also invests cinematic experience with a vitality and urgency: it implicates us in what we see, it animates our response, which is at once aesthetic and ethical.
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Ginsburg, Faye. "Decolonizing Documentary On-Screen and Off: Sensory Ethnography and the Aesthetics of Accountability." Film Quarterly 72, no. 1 (2018): 39–49. http://dx.doi.org/10.1525/fq.2018.72.1.39.
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Over the last decade, ethnographic documentary has evolved in two notable directions, reflecting an ongoing dialectic in the field regarding the on and off-screen possibilities of this work. The “sensory ethnography” films that have emerged from Harvard's Sensory Ethnography Lab are paradigm-shifting works have emphasized the immersive and experiential as strategies of formal experimentation in the field of nonfiction filmmaking. Elsewhere, documentaries and ethno-fiction works are being made that are innovative in terms of their emphasis on the collaborative relationships with the people who are the subjects of their works, and their concerns with accountability that are evident both off and on-screen. Ginsburg suggests that their connective tissue might be understood as constituting a form of “relational documentary” built on a robust sense of aesthetics of accountability as an alternative site of filmic innovation, with considered ethical concerns regarding the people whose lives are represented in the works.
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White-Nockleby, Anna. "Textured Cuts: The Demolition Cinema of Pedro Costa and José Luis Guerín." Journal of Visual Culture 17, no. 1 (April 2018): 117–38. http://dx.doi.org/10.1177/1470412918767212.
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This article reexamines the aesthetics of the cut through cinema that challenges the possibility of totality. Looking back at films of demolitions in two Iberian cities, the author considers how cuts – both architectural and cinematic – reveal fissures created by urban renewal projects that preceded global crisis. En construcción ( Work in Progress, 2001) by the Catalan filmmaker José Luis Guerín follows the reconstruction of Barcelona’s neighborhood ‘El Raval’, while Portuguese director Pedro Costa’s No Quarto da Vanda ( In Vanda’s Room, 2000) films residents in a slum area of Lisbon as their houses are slowly demolished. By attending to neighborhoods that were ‘cut out of’ the urban landscape, these films contest the representation of unified cityscapes, exposing the fractures underlying economic development. The films also provide new ways to understand the ambivalent aesthetics of the cut, which both violently wounds the surface and exposes what lies behind. I will argue that ultimately thresholds produced by the cut speak to the ethical ambiguities of filmmaking, in which the camera inevitably alters whatever it views, thus exposing the textured incompleteness of the image.
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Holtmeier, Matthew. "The Modern Political Cinema: From Third Cinema to Contemporary Networked Biopolitics." Film-Philosophy 20, no. 2-3 (October 2016): 303–23. http://dx.doi.org/10.3366/film.2016.0017.
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Political cinema, particularly third cinema of the 1960s and subsequently inspired films, often relies upon the formation and transformation of subjectivity. Such films depict a becoming-political of their characters, such as Ali LaPointe's transformation from bricklayer and boxer to revolutionary in Battle of Algiers (La battaglia di Algeri, Gillo Pontecorvo, 1966 ). As subjects are politicized, they reveal social, moral, existential, or ethical exigencies that drive the politics of the film. In this respect, most narrative-driven political cinema is biopolitical cinema, although its expression shifts from film to film, or from one period of time to another. Gilles Deleuze articulated such a shift in his two works on cinema, Cinema 1: The Movement-Image and Cinema 2: The Time-Image. Namely, he points to the breaking of the link between action and reaction that marks a shift from pre-World War II cinema to the postwar filmmaking environment. To update Deleuze's project on political cinema, this article posits another qualitative shift in political cinema stemming from the emergence of neoliberal economic policies and the growth of networked information systems from the 1990s to the present. This shift compromises earlier models of political cinema and results in a modern political cinema based on the fragmentation of political publics and the formation of new political exigencies. Two films set in Algeria will be used to document this shift in political modes, in a move towards the modern political cinema: Battle of Algiers and Outside the Law (Hors-la-loi, Rachid Bouchareb, 2010 ).
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Wolfram, Barbara, Christina Wintersteiger, Elena Meilicke, Nina Kusturica, and Claudia Walkensteiner-Preschl. "Confronting Realities – First Steps Working on Cinematic Autosociobiographies." International Journal of Film and Media Arts 5, no. 2 (November 13, 2020): 100–123. http://dx.doi.org/10.24140/ijfma.v5.n2.06.
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This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of social class and larger historical developments. Over the course of 10 months a multi-level project was designed and conducted to explore the format of cinematic autosociobiographies within the course “Research Project II” of MA and BA Students for Directing, Script Writing as well as Film and Media Studies. A group of 8 external performers from various backgrounds joined the project. The project was designed on four levels: Level (1) of Autosociobiographical Exploration that created three exploration groups with varying composition – 14 artist researchers/ film and acting students from Europe, refugee artists from Iran and Syria - to explore, make accessible and contextualize one’s sociobiography. Level (2) of Cinematic Forms and Techniques intended to develop narratives, cinematic techniques and formats of cinematic autosociobiographies - 2 short films were produced in that context that show the diversity of cinematic form and content on the levels of visuals, framing, audio, editing as well as in the narrative and the narrative development. Level (3) of Interdisciplinary and Theoretical Contextualization intended to build a strong interconnection between artistic, theoretical and interdisciplinary research about social class, cinematic forms and collaborative strategies of film production. Level (4) of Reflection and Evaluation intended to create a reflective framework, especially focusing on the collaborative aspect of filmmaking, ethical aspects of working with autosociobiographies and of researching/ creating in an intimate way in an academic environment. Cinematic autosociobiographies have shown to provide unique artistic research approaches and tools to convey collective movements, to find relations between different realities as well as creating ways of making them accessible. Further research is still needed and planned.
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Barnard, Timothy P. "Sedih sampai buta : Blindness, modernity and tradition in Malay films of the 1950s and 1960s." Bijdragen tot de taal-, land- en volkenkunde / Journal of the Humanities and Social Sciences of Southeast Asia 161, no. 4 (2009): 433–53. http://dx.doi.org/10.1163/22134379-90003703.
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In the 1950s and 1960s Malaya/Malaysia was undergoing a tremendous amount of social change. One method of examining how this period was understood is through Malay film. A number of Malay writers and activists found work in the vibrant film industry of the Peninsula, which was centred on Singapore at the time, and proceeded to infuse many of the films with their ideas, hopes, and understandings of the society they saw around them. As part of these developments, and perhaps due to the phenomenon of repetition, blindness became a metaphor in a number of films to address the issue of modernity and tradition, and the tension between rural and urban. In films produced in the early 1950s blindness occurs among kampung-based characters, or among supporting players within the larger drama. Their blindness is usually caused or compounded by a sadness in their lives. In these films, an urban-based character attempts to arrange for an operation that will remedy the condition, but only after a character has had to deal with the underside of modernity. The use of blindness as a trope for moral/ethical failure is alien to traditional Malay culture. Thus, its use and repetition represent the external influences and ideas of modernity in Malay filmmaking of the period. While the city was frightening, it held the possibility of change for the better. Characters in these films had to deal first with the negative sides of such a life, but if they retained the positive traditional values of Malay culture, all would be well. By the early 1960s, however, after the promise of independence had transitioned to debates over merger, identity, and economic and social disruption, the metaphor of blindness had also shifted. Although technologycould cure the condition, the world that accompanied this technology was one that was unbearable. Unlike the earlier supporting characters facing a sightless life, it was now the main character who becomes blind in a manner that is violent and irreversible. It was a world that promoted selfishness and materialism. Blindness now became an act of mutilation, not a symbol of sadness but one of alienation.
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Butchart, Garnet C. "What can a philosophy and ethics of communication look like in the context of documentary filmmaking?" Semiotica 2014, no. 199 (January 1, 2014). http://dx.doi.org/10.1515/sem-2013-0119.
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Nordkvelle, Yngve. "Editorial: Vada a bordo." Seminar.net 8, no. 1 (November 17, 2012). http://dx.doi.org/10.7577/seminar.2398.
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Journalists report that the expression from the Italian coast guard officer: “Vada a bordo” to the captain of the capsized “Costa Concordia”, has taken a new and wider meaning. Initially captured from a radio communication between the coast guard officer overlooking the process and the captain, it now has become a clear message from the people to their leaders about assuming the leadership they are appointed to have. In Italy, the concrete backdrop is the financial crisis, as it is in many countries affected by the same trend: a hyperactive economy based on greed and turbo capitalism. Globally, it also addresses the inabilities demonstrated by the main economic actors to get to grips with topics like the global warming, pollution and poverty. In education there is a call for “getting back in command” in a quite parallel meaning. In the European and Western educational domain, the trend is to ask less and less about moral and ethics in schooling and upbringing, and to ponder “competencies”, “qualifications” and “employability”. The effects of the Bologna process and its subsequent agreements, declarations and policy documents, have been that the ethical and moral aspects of education have diminished. Words alluding to the social and ethical responsibility of higher education institutions are being filtered away from the rhetoric of curricula, programmes and projects. A new language of learning and learning outcomes is replacing the conventional. One of the silly effects is that the taxonomy of learning outcomes for programmes for BA, MA and PhD programmes often contains descriptions that are less academically demanding than for secondary school. The occurrence of terms like “critical thinking” is less prominent in higher education than of secondary schools in some instances. This development is so much in contrast to what the renown philosopher Ronald Barnett claim is the most challenging task for higher education: to develop courage and judgement in students to cope with uncertainness and conflicts in the supercomplex society:The student’s being has to take centre stage. Feeling uncertainty, responding to uncertainty, gaining confidence to insert oneself amid the numerous counter-claims to which one is exposed, engaging with the enemy, and developing resilience and courage: these are matters of being. Their acquisition calls for a revolution in the pedagogical relationships within a university. (Barnett 2000, s.170-171).Please, politicians for higher education, “VADA A BORDO!”The PapersIn this issue we bring five articles – a Russian and German paper, one Austrian, one Danish and Swedish, one Danish and a Norwegian paper. In diverse ways they all address concerns that relate to changes in knowing and how knowledge is acquired.Thommy Eriksson, of Chalmers University of Technology, Sweden, and Inge Ejby Sørensen, of Copenhagen University, are both bold pioneers in their diligent work presented in the paper “Reflections on academic video”. Their ambition is to establish an academic journal for visual publications, predominantly videos. They present us for the paradox that a substantial number of academics teach visual subjects, video analysis and video production, and yet rarely disseminate and mediate via audiovisual media. They argue that documentary theory and semiotics are two critical traditions in academia that will provide the conventional credentials for establishing a new academic genre. In the journal “Audiovisual thinking” we can follow an exciting new and path breaking way of academic discourse.In the paper “Storytelling – EDU: Educational – Digital – Unlimited? Theo Hug of the University of Innsbruck, raises the question of “Digital Storytelling” as a genre for educational purposes. He acknowledges that students are often very competent in using media and are well prepared to go beyond “writing” as a monomedial activity. The paper reflects on various understandings of the phenomenon and highlights some conceptual problems and limitations of Digital Storytelling in educational contexts.The third paper in this edition addresses students and their use of information technologies in Russia. Alexander Porshnev, of National Research University, Nogorod, Russia and Hartmut Giest, of Potsdam University, Germany, authors of “University Students’ use of Information and Communication Technologies (ICT) in Russia: A Focus on Learning and Everyday Life”” present results derived from a comparative analysis of German and Russian students. They discuss the variance and diversity of ICT use in Russian Higher education and addresses contemporary problems in this context.The Norwegian nursing educators Edda Johansen, Thomas Harding (also Australian) and Tone Marte Ljosaa introduce us to “Norwegian Nurses Experiences with Blended Learning: An evaluation study”. They are affiliated to the Buskerud University College and are concerned with developing fruitful and effective learning environments. In their study they focus what eventually gave nursing students confidence and a proper foundation for lifelong learning. The paper takes us on a journey to identify a best practice of blended learning.Finally, Heidi Phillipsen of the university of Southern Denmark, asks the question how it can be possible to make an entire short film in only 48 hours? The paper: “Scaffolded filmmaking in PlayOFF: A playground for worldwide film experiments” describes a particular method developed for producing films. It was initially a hallmark of modern Danish film production and has been refined and explicated by Heidi Philipsen, and then applied to the online film contest PlayOFF in Odense, a regional capital of Fyn, Southern Denmark. The paper addresses how scaffolding filmmaking affects creativity and how the experiences from two film contests may apply to an educational context.Barnett, Ronald (2000) Realizing the university in an age of supercomplexity Buckingham : Society for Researchinto Higher Education & Open University Press