Relevant bibliographies by topics / First person documentary

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'First person documentary'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "First person documentary"

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Rieser, Klaus. "First-Person Documentary Film and Self-Life Narration." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 144–47. http://dx.doi.org/10.47060/jaaas.v1i1.75.

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In lieu of an abstract, here is the first paragraph of this forum contribution: My contribution to this forum on life writing contemplates life narrative practices in documentary film and proposes two theses that also bear relevance for other fields and media under discussion here. Firstly, it problematizes the concepts of autobiography and life writing for their applicability to (documentary) film, arguing with Alisa Lebow for a notion of "first person film."[1] Secondly, it contends that representations of the self in documentary film are more appropriately comprehended as a discourse rather than a genre.
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Hariharan, Veena. "Representations of violence in the first-person documentary: Archival footage and documentary consciousness." Studies in South Asian Film & Media 6, no. 1 (April 1, 2014): 45–59. http://dx.doi.org/10.1386/safm.6.1.45_1.

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Naaman, Dorit. "Unruly Daughters to Mother Nation: Palestinian and Israeli First-person Films." Hypatia 23, no. 2 (June 2008): 17–32. http://dx.doi.org/10.1111/j.1527-2001.2008.tb01183.x.

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This article examines the Israeli documentary My Land Zion and the Palestinian documentary Paradise Lost. Both films are critical autobiographical texts and in both, the woman filmmaker negotiates her emotional and ideological ties with her culture, history, and nation. Naaman proposes that by using the autobiographical genre and by engaging emotionally as well as rationally, the women filmmakers discussed offer a particular gendered position rebelliously outside nationalism and the place of women within it.
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Stőhr, Lorant. "Inside Job. First-person Documentary in Trauma Cinema: "Balkan Champion" (2006)." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 15, no. 24 (June 13, 2014): 5. http://dx.doi.org/10.14746/i.2014.24.1.

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Guo, Chunning, and Baishen Yan. "The story of first-person: Recovering autobiographical memory through the animated documentary Ketchup." Animation Practice, Process & Production 6, no. 1 (December 1, 2017): 115–36. http://dx.doi.org/10.1386/ap3.6.1.115_1.

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Joel Woller. "First-person Plural: The Voice of the Masses in Farm Security Administration Documentary." Journal of Narrative Theory 29, no. 3 (1999): 340–66. http://dx.doi.org/10.1353/jnt.2011.0045.

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Dovey, Jon. "Confession and the Unbearable Lightness of Factual." Media International Australia 104, no. 1 (August 2002): 10–18. http://dx.doi.org/10.1177/1329878x0210400104.

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This paper examines the changes in contemporary documentary practices, in particular the shift to a ‘first-person media’. By looking at certain types of first-person and confessional speech forms in factual television, I hope to offer a case study in how we might continue to distinguish between different kinds of program and to determine their relationship to the public sphere. The rise of first-person media can be seen as a response to the need for a public space in which ‘life world politics' and ‘emotional deomcracy’ are fundamental. The dispersal of intimate speech and confessional discourse is an expression of the changes that have occurred in our social and economic lives. This paper explores documentary and factul television's role in this process.
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Metres, Philip, and Mark Nowak. "Poetry as Social Practice in the First Person Plural: A Dialogue on Documentary Poetics." Iowa Journal of Cultural Studies 12, no. 1 (2010): 9–22. http://dx.doi.org/10.17077/2168-569x.1088.

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Hart, Adam Charles. "The Searching Camera: First-Person Shooters, Found-Footage Horror Films, and the Documentary Tradition." JCMS: Journal of Cinema and Media Studies 58, no. 4 (2019): 73–91. http://dx.doi.org/10.1353/cj.2019.0058.

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Robinson, Luke. "YU, Kiki Tianqi. 2019. ‘My’ Self on Camera: First Person Documentary Practice in an Indi." China Perspectives 2019, no. 4 (December 1, 2019): 54–55. http://dx.doi.org/10.4000/chinaperspectives.9757.

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Dissertations / Theses on the topic "First person documentary"

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Yu, Tianqi. "'My' self on camera : first person DV documentary filmmaking in twentyfirst century China." Thesis, University of Westminster, 2012. https://westminsterresearch.westminster.ac.uk/item/8z4xq/-my-self-on-camera-first-person-dv-documentary-filmmaking-in-twentyfirst-century-china.

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This project explores first person DV documentary filmmaking practice in China in the first decade of the twenty-first century. Building on existing studies of first person filmmaking in the West, which predominantly analyse filmic self-representation on the textual level, this study addresses two themes: the film text as an aesthetic and cultural object that constructs a self; and the filmmaking as a practice and a form of social participation, through which individual filmmakers as agents actively construct representations of their own selves and their subjectivities. Focusing on the work of nine filmmakers, including Yang Lina, Shu Haolun, Hu Xinyu, Wu Haohao, and Ai Weiwei, I argue that these films illustrate the makers’ individual selves as multi-layered and conflicted, situated in complex familial and social relationships, and in the changing relations between individuals and the state. In addition, this practice can be seen as a form of provocative social participation in the era of ‘depoliticised politics’, that stimulates important individual critical thinking and helps to form a new kind of political subjectivity, to reconstruct political value and reactivate the political space in China. These films and the filmmaking practice not only reflect some aspects of the changing concept of individual self in contemporary China, but can be seen as a generative and constructive process, that further contribute to the changing constitution of the individual subject in China. Through close textual analysis of this body of first person films and this filmmaking practice, I demonstrate features of the complex changing relations between the public (gonggong) and the private (siren) space, between the collective (jiti) and the personal (geren), and between the individual (geti) and the party-state (dangguo) in post-socialist China. The project aims to contribute to current debates in the international field of first person filmmaking, and to studies of contemporary China.
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Mourão, Catarina. "The Wolf's Lair : dreams and fragmented memories in a first-person essay film." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25710.

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This PhD by practice is an attempt to understand personal archives through filmmaking, and the kind of knowledge we can extract from them as well as how we can connect them to a wider social and political context. These questions are the core of my research and are explored in their different ways through both the film/practice and dissertation. I have chosen to make a film about my absent grandfather and his lost relationship with my mother during Fascist Portugal between the 1940s and the 1960s. Family archives have been largely used in films as a way of documenting realities, in the same way as any other public archival footage. In this instance, I tried to explore family and official archives acknowledging their contradictions and omissions with a view to finding a new “way of knowing” that is more closely connected to our emotions. I believe we all own a family archive regardless of its form. I named this archive “the subjective archive” and in it, I include physical archives such as paper documents, photographs and films, as well as a more intangible archive, which includes our memories, the stories we tell and listen to (oral history) and our dreams. The progression of the film is closely related to my journey as I become immersed in the story and learn things through many layers of archive documents. As a conclusion, I argue that these invisible elements of the subjective archive contain truth independent of their indexical nature, whereas physical documents can mislead us.
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Yoshisaki, Marcos Vinicius. "Ensaio em família: Bem vindos de novo São Paulo." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-05122018-113607/.

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A dissertação investiga possibilidades formais de articulação entre universos pessoais e processos históricos no campo da realização documentária em primeira pessoa. O ponto de partida são materiais e procedimentos advindos de um documentário de longa-metragem que atualmente desenvolvo, intitulado Bem vindos de novo. O filme aborda as experiências da minha família na imigração de nipo-brasileiros para o Japão, conhecida como \"fenômeno decasségui\". Nele, busco articular as experiências pessoais e familiares com aspectos mais amplos desse acontecimento histórico e social, de proporções internacionais, que atingiu, e continua afetando diretamente, cerca de 600 mil pessoas. Abordo três procedimentos formais empregados no filme: (1) a utilização de fotografias domésticas; (2) a elaboração da narração em voz over; (3) o emprego de filmagens históricas realizadas por Hikoma Udihara, colonizador e cinegrafista pioneiro da imigração japonesa no Brasil. Através do mapeamento de possibilidades formais relacionadas aos procedimentos em questão, busco identificar e analisar um conjunto de conceitos, de instrumentos críticos e teóricos, úteis para se pensar a articulação entre o íntimo e o histórico, o pessoal e o social, em documentários na primeira pessoa; em diálogo constante com aspectos concretos da realização cinematográfica.
This master\'s thesis investigates formal possibilities of articulation between personal universes and historical processes inside the first person filmmaking practice. The bases are materials and procedures related to a feature documentary film that I am now developing, called Welcome Back, Farewell (Bem vindos de novo). The film addresses my family experiences in immigration of Japanese-Brazilians to Japan, known as \"dekassegui phenomenon\". In the film, I try to articulate personal and familiar experiences with wider features of this historical and social event of international proportion, which reached, and still concerns directly to six hundreds thousand people. Three formal procedures of the film are covered: (1) the use of domestic photography; (2) the elaboration of the voice over narration; (3) the usage of historical footage produced by Hikoma Udihara, colonizer and pioneer amateur filmmaker of the Japanese immigration in Brazil. Through the organization of formal possibilities related with the previous procedures, the aim is to identify and analyze a group of concepts, of critical and theoretical devices, useful to think the articulation between the intimate and the historical, the personal and the social, within the first person documentary; in frequent contact with concrete features of the filmmaking practice.
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Lukovnikova, Anastasia. "No home movies: first person documentary." Master's thesis, 2018. http://hdl.handle.net/10362/57489.

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The review of the history and practice of first-person filmmaking and autobiographical documentary, as well as common strategies of self-representation, applied by filmmakers, is accompanied by several case-studies, that give a deeper perspective on the nature of a self-portrait, diary film, a portrait of a mother, a family investigation and an essay on film. First-person documentary films by Agnès Varda, David Perlov, Chantal Akerman, Chris Marker, Catarina Mourão, Alain Berliner are discussed in the context of postmemory, representation of everyday and death, deconstruction of the archive, performative strategies, cinephilia. To conclude, the experience of creating an autobiographical documentary by the author is shared, placing some of the questions raised earlier in the practical field.
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prutisto, thomas c. "Between Men: A First-Person Documentary Video." 2014. https://scholarworks.umass.edu/masters_theses_2/62.

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WANG, XUAN, and 王萱. "A Study of the Third-Person Effect versus the First-Person Effect in Environmental Issues—A Case of the Chinese Smog Problem Documentary "Under The Dome"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6fcpt7.

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碩士
輔仁大學
大眾傳播學研究所碩士班
104
In February of 2015, Chaijing’s documentary ‘Under the Dome’ touched people's nerves; and how to realize a win-win situation between economic development and environmental protection had once again become a fiercely hot topic among the Chinese society. With this background, the researcher of this paper tried to verify whether the ‘third-person effect’ and the ‘first-person effect’ existed and whether ‘Issue Involvement’, ‘Social Distance’ and ‘Environmental Consciousness’ would affect the ‘third-person effect’ and the ‘first -person effect’. Furthermore, behavioral aspects of the ‘third-person effect’ and the ‘first person-effect’ would also be taken into account. The behavioral outcomes in this study are people’s desire for regulation, behavior towards sharing, expressing opinions, and acting for environmental protection. This research adopted the online questionnaire survey to investigate web users who had watched the documentary. At last, 622 valid samples were collected. The results showed that the respondents tended to sustain third-person effect rather than first-person effect after watching the documentary. Meanwhile, after watching this documentary, the higher degree of involvement with smog problems and the stronger self-awareness of environmental protection the respondents had, the greater the first-person effect was. While third-person effect was more likely to emerge among the residents living in the regions of mild haze pollution, and these people had a tendency to think that the impact of the documentary on inhabitants suffering severe smog pollution was more significant than that on themselves. As for the interviewees, they held the opinion that the documentary had a greater impact on their fellow city-dwellers. In addition, the ‘first-person effect’ had significant influences on behaviors of perceiving need for regulation to protect the environment, sharing, expressing opinions, and acting for environmental protection among the sample of the ‘first-person effect’. Nevertheless, among the sample that the ‘third-person effect’ appeared, the ‘third-person effect’ only had significant influence on the behavior of supporting for blacking out such kind of documentary, while in respect of sharing, expressing opinions, and acting for environmental protection, such significances were not detected.
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Books on the topic "First person documentary"

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First person Jewish. Minneapolis: University of Minnesota Press, 2008.

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Salvestrini, Francesco, ed. La Basilica di San Miniato al Monte di Firenze (1018-2018). Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-295-9.

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Between the 11th and the 20th century, the monastery of San Miniato al Monte in Florence played a leading role in the religious and cultural life of the city. The volume analyses for the first time the historical and documentary evolution of this regular institute, famous almost only from the architectural and artistic points of view. The book focuses the period of the bishop’s patronage in the 11th century, when the monastery and some of its members emerged in the context of the ecclesiastical reform, and continues with the study of the the Olivetan monks community, during the 14th-16th centuries, to arrive at the important structural and functional, but also semantic, transformations of the monument between the 18th century and the contemporary times.
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Bastianini, Guido, and Simona Russo, eds. Comunicazioni. Florence: Firenze University Press, 2019. http://dx.doi.org/10.36253/978-88-6453-863-1.

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The thirteenth volume of Comunicazioni dell’Istituto Papirologico «G. Vitelli» is divided, as was the previous one, into three sections: 1. Editions and rieditions of texts; 2. Critical notes; 3. Chronique de lexicographie papyrologique de la vie matérielle. In the first section there are texts which are being published for the first time or which are subject to a revision and a new edition, both belonging to various collections. This section also includes the exhibition of an exceptional artefact from the Arab period, belonging to the Papyrological Institute «G. Vitelli»’s collection. The second section includes three contributions with careful palaeographic and linguistic observations on literary and documentary texts, and a fourth contribution offering an exhaustive summary of the publication state of an archive from the Institute's collection. Lastly, the third section, as consolidated by the previous volume of the Comunicazioni, collects several findings of the international research project on the lexicography of material culture (Lex.Pap.Mat.), documented in the language of papyri.
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The Cinema Of Me The Self And Subjectivity In First Person Documentary. Wallflower Press, 2012.

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Dovey, Jon. Freakshow: First Person Media and Factual Television. Pluto Press (UK), 2000.

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Freakshow: First Person Media and Factual Television. Pluto Press (UK), 2000.

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Cinema Of Me The Self And Subjectivity In First Person Documentary. Wallflower Press, 2012.

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Lebow, Alisa. Cinema of Me: Self and Subjectivity in First-Person Documentary Film. Columbia University Press, 2012.

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'My' Self on Camera: First Person Documentary Practice in an Individualising China. Edinburgh University Press, 2018.

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Yu, Kiki Tianqi. 'My' Self on Camera: First Person Documentary Practice in an Individualising China. Edinburgh University Press, 2020.

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Book chapters on the topic "First person documentary"

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Lebow, Alisa. "First Person Political." In The Documentary Film Book, 257–65. London: British Film Institute, 2013. http://dx.doi.org/10.1007/978-1-349-92625-1_29.

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Ros, Veerle, Jennifer M. J. O’Connell, Miklós Kiss, and Annelies van Noortwijk. "Toward a Cognitive Definition of First-Person Documentary." In Cognitive Theory and Documentary Film, 223–42. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_13.

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Kramer, Mette. "The Communication of Relational Knowledge in the First-Person Documentary." In Cognitive Theory and Documentary Film, 243–60. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90332-3_14.

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Piedras, Pablo. "The “Mobility Turn” in Contemporary Latin American First-Person Documentary." In Latin American Documentary Film in the New Millennium, 79–95. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_5.

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Aguilar, Gonzalo. "The Documentary: Between Reality and Fiction, between First and Third Person." In New Argentine and Brazilian Cinema, 203–15. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137304834_14.

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Gómez, Antonio. "Displacing the “I”: Uses of the First Person in Recent Argentine Biographical Documentaries." In Latin American Documentary Film in the New Millennium, 63–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-49523-5_4.

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Gómez, Antonio. "First-Person Documentary and the New Political Subject: Enunciation, Recent History, and the Present in New Argentine Cinema." In New Documentaries in Latin America, 45–58. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137291349_3.

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Morelló Baget, Jordi, Pere Orti Gost, Albert Reixach Sala, and Pere Verdés Pijuan. "A study of economic inequality in the light of fiscal sources: the case of Catalonia (14th-18th centuries)." In Disuguaglianza economica nelle società preindustriali: cause ed effetti / Economic inequality in pre-industrial societies: causes and effect, 145–67. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-053-5.13.

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This essay aims to present the first results of an ongoing research project devoted to study the evolution of the economic inequality in Catalonia based on different documentary sources and parameters. Here we focus on the strengths and limits of the rich fiscal sources preserved between the 14th and 18th century allowing us an analysis of inequality. This study is limited to the period before 1716 because we do not consider totally reliable connecting data from taxes before this moment, essentially focused on immovable wealth, with those from the Cadastre, which was levied on a wide range of incomes.
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Mecsei, Monica. "HYBRID FIRST-PERSON SÁMI DOCUMENTARIES:." In Arctic Cinemas and the Documentary Ethos, 302–21. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvcj2wqq.21.

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Borum Chattoo, Caty. "Revealing New Reality." In Story Movements, 1–25. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190943417.003.0001.

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The introduction chapter presents the lens of the book, providing the author’s unique vantage point as documentary producer, strategist, and scholar. It opens with a first-person narrative reflection from 2005, launching the book from her experience co-producing the advocacy documentary film, Wal-Mart: The High Cost of Low Price, with Brave New Films, which premiered alongside a national grassroots mobilization campaign. This chapter provides foundational definitions of documentary and an original articulation of shared characteristics of social-issue documentary storytelling in the networked era: editorial independence, commitment to truth, civic motivation, and entertainment value. This introductory chapter locates documentary within the contemporary networked media era, the backdrop of community-based activism and public engagement that happens in concert with many nonfiction stories. It culminates with a roadmap overview of the book, chapter by chapter.
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Conference papers on the topic "First person documentary"

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Marotta, Anna, Vincenzo Cirillo, Claudio Rabino, and Ornella Zerlenga. "Rappresentare l’architettura fortificata per narrare e valorizzare il territorio della frontiera alessandrina." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11473.

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Representing fortified architecture to narrate and enhance the Alexandrian territory borderThe Piemonte cultural territory is also characterized by the significant presence of complex defensive systems, grouped by types and orographic configuration. Specifically,this paper will address asystematic and unitary re-reading of the territory of the Alessandria area, which includes: the sixteenth-century Cittadella di Casale, of the Gonzagas; the Citadel of Alexandria (1732), by Giulio Ignazio Bertola; Valenza and its fortifications (from the “Spanish” period with interventions by Gaspare Beretta, also interested in the fort / Castello Tortona); that of Gavi (restored “in the modern” by Gaspare Maculano known as Fiorenzuola, the friar who condemned Galileo). Following thirty years international research, the objectives of the work are twofold: the first aims to physically connect in this system a “network” of thematically dedicated tourist itineraries, through documentary paths that reconstruct historical events, construction phases and transformation, (in similitude with the ECCOFORT project, in the province of Verona). Following other works, by the authors already dedicated to the Alexandrian, through the advanced 3D modeling (like the one carried out in the reconstruction of the fort of Gavi) the second objective of the present contribution will follow the same restoring and reconstructive procedure. Through digitalized anastylosis, even dynamized, the Castle of Tortona will be rebuilt on the basis –among other things– of the conspicuous documentation (dated 1799, the year of the Napoleonic siege, followed by demolition, in 1801) found at the Osterreichisches Staatsarchiv, Kriegsarchiv of Vienna. The critical reconstruction is now made possible thanks to the precious wealth of knowledge, matured over the decades by Marotta, Zerlenga, Abello: with (indexed) data, including metrics, graphics and visual returns. Drawing between real and virtual, it will be possible to reconnect individual episodes, comparable and critically selected information, by means of congruently connected interventions, both physically and digitally. Finally, in a project of knowledge, conservation and valorisation, the “local” dimension dialogues and integrates with the European dimension.
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Aszo´di, Attila, Bogda´n Yamaji, Judit Silye, and Tama´s Pa´zma´ndi. "Expedition to the 30-km Chernobyl Exclusion Zone and the Utilization of Its Experience in Education and Communication." In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89510.

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Between May 28 – June 4, 2005, under the organization of the Hungarian Nuclear Society (HNS) and the Hungarian Young Generation Network (HYGN) — which operates within the framework of the HNS — a scientific expedition visited the Chernobyl Nuclear Power Plant and the surrounding exclusion zone. The participants were young Hungarian nuclear professionals supervised by more experienced experts. The main scientific goals of the expedition were the followings: • Get personal experiences in a direct way about the current status of the Chernobyl Power Plant and its surroundings, the contamination of the environment and about the doses. • Gather information about the state of the shut down power plant and the shelter built above the damaged 4th unit. • Training of young nuclear experts by performing on site measurements. The Hungarian expedition successfully achieved its objectives by performing wide-range of environmental and dosimetric measurements and collecting numerous biological and soil samples. Within the 30-km exclusion zone the influence of the accident occurred 20 years ago still could be measured clearly; however the level of the radioactivity is manageable in most places. The dosimetrical measurements showed that no considerable exposure occurred among the members of the expedition. The analysis of samples has been started at the International Chernobyl Center in Slavutich. During the expedition not only environmental sampling and in-situ measurements were carried out but it was also well documented with photos and video recordings for educational, training and PR purposes. A documentary TV film was recorded during the expedition. The first-hand knowledge acquired during the expedition helps the authentic communication of the accident and its present-day consequences, which is especially important in 2006, 20 years after the Chernobyl accident. Since Ukraine and Hungary are neighbor countries the media constantly discuss the accident, the consequences and the risks of using nuclear energy. In addition in November 2005 Hungary’s parliament approved plans to extend the lifetime of the country’s four-unit nuclear power plant. In order to have the crucial public support for nuclear energy it is very important to dispel unrealistic dismay and misbelieves regarding these questions. Thus it is extremely beneficial to have a film on this topic created by nuclear professionals especially for the public audience. In 2005 a book on the Chernobyl accident was published in Hungary that covers this expedition in a full chapter [2]. We plan to present the film to the audience of the conference.
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