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Dissertations / Theses on the topic 'Social documentary'
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1
Mendoza, Darwin Y. "Theorizing on Honduran Social Documentary." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1268429222.
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Adams, Jeff. "Documentary graphic novels and social realism." Oxford Bern Berlin Bruxelles Frankfurt, M. New York, NY Wien Lang, 2003. http://d-nb.info/990541126/04.
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3
Akoglu, Ozge. "Mock-documentary: Questioning Of Factual Discourse Of Documentary." Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/12612982/index.pdf.
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This study aims to examine the relation between mock-documentary and factual discourse of documentary. By factual discourse it is meant to documentary&rsquos claim of representing reality. Within this respect, documentary has its own particular codes and conventions to construct its factual discourse. Mock-documentary, simulates these codes and conventions to create a fictional world. In this study, mock-documentary and its relationship with the most popular modes of documentary is examined. Within this study the earliest examples of mock-documentary and recent examples of the form are compared, and it is stated that with the recent examples of the form the critical approach of mock-documentary has been reduced.
4
Largent, Julia E. "Documentary Dialogues: Establishing a Conceptual Framework for Analyzing Documentary Fandom-Filmmaker Social Media Interaction." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1497547704340843.
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5
Gaudenzi, Sandra. "The living documentary : from representing reality to co-creating reality in digital interactive documentary." Thesis, Goldsmiths College (University of London), 2013. http://research.gold.ac.uk/7997/.
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This thesis concentrates on the emerging field of interactive documentaries. Digital interactive and networked media offer so many new possibilities to document reality that it is necessary to define what an interactive documentary is and whether there is any continuity with the linear documentary form. This research therefore proposes a definition of interactive documentaries and a taxonomy of the genre based on the idea of modes of interaction – where types of interactions are seen as the fundamental differentiator between interactive documentaries. Interactivity gives an agency to the user – the power to physically “do something”, whether that be clicking on a link, sending a video or re-mixing content - and therefore creates a series of relations that form an ecosystem in which all parts are interdependent and dynamically linked. It is argued that this human-computer system has many of the characteristics associated with living entities. It is also argued that by looking at interactive documentaries as living entities (Living Documentaries) we can see the relations that they forge and better understand the transformations they afford – on themselves and on the reality they portray. How does an interactive documentary change while it is being explored/used/co-created? To what extent do such dynamic relationships also change the user, the author, the code and all the elements that are linked through the interactive documentary? Those questions are discussed through the use of case studies chosen to illustrate the main interactive modes currently used in interactive documentaries. This thesis is a first step in exploring the multiple ways in which we participate, shape and are shaped by interactive documentaries. It argues that interactive documentaries are ways to construct and experience the real rather than to represent it.
6
Van, Laanen Michael Whitney. "The pose of neutrality in social documentary films." Thesis, Montana State University, 2010. http://etd.lib.montana.edu/etd/2010/van_laanen/Van_LaanenM0510.pdf.
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From the outset, documentary filmmakers have sought to achieve the unobtainable goal of re-presenting reality in a purely objective manner. What began with an attempt to document a dying/evolving culture in Flaherty's Nanook of the North led to a century of debate about how closely documentary film could come to achieving the ultimate goal of representing our historical and social world accurately, objectively, and truthfully. The stem cell research debate has produced three documentaries that illustrate two models of filmmaking process: engaged filmmaking and non-engaged filmmaking. Within these two models, the filmmaker may utilize certain aesthetic techniques of vision and voice that reveal subjective manipulation. I intend to show how the rhetoric of the filmmaker presides over the content even when he presumes to maintain an objective stance.
7
Gwaze, Alex. "Public mirror: legitimizing 'social' photography as a contemporary discipline." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29561.
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With all the public information about any famous person, topic or event 'googleable’ on the Internet, there seems to be nothing new for 'digital natives’ to discover other than the elusive Self. The Self is the 'new frontier’ and the smartphone camera is at the forefront of this quest, unearthing and exhibiting different kinds of content everyday. With over 95 million photographs and videos shared on Instagram daily; Photography has merged with social networking sites and applications (SNS/A) to become a recognisable phenomenon called – 'Social’ Photography. Despite its rich association with legitimate visual art-forms and numerous scholarly articles examining it’s various forms – the term 'Social’ Photography is unfamiliar to most. This inquiry discusses 'Social’ Photography in relation to existing literature to argue for its establishment as a legitimate discipline within the Creative Arts. By acknowledging its subjectivity and utilization of digital technologies, this study employed an interpretive group of methods and identified six characteristics of 'Social’ Photography – namely, (i) Activity, (ii) Participation, (iii) Identity, (iv) Glamour, (v) Protest, and (vi) Spectacle – that exemplify its capacity to curate a meaningful democratic public image. These six aspects can be used to categorize and formalize individual behaviour that can be analysed and interpreted to foster a better understanding of 'Social’ Photography as a discipline.
8
Scott, Alistair James. "Raploch Stories : continuity and innovation for television documentary production." Thesis, Edinburgh Napier University, 2013. http://researchrepository.napier.ac.uk/Output/7245.
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This thesis provides an ‘insider account' of the process of making contemporary ‘observational' documentaries from within the broadcasting industry. Raploch Stories (2002) and Raploch Stories Revisited (2007) are seven television documentary programmes written, produced and directed by me for BBC Scotland. This critical appraisal examines the pathway from the formulation of the creative idea, through project research and development, filming, post-production, delivery and transmission, in order to assess and demonstrate the originality of these published works. This is supported by a reflexive commentary which examines the influence of the wider ‘community of practice' on my development as a film-maker. The study identifies ways in which these films demonstrate innovation and progress in technology and production methods, and examines the development of new hybrid forms of programming in the television documentary genre. These new developments are placed in the context of the history of the documentary film, and the on-going academic debate about the definition of the genre and the question of whether it is possible to achieve an authentic record of real life. By comparing Raploch Stories with other examples of social documentary film-making, such as Housing Problems (1935), Lilybank (1977), Wester Hailes – the Huts (1985) and The Scheme (2010), the thesis analyses how films in this sub-genre have evolved and assesses the ways in which there has been continuity in content and in the approach to filming. Finally, the thesis seeks to establish the significance of the published works and to demonstrate how these programmes contribute to the development of documentary television production in Scotland, and to the representation of Scottish working-class communities by the media. Through the reflexive examination of creativity, practice, production, textual interpretation, cultural impact, institutional history, and policy and regulation, the thesis provides a critical perspective on these overlapping areas of knowledge.
9
Nelson, Jodi. "Digital technologies, social media and emerging, alternative documentary production methodologies." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54595/.
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My research is a practice-based project involving documentary production and theoretical analysis of emerging forms of documentary and online co-collaboration, exploring paradigm shifts in digital technology particularly in the web-based feminist activism and feminist social praxis. The practice-led research explores new forms of production practices outside traditional methodologies and dissemination. Specifically, by utilizing cheap digital technology tools and working within online social networking platforms the research theoretically analyses what means were available towards online participatory media practices to create new documentary forms. My research aims are therefore to investigate how the new paradigm shifts in digital technology and the democratization of the filmmaking process, through online, collaborative practice, can allow women documentary filmmakers to connect to a global marketplace outside the traditional filmmaking channels. Further, looking at the history of the documentary form, as well as the feminist movement, I am interested in which of the key themes and debates that have characterized their intersection are still important at this moment of changing and emerging technologies. Can new technologies, access to cheap digital tools and collaborative modes of practice help or hinder the creative process of making a digital documentary? In examining the history of feminist filmmaking and the emerging documentary shifts in production offered the opportunity to position my own practice within these traditions and experiment further with online forms of modality. This experiment allowed me to gather empirical data using new media practices (i.e. creation and curation of online and repurposed content, use of new production tools within online spaces) to create a first person, auto-ethnographic narrative on the subject of feminism and online activism. Additionally, my research looks at the theoretical and historical underpinnings surrounding feminist filmmaking, new documentary practices and its implications within new technologies, and the emerging forms of collaborative online modes of practice. Each of these areas will intersect within the three key areas of debate surrounding documentary filmmaking; those of 1) narrativity, 2) witness and 3) ethics. My practice investigates these interactive, participatory modes created with emerging technologies and online audiences and how this is shifting narratives, audience reception and producing new ethical debates around ‘truth' and ‘authenticity' as these lines are continually blurred. Rethinking documentary in the virtual space brings about new challenges to the old debates around evidence, witness and ethics, as it is the product of a more democratic attitude towards practice, distribution and dissemination of its stories. New participatory audiences are now also helping to create the very product they are witnessing. Therefore, creating media within the public sphere can bring about a wealth of new tools, wider contributions to media making and a more global awareness of its dissemination. But it is not without its controversy and challenges. Further, my research looks at how working within this co-collaborative mode, the position of filmmaker as the ‘sole' creator or ‘auteur' comes into question. It discuses the advantages and/or the disadvantages to this approach and in doing so looks at what contributions and challenges an online audience can provide to support the filmmaker that cannot be gained through historical and traditional production and exhibition forms. What once was a higher barrier to entry into the film business is now a more open and online accessibility where anyone can wield a cheap camera or mobile phone device, make a movie and share it on the internet. These newfound democratic practices could potentially disrupt an already complex system of communication practices. However, it could also supply it with a much-needed collective idea bank for tackling global issues and finding sustainable solutions. Within the scope of participatory practices, a first person filmmaker can experience the greatest of democratic freedom within the confines of this process and delivery. The research is supported and conducted through a practice-led film project, web support platform (including blog and social media sites) and published case study. The final output film project around which these questions are posed is entitled: “Single Girl in a Virtual World: What does a 21st Century Feminist Look Like?”. The film's purpose is therefore to engage an online global audience of participants and contributors to the film's narrative thread by asking for contributions within the production, creation and financing of the documentary film. The practice utilizes social networks, crowd funding initiatives, web blogs, viral video, virtual chat interaction and traditional modes of documentary practice in its methodology in an effort to collect data surrounding activity and attempt to answer my research questions at large. The overall objective is to create an online documentary film that exemplifies feminist activism in a new frame through application of documentary modes and new emerging digital media practices.
10
Chesher, Andrew. "Seeing connections : documentary as an intervention in the social world." Thesis, University of the Arts London, 2007. http://ualresearchonline.arts.ac.uk/2303/.
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This thesis examines the nature of the relationship between documentary and social practices. In particular it seeks to develop and theorise a mode of documentary practice in which social practices in general are dialogised rather than represented. I characterise social practices as consisting of a largely tacit consensus in ways of acting and understanding. This consensus is, I argue however, inherently open to re-evaluation and re-articulation in practice itself; and it is as part of rather than as a representation of-such processes that dialogical documentary operates. In the written thesis, which discusses a number of specific documentaries in relation to their overall approach to practices, I argue for a mode of documentary based not in representational strategies of external observation and objective overview, but rather in the dialogising of moments of practice. An act that has been dialogised is revealed as involving a degree of ambiguity or heterogeneity-and hence the possibility of a re-evaluation, i. e., re-negotiation of practices themselves. For dialogical documentary objective representation is neither means nor goal; on the contrary tendential intervention becomes a legitimate and central method-both in the local situation, where the filmmaking process provokes behaviour and reflection rather than merely recording it; and on the level of public discourse, to which the documentary raises particular instances of practice by enunciating them, or allowing them to be enunciated, within a discursive field. These concerns are directly reflected in the main practice element of the thesis-a documentary project exploring the rehearsal of a piece of music by Christian Wolff called Changing the System (1973). This exploration is based around the score of the piece, which, offering different possibilities for its realisation, both on the macro and micro level, requires explicit dialogical interaction between the players.
11
Daley, KaRyn Elizabeth. "The Role of Documentary Film in the Emerging Social Entrepreneurial Culture." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/5663.
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Considering the current skepticism surrounding the impact and efficacy of nonprofit and nongovernmental organizations, some believe that a unique category of innovator known as the social entrepreneur may be society’s best hope for bringing innovative, scalable, and systemic solutions to bear on the world’s most intractable problems. Social entrepreneurs, as defined by Ashoka, have a unique set of characteristics that determine not only how they move within the world of social change-making but also how they communicate their ideas and mission to the public.
This exploratory study reviewed how social entrepreneurs currently use documentary film and visual media in their communications strategy and public relations practice, what that tells us about the emerging culture of social entrepreneurs, and whether documentary, as defined by John Grierson, is an appropriate tool for these organizations. The author interviewed three founders, three communications professionals, and three filmmakers associated with social entrepreneurial organizations and observed a course for student filmmakers learning to make documentaries for social entrepreneurs. The findings of this study suggested that social entrepreneurs used documentary film as a communications tool when it aligned with their stated missions and goals but that cost, time, and control were significant barriers to implementation. Additionally, social entrepreneurs in all phases of development exhibited a unique set of cultural characteristics that interacted with the intent, content, and effect of their films in both positive and negative ways. The author also noted three distinct levels of filmmaker involvement with social entrepreneurial organizations that impacted the intent, content, and effect of their respective films. These levels of involvement are described as collaborative, independent, and interdependent.
While the author offers some provocative observations about the role of documentary in social entrepreneurial organizations, this study remains exploratory in nature. She suggests several additional avenues of research that may further the scholarly conversation and continue to shed light on documentary film as communication for and by social entrepreneurs.
12
Turok, Karina. "Social skin : initiation through the bodily transformation of four South African women : an exploration using documentary photography." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/17244.
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Bibliography: p. 92-93.My work questions social and cultural constructs of 'normality' and, by focusing on the practices of marginalised communities, questions dominant cultural conventions of female identity, beauty and sexuality. Within visual media, if the private or unsaid of female experience is said, it is seen as subversive. By focusing on four female initiations, my intention is to develop a specific yet complex comparison of different types of initiations. Embedded within the communities I have photographed are unique perceptions of beauty, each of which differs from mainstream notions. My intention is not to exoticise any particular community, but to explore some sub-cultures of female youth in South Africa, and to unfold how these women position themselves in post-Apartheid South Africa. An important component of the work is the relationship of the subject to the documentary process. I hope both to raise questions and also provide some answers concerning how the means of signification functions for the subjects. As the photographer of their transformation process, I am positioned as an outsider in their lives. As a means of acknowledging this, I include a series of photographs taken or directed by the women themselves, alongside my own. In doing so, my intention is to create a visual dialogue with the subjects, effectively offering them the opportunity to reply to my images with their own. This is not meant as a patronising gesture of political correctness, but as a means of attaining a more complete narrative while at the same time exploring complexities inherent in the play between 'inside' and 'outside' perspectives. My editing of their self-portraits positions me as a curator in this facet of the project.
13
Mitropolous, Maria. "Regimes of truth: Documentary photography in the margins." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/106899/1/T%28CI%29%2082%20Regimes%20of%20truth.pdf.
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This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised. The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience.
Among the theoretical ISsues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism.
The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmanuel Levinas' philosophy of the Other with a Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as. In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Administration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
14
Chisin, Alettia Vorster. "Moments, memories, meanings: a narrative documentary lives experience in social design education." Thesis, Cape Peninsula University of Technology, 2012. http://hdl.handle.net/20.500.11838/1335.
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Thesis submitted in fulfilment of the requirements for the degree
Doctor of Technology: Design
in the Faculty of Informatics and Design
at the Cape Peninsula University of Technology, 2012The aim of the research is to explore design education and designing as social practice; working with and for others to inform a more sustainable and meaningful future. Ways in which the lived experience of participants in the discipline of design, in the culturally diverse university and community contexts can be harnessed for social benefit, are interrogated. Themes are explored around the value of different world views and forms of knowing in design education to inform design research, in order to extend the knowledge paradigm to include lived experience not only as site of knowledge formation, but also of wisdom acquisition. The thesis presents an amalgamation of professional practice, creative practice and narrative set in qualitative research methods appropriate to the designer and artist who desire to work with lived experience in the academic context. Lived experience informs all we do and each educational event and encounter ought to be appraised and responded to in a contextually sensitive way. An important aspect flowing from this amalgamation is the recognition and analysis of the coexisting relationships of the roles inhering in the educator and the student. In order to immerse oneself in research and teaching, all aspects of the process have to be lived and filtered through the senses. This implies resisting abstractions by grounding research, teaching, design and making in the experience of the moment. The original contribution of this research then, is the synthesis of design, art and narrative writing that accompanied in a parallel line, the academic writing process to culminate in this design folio — a testament to grounding the research project in practice. Pedagogical approaches and lived experience embodied as recontextualised expressions in design teaching, supervision and creative practice, are presented in the folio. The boundaries of qualitative methods were tested with narrative and life writing, autoethnography, poetry, studio observations, extensive journalling, drawing, photography and printmaking processes. The results showed that a phenomenology of the senses in creative work, and locating the designer in her or his biography, is where original and imaginative design resides. Social and cultural aspects are some of the foundation stones of design education and ought to be informants of the creative process until the finish. Furthermore, authentic openness is required in supervision and teaching to facilitate deep listening, interpretation, intuition and “in-seeing” in educational encounters. Finally, being an active creative practitioner in design teaching is as important if not more important than content knowledge in that discipline, since the active practitioner “becomes” the Other through the collective dimension of design work.
15
Le, Tallec Anne. "Le nouveau Documentaire Social : critique et renouveau du documentaire photographique américain sur la côte Ouest des Etats-Unis entre 1970 et 1980." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010542.
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Un groupe d'étudiants rassemblés par des idéaux artistiques se forme à l'Université de Californie San Diego dans la décennie 1970. Fred Lonidier, Martha Rosier, Allan Sekula et Phel Steinmetz, résolument tournés vers la photographie, élaborent une pensée collective sans toutefois former un groupe officiel. Pourtant, le partage d'une émulation propre à la côte Ouest du pays et à l'université où la pensée de figures tutélaires comme D. Antin, H. Marcuse, J. Baldessari, B. Brecht, H. Lefebvre ou H. Haacke stimule collectivement les esprits, confère aux méthodes et démarches des photographes une résonnance de groupe. En plus, Documentary and Corporate Violence, texte rédigé par A Sekula en 1976, utilise le terme de petit groupe pour qualifier les photographes. Ce texte auquel nous attribuons le statut de manifeste, critique la lecture moderniste des photographes documentaires américains traditionnels. Il expose également les attitudes mises au point par le groupe que nous identifions sous le nom de Nouveau Documentaire Social. Parmi celles-ci se distingue une pratique photographique documentaire ouverte à d'autres médium, une forte présence textuelle, des scénographies et circuits d'exposition repensés, des audiences élargies, un intérêt pour des thématiques ancrées dans l'actualité militante, ou encore un regard vers le quotidien et le banal comme témoins des bouleversements des schémas sociétaux. Objet à déconstruire, la photographie moderniste et les institutions qui la célèbrent représentent une tradition documentaire à renouveler. Ce contexte de remise en question collective et les propositions documentaires qui en sont issues constituent l'objet de cette étudeA group of students gathered around shared artistic ideals comes to life at University of California San Diego in the nineteen-seventies. Fred Lonidier, Martha Rosier, Allan Sekula and Phel Steinmetz, ail firmly focused on photography, elaborate a collective thought albeit never actually founding an official group. However, a shared emulation endemic to the West Coast and to the university where ideas birthed by leading thinkers such as D. Antin, H. Marcuse, J. Baldessari, B, Brecht, H Lefebvre or H. Haacke collectively stimulates the minds of those around, adds a certain group resonance to the photographers' methods and processes. Furthermore, Documentary and Corporate Violence, a text written by A Sekula in 1976, uses the term small group to refer to the photographers involved This text - to which we give the status of manifesto - criticizes the modernist reading of traditional american documentary photographers. It also exposes the attitudes developed by this group which we coin as New Social Documentary. We will distinguish one of these attitudes from the others : a documentary photographic practice which opens itself to other media, displays a strong textual presence, newly-thought scenography and exhibition paths, widened audiences, an interest in themes strongly anchored in contemporary activism, and which transforms what was so far considered as banal and mundane into testimonies of profound changes in societal structure. Modernist photography, an object to deconstruct, as well as the institutions that celebrate it represent a documentary tradition which needs to be renewed. The new documentary propositions along with the context of collective questioning from which they derive constitute the object of this study
16
Ackerman, Catherine. ""Because social issues should be addressed" /." Online version of thesis, 1991. http://hdl.handle.net/1850/10916.
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17
Kessy, Regina. "Decoding the donor gaze : documentary, aid and AIDS in Africa." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/23747/.
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The discourse of ‘the white man’s burden’ that originated in the nineteenth century with missionaries and colonialism still underpins much of the development ideology towards Africa today. The overwhelming assumption that rich Western countries can and should address ‘underdevelopment’ through aid only stigmatizes African reality, framing it to mirror the worldview of the international donors who fund most non-profit interventionist documentaries. In the ‘parachute filmmaking’ style that results, facilitated by financial resources and reflecting the self-serving intentions of the donors, the non-profit filmmaker functions simply as an agent of meaning rather than authentic author of the text. Challenged by limited production schedules and lacking in cultural understanding most donor-sponsored films fall back on an ethnocentric one-size-fits-all template of an ‘inferior other’ who needs to be ‘helped’. This study sets out to challenge the ‘donor gaze’ in documentary films which ‘speak about’ Africa, arguing instead for a more inclusive style of filmmaking that gives voice to its subjects by ‘speaking with’ them. The special focus is on black African women whose images are used to signify helplessness, vulnerability and ignorance, particularly in donor-funded documentaries addressing HIV/AIDS. Through case studies of four films this study asks: 1. How do documentary films reinforce the donor gaze? (how is the film speaking and why?) 2. Can the donor gaze be challenged? (should intentionality always override subjectivity of the filmed subjects?) Film studies approach the gaze psychoanalytically (e.g. Mulvey 1975) but this study focuses on the conscious gaze of filmmakers because they reinforce or challenge ‘the pictures in our heads.’ Sight is an architect of meaning. Gaze orders reality but the documentary gaze can re-order it. The study argues that in Africa, the ‘donor gaze’ constructs meaning by ‘speaking about’ reality and calls instead for a new approach for documentary to ‘speak with’ reality.
18
Stacchio, Lorenzo. "Detecting social patterns within 20th century documentary photos: a deep learning based approach." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/21552/.
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The job of a historian is to understand what happened in the past, resorting in many cases to written documents as a firsthand source of information.
Text, however, does not amount to the only source of knowledge. Pictorial representations, in fact, have also accompanied the main events of the historical timeline. In particular, the opportunity of visually representing circumstances has bloomed since the invention of photography, with the possibility of capturing in real-time the occurrence of a specific events.
Thanks to the widespread use of digital technologies (e.g. smartphones and digital cameras), networking capabilities and consequent availability of multimedia content, the academic and industrial research communities have developed artificial intelligence (AI) paradigms with the aim of inferring, transferring and creating new layers of information from images, videos, etc.
Now, while AI communities are devoting much of their attention to analyze digital images, from an historical research standpoint more interesting results may be obtained analyzing analog images representing the pre-digital era.
Within the aforementioned scenario, the aim of this work is to analyze a collection of analog documentary photographs, building upon state-of-the-art deep learning techniques.
In particular, the analysis carried out in this thesis aims at producing two following results: (a) produce the date of an image, and, (b) recognizing its background socio-cultural context,as defined by a group of historical-sociological researchers.
Given these premises, the contribution of this work amounts to: (i) the introduction of an historical dataset including images of “Family Album” among all the twentieth century, (ii) the introduction of a new classification task regarding the identification of the socio-cultural context of an image, (iii) the exploitation of different deep learning architectures to perform the image dating and the image socio-cultural context classification.
19
Mitropoulos, Maria Michael. "Regimes of truth : documentary photography in the margins." Queensland University of Technology, 2003. http://eprints.qut.edu.au/16077/.
Full textAbstract:
This thesis consists of two parts. The first is a series of photographic essays documenting the lived experience of a woman who is HIV positive and a group of young females who are socially marginalised.
The written component attempts to underlabour in a philosophical sense for the artistic/creative element of the thesis. That is, it seeks to take on a range of theoretical issues that cluster around the practice of documentary photography. By clarifying these issues the thesis endeavours to act as a stimulus to artistic practice and also to explain and introduce that practice to a wider audience.
Among the theoretical issues addressed is the ontological status of the documentary photograph. Here, the thesis draws upon Roy Bhaskar's Critical Realism to suggest a rational alternative to postmodernist scepticism and naive realism.
The thesis also takes on a range of ethical problems. Most important of these is the question whether the relationship between the photographer and her subject is inherently exploitative. The thesis attempts, in this case, to unite Emmauel Levinas' philosophy of the Other with Critical Realist Ethics. Here, the thesis advances a novel differentiation of the Other and combines this with the Critical Realist notion of ontological depth. The argument of the thesis is that the nature of the contract between the photographer and her subject depends on which Other the subject is regarded as.
In addition, the thesis explores the social and gender dimensions of documentary photography concentrating in particular on the Farm Security Admininstration photography in America in the 1930s, and the radical self-imaging of the British photographer Jo Spence and the Pop Star Madonna.
20
Kohle, Friedrich Herman. "Whose Documentary is it anyway? : encounters with the global digital family on social media and the rise of a participant-centric mode of documentary filmmaking." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31426.
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This study examines the way social media changes the way documentaries are developed, produced and distributed. I want investigate how web 2.0 technologies disrupt the documentary sector and the way producers navigate the social media ecology. Research exposed an industry in transformation. New roles, like the Producer for Marketing and Distribution (PMD), the Impact Producer (IP) and a participant-centric mode of documentary filmmaking are revealed. The way users connect via social media has changed the way people interact with each other at work. A balanced real- and virtual world network approach makes a strong and highly central network position for a documentary project possible. Emotional contagion and an authentic online presence create value for a films social media campaign. Both are crucial factors to the mobile multi-device audience expecting a credible social media experience. Research suggests that users accept the risks associated with the way their data is exploited by social networks as long as the user's social media experience is not diminished. The concept of the Global Digital Family is revealed when reappraising social media. I suggest further research into the problem of online authenticity. Kozinets' ideas on Gemeinschafts-type engagement (Kozinets, 2015) shed light on the phenomenon. But exactly when something is perceived as authentic online is still not entirely clear and should be investigated further. I also recommend that the PMD is formally accredited to encourage industry recognition.
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Speake, Terry. "What is wrong with disability imagery? : towards a new praxis of social documentary photography." Thesis, University of Bolton, 2012. http://ubir.bolton.ac.uk/609/.
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This critical appraisal presents the processes and outcomes of a coherent research programme carried out between June 2008 and June 2011 that interrogates the representation of disabled people through in-depth, practice-led case study and analysis, leading to the formulation of a praxis framework for presenting collaborative social documentary photography practices associated with disability. Through the systematic production of bodies of commissioned and personal projects, both successful and unsuccessful, an epistemology of practice is presented that constitutes an independent and original contribution to knowledge. This practice-led research investigates claims that photographic images of disabled people often fail to represent individuals as empowered members of society because of societal references to stereotyped constructions of 'otherness' defined by negative signs of their disability. In order to question this, polemics from disability rights commentators who have referred to, but failed to engage fully with discourses surrounding photographic ontologies and professional practices, thereby constructing a binary line between disabled subjects and their image-makers, are challenged. The implication in their arguments is that photographers have been participating, knowingly or unknowingly, in disablist practices, contributing to the 'othering' of disabled people. By taking an interdisciplinary approach, co-locating photography and disability studies' theoretical frames within the trope of collaborative social documentary practice, orthodoxies surrounding representational outcomes are challenged by investing disabled people with the responsibility for the construction of their own images. Therefore, it contributes to the body of photographic theory concerning representations of the 'other' demonstrating that collaboration is a complex landscape of asymmetrical power structures on many levels -client, photographer, subject, audience - that are difficult to stabilise. By demonstrating synergy between academic theory and professional practice through publication, exhibition and critical discourse, this investigation informs and gives voice to disabled people themselves. Moreover, it adds to, and stimulates scholarly debate on a high-profile public matter by informing policy-makers, health professionals, commissioners and photographers on a controversial area of representation.
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Enghel, Florencia. "Indigenous, yes: participatory documentary-making revisited (an Argentine case study)." Thesis, Malmö högskola, Institutionen för konst, kultur och kommunikation (K3), 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22857.
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This Master in Communication for Development thesis –an essay- is based on two documentaries made with -and about- indigenous communities located in the North region of Argentina (the provinces of Misiones and Jujuy) which the author produced between 1997 and 2003 through the implementation of a participatory communication approach: Ayvü-Porä/The beautiful words (1998), and Candabare/Late summer celebration (2001). The essay is meant to be in itself a communication for development device: an investigation of examples, and a mapping exercise, intent at laying open and laying out the actual practices that led to the concrete products discussed.
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Donica, Joseph Lloyd. "Disaster's Culture of Utopia after 9/11 and Katrina: Fiction, Documentary, Memorial." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/dissertations/460.
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This dissertation examines the cleared spaces after disaster and the way the rhetoric of utopian projects is taken up by corporate and privatizing ventures to mask projects that seek to shut down participation in the public sphere. Chapter one argues that there are mechanisms within societies that can push against these forces by promoting a cosmopolitan sensibility that protects the commons and respects the alterity of the Other. Such mechanisms have theoretical roots in the thinking of Robert Nozick and Fredric Jameson but have been rethought more recently by Bruce Robbins, Jean-Luc Nancy, and Seyla Benhabib. I read literature alongside documentaries and memorials to discover the way cultural texts model these methods of pushing back against neoliberal projects in the wake of 9/11 and Katrina by bringing ethics, as Emmanuel Levinas does, into "real world" situations. Projects that co-opt the commons after disaster convey a imitative cosmopolitanism that can be counteracted through giving agency to those who do not have it, constructing communities of access for the future, supporting a form of public mourning that promotes critique, and protecting post-disaster spaces from becoming only tourist destinations. Chapter two looks to the way the 9/11 fiction of Moshin Hamid, Claire Messud, Alissa Torres, Paul Auster, and Jonathan Safran Foer models a cosmopolitanism that repairs the self's relationship to the Other by allowing the Other an agency previously unavailable before 9/11. Chapter three examines how When the Levees Broke, Trouble the Water, Kamp Katrina, Katrina Ballads, A.D.: New Orleans after the Deluge, and Zeitoun foreground the vulnerability of Gulf Coast residents by linking their vulnerability to the nation's now damaged ecological relationship to the coast. Chapter four explores the cultural memory at a range of 9/11 and Katrina memorials in New York, Washington D. C., and along the Gulf Coast in order to find memorials that reinvigorate the commons by melding public mourning with critique. The epilogue examines the larger implications of my dissertation for the field of American studies in examining the culture of disaster that has arisen in the past decade.
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Brown, Joseph V. "Classless: on Being Middle Class in America." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc271785/.
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Classless: On Being Middle Class in America is a documentary film that explores what it means to be middle class in America. The film combines personal narrative, folksy reporting, and comedy as the film's director— Joe Brown, tries to reconcile his own status anxiety with everyday understandings of social class. Classless takes the form of a journey; the film travels through the American South, Northeast, and the Mountain West while trying to get at the heart of our middle class American Dream. Classless forwards three main arguments: (1) the American middle class is not as all-encompassing as seems; (2) Americans are more concerned about inequality than both politicians and the media suggest; and (3) many Americans are not actually middle class, economically speaking.
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Johnson, Austin Haney. "Doing cisgender vs. doing transgender| An extension of 'doing gender' using documentary film." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1555293.
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Trans men have been the subject of many empirical studies in recent years that focus primarily on their engagement with masculinity within interaction. By highlighting the experiences of trans men, researchers argue that the persistent and often invisible experiences of gender inequality, specifically those of cisgender women, are made more visible. While scholars studying trans men in these scenarios categorize these interactions under the general heading of doing gender, I argue that these studies highlight experiences of doing cisgender, defined in this paper as individuals' accomplishment of gender within interaction according to cisnormative standards. However, the generalized moniker of doing gender is complicit in the marginalization of trans individuals' experiences of gender because it marks the dominant gender identification, cis, as the unnamed norm and eclipses trans-specific experiences of gender. While understanding how trans people do cisgender is an important contribution to the literature, I argue that doing cisgender is one component of trans people's experience of doing gender. My primary contention in this paper is that trans people also do transgender; that is, they are held accountable to transnormative standards that police and enforce the medical/legal/social access to trans as an identity category. To illustrate the differences between doing cisgender and doing transgender, I conduct a qualitative content analysis of nine documentary films featuring trans men, highlighting instances in the films of trans men doing cisgender and doing transgender.
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Jenner, Charlotte. "Navigating Distant Worlds: Interactive web documentary and engagement with issues of international development and social change." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23310.
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Whilst the use of documentary film to mediate issues of international development and social change is nothing new, the tools of production, media environment, expectations of, and relationships between, audiences and content are evolving at a rapid pace, bringing new approaches and challenges. As INGOs, development agencies and media producers attempt to engage audiences in issues of international development and social change in an increasing saturated media environment, many are looking for more innovative, Web 2.0- native ways of presenting these issues. Interactive web documentary, a format that has emerged from the dynamic and frenetic Web 2.0 media environment, combining digital, interactive and social media with the documentary form, has begun to be used to communicate with and engage audiences in these issues. But how do audiences respond to this format? Within this paper I investigate, through a survey of three audience groups and two case study examples, supplemented by semi-structured qualitative interviews and focus group discussion, how interactive web documentary might affect audience engagement with issues of international development and social change. In so doing I uncover three modes of engagement: active engagement, emotional engagement and critical engagement, which appear to be enhanced by the format. At the same time I discuss barriers to engagement, such as access, audience interest and tensions between discourses of gaming and issues of international development and social change, all of which must be negotiated if the format is to succeed in its aims.
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BRASIL, BRUNA RAFAELA VEIGA. "FICTION, DOCUMENTARY AND HISTORICAL NARRATIVE: A CASE STUDY OF SOCIAL REPRESENTATION OF KIDNAPPING OF BUS 174." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2011. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=18792@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROO propósito deste trabalho consiste em analisar o espaço ético nas representações sociais do cinema brasileiro contemporâneo. Para compreensão dos limites entre ficção e documentário, e entre filme baseado ou inspirado em fatos reais, tomam-se para análise comparativa o documentário e a ficção realizados sobre a rendição armada do ônibus 174 por Sandro do Nascimento, em junho de 2000: Ônibus 174(2002), de José Padilha e Última parada 174 (2009), de Bruno Barreto. Estes filmes constroem discursos sobre o local (a cidade do Rio de Janeiro) de múltiplos pontos de vista transnacionais, o que nos leva ao questionamento sobre o olhar estrangeiro na construção da representação do local. Para a análise dos filmes propõe-se aplicar o conceito de axiografia, desenvolvido por Bill Nichols, não só a obras classificadas como documentários, mas também às ficções baseadas em fatos reais.
The purpose of this work is to analyze ethical space on social representations of contemporary Brazilian cinema. For understanding of the boundaries between fiction and documentary, and between film based on or inspired by real facts takes to benchmarking the documentary and fiction made about bus 174 rendition armada by Sandro birth in June 2000: bus 174 (2002), José Padilha and last stop 174 (2009), Bruno Barreto. These films are building speeches about the location (the city of Rio de Janeiro) multiple viewpoints transnational, raising questions about the look abroad in construction of local representation. For the analysis of films proposed to apply the concept of axiografia developed by Bill Nichols not only the works classified as documentaries, but also to fictions based on real events.
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Block, Kristina. "How Consumption and Content of Documentary-Based Reality Television Influence Viewers’ Gratification Levels." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/252.
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Reality television has inundated the networks, eliciting some of the highest viewership in the United States; therefore, it is important to understand why people watch these shows and what they gain from doing so. This study replicates and expands on the study by Barton (2009), which examined how difference in content in competition-based reality shows influenced viewer gratifications. The present study explored the effect of content on viewer gratifications in documentary-based reality television shows. Participants (n = 257) completed surveys asking about their television viewing habits, general reasons for watching reality programming and reasons for watching specific reality shows (Real Housewives of Beverly Hills and Here Comes Honey Boo Boo). Some results contradicted those found by Barton with no effect of content on viewer gratifications. However, consistent with Barton’s findings, gender differences were found in levels of gratifications obtained from these two shows with women reporting higher levels. In addition, when extreme levels of income were compared, greater gratification was found only for the Vicarious Participation factor. Video content positively correlated with amount of downward social comparison (schadenfreude) but there was no correlation between downward social comparison and participants’ income.
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Stumberger, Rudolf. "Klassen-Bilder : sozialdokumentarische Fotografie 1900 - 1945 /." Konstanz : UVK-Verl.-Ges, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2961071&prov=M&dok_var=1&dok_ext=htm.
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Aron, Danielle Belinda. "Production and reception in British television documentary : a genre-based analysis of mass-mediated communication." Thesis, London School of Economics and Political Science (University of London), 1999. http://etheses.lse.ac.uk/2866/.
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This thesis explores the nature of communication in television documentary, based on an investigation of production, reception and their interrelationship. It assumes that social context is fundamental to an understanding of mass communication. Doise's (1986) levels of analysis (intrapersonal; interpersonal/situational; positional; cultural/ideological) provide the framework for conceptualizing social context. Audience reception research, which appreciates viewers' active role in reception and influence on production, inspires the qualitative approach. Whilst these premises challenge a traditional transmission approach to mass communication, the thesis argues against simultaneously rejecting the concept of information transmission. The thesis is located within a ritual approach to communication (Carey, 1989), exploring the potential for information transmission by extending this approach to situational and positional levels. As a distinctive information genre, the television documentary is perfect for investigating transmission. In this endeavour, the thesis explores the assumptions of both broadcasters and audiences concerning the function, structure and content of documentary communication. The methodological structure comprises three qualitative studies - production context, reception context and a case study. The production study involves twenty one interviews with television documentary broadcasters and establishes two intersecting dimensions embracing their perspectives. The reception study includes eight focus group discussions, and finds documentary expectations differing by socio-economic status and gender. These studies provide the context for analysing the nature of communication in one documentary programme, "Parental Choice", comparing a producer interview with four audience focus group discussions. The results highlight a lack of awareness amongst broadcasters of the varying genre-specific criteria used by documentary audiences in programme interpretation. Information transmission is possible if viewers accept a documentary's credibility. However, perceptions of credibility vary at the situational and positional levels, thus transmission is limited and ritually-based. The emerging nature of documentary communication contributes to academic debate on mass communication, audience research and the television documentary genre.
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Daggett, Liz. "Theoretical and Practical Record of the Making of the Documentary Film, A Native American Dream." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9110/.
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This textual record of the making of the social issue documentary film A Native American Dream examines theoretical and practical considerations of the filmmaker during the pre-production, production, and post-production stages. It also examines the disciplines of anthropology and ethnography in terms of modern documentary filmmaking and evaluates the film within these contexts.
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Sparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle." Thesis, Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
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Social documentary filmmaking cannot be undertaken in a theoretical void, regardless of the intentions of the filmmaker. Each film's textual, stylistic and aesthetic composition is dictated by the ideological intent of the filmmaker, either consciously or subconsciously. As a result, social documentary films are a product of either conservative or subversive filmmakers and can be viewed as cultural products of social control by the dominant capitalist ideology or as tools promoting class awareness, class struggle and revolutionary praxis by those sympathetic to Marxist doctrine.
This dissertation examines how Marxist ideology, in particular theories relating to class structure and the class struggle, can be used by filmmakers to analyse social documentary films. It enables the construction of a methodological 'toolkit' for filmmakers from which they are able to determine if individual social documentary films can be regarded as Marxist or not. This 'toolkit' is comprised of the theories of Lenin, Comolli and Narboni, Brecht, Althusser, and Weber among others.
Once a methodological framework is constructed, it is used to evaluate a number of social documentary case studies including 7-Up, Harlan County USA, Roger and Me, and my own film, A Shit of a Job (which was produced by myself for broadcast on SBS television), as to their adherence to the principles of Marxist aesthetics and allegiance to the proletarian cause of class awareness and the class struggle.
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Sparkes, Daryl John Trevor. "Screening revolution : constructing a Marxist theoretical framework for social documentary filmmakers analysing class structure and the class struggle." Queensland University of Technology, 2006. http://eprints.qut.edu.au/16333/.
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Social documentary filmmaking cannot be undertaken in a theoretical void, regardless of the intentions of the filmmaker. Each film's textual, stylistic and aesthetic composition is dictated by the ideological intent of the filmmaker, either consciously or subconsciously. As a result, social documentary films are a product of either conservative or subversive filmmakers and can be viewed as cultural products of social control by the dominant capitalist ideology or as tools promoting class awareness, class struggle and revolutionary praxis by those sympathetic to Marxist doctrine. This dissertation examines how Marxist ideology, in particular theories relating to class structure and the class struggle, can be used by filmmakers to analyse social documentary films. It enables the construction of a methodological 'toolkit' for filmmakers from which they are able to determine if individual social documentary films can be regarded as Marxist or not. This 'toolkit' is comprised of the theories of Lenin, Comolli and Narboni, Brecht, Althusser, and Weber among others. Once a methodological framework is constructed, it is used to evaluate a number of social documentary case studies including 7-Up, Harlan County USA, Roger and Me, and my own film, A Shit of a Job (which was produced by myself for broadcast on SBS television), as to their adherence to the principles of Marxist aesthetics and allegiance to the proletarian cause of class awareness and the class struggle.
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Duiculescu, Beatrice Ioana. "Can resilient urban design support social resilience?" Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-22719.
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This research is a small part of a bigger field of research made before by other authorsregarding the humans in the urban public space. It has a small context compared to otherstudies, but a big impact inside the community. It aims at finding answers to questions thatother researchers asked before, but under different circumstances and they displayed them through different ways such as documentary films (The social life of small urban spaces 1980, How to live in a city 1964).After experiencing the city life of Malmö and some questions have been raised, the concept of resilience intersected with the interest of social public life in a neighbourhood. In order to have the theoretical framework to answer the research question, the thesis follows a literature review, where the concepts of resilience, urban resilience, resilient urban design and social resilience have been explored.Next, after exploring the city of Malmö, some case studies have been chosen and studiedthrough direct observation in different months starting with March and various times of theday. In the methodological approach section the methods are explained as well as a detailed presentation of the biggest tool used for this research: observational drawing. The tools used for the observation are field notes, observational drawings and photographs. The cases are spread throughout the city and are located in neighbourhoods with different urban tissues. The results reveal all the observational drawings made during the field visits and the field notes written. They show how people use the spaces in all three case studies depending on the weather or other external factors.The discussion reveals the complexity of the relation between concepts and the empiricaldata, following the initial aim of the research throughout the discussion. This thesiscontributes with important outcomes to the field of urban studies creating awareness about the urban context and its influence on people. The findings of this study show a diversity and creativity of users in using the public space.
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Orr, Casey. "Comings, goings & everything in between : social post-documentary photography in relation to American/UK communities and landscapes." Thesis, Leeds Beckett University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538322.
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Vallie, Zubeida. "Social dynamics of a resistance photographer in the 1980s in Cape Town." Thesis, Cape Peninsula University of Technology, 2014. http://hdl.handle.net/20.500.11838/1327.
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Thesis submitted in fulfilment of the requirements for the degree
Master of Technology: Design
in the Faculty of Informatics and Design
at the Cape Peninsula University of Technology
2014This study seeks to contribute to the field of documentary photography by looking at a resistance photographer who documented events during the liberation struggle against Apartheid in the 1980s in Cape Town, South Africa. The research explores the richness, depth and complexity of the reflective knowledge of the phenomenon and develops a sense of understanding of the meanings of the circumstances and social context of the researcher. It considers the thoughts, observations as well as reflections regarding the meanings and interpretations of experience as a photographer in the 1980s. The perspective of the research is to understand through the photographer’s memory the phenomenon of interest in the exhibition Martyrs, Saints & Sell-Outs and in so doing argue for a consideration of the lives of those who not only lived during Apartheid but continue to do so after its demise. In addition to thinking about questions of photographic representation, the study also addresses ideas of space, and unarticulated injuries and trauma. The photograph is well suited as a medium through which one may think about these difficult questions, for in its very inception, the medium is one of simultaneous absence and presence. The study concludes with recommendations for future investigation in the documentary photography narrative in Cape Town, South Africa.
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Breault, Ainsley. "Native noise: Māori popular music and indigenous cultural identity." AUT University, 2010. http://hdl.handle.net/10292/927.
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This thesis argues that Māori popular music, regardless of genre, is a valuable resource in the formulation of a vibrant and relevant Māori rangatahi (youth) identity. Specifically, the research investigates the complex relationship between popular music, social space, and Māori culture and community in Aotearoa. The researcher interviewed six participants from within the Māori music community and practiced participant observation at popular music events. The findings of this qualitative research are framed by an in-depth literature review into questions of Māori identity, as well as an application of ethnomusicology theories on the relationship of music to place and community. The research output includes both a 30-minute documentary and this accompanying exegesis, which frames the documentary within relevant fields of scholarship and presents a critical analysis of its successes and weaknesses. The researcher elected to create a documentary in recognition of the medium’s ability to maintain the voice of the research participants, capture the dynamism of the Māori popular music scene, and increase the potential for the research to reach a wider audience. The use of documentary also allows for an exploration of the relationship between music and documentary, and begins a discussion on the potential of socially-conscious rockumentaries to reveal crucial social issues. Finally, the exegesis questions the ethics of outsider filmmaking, and explores how the concept of ‘Kaupapa Māori filmmaking’ influenced the process of making the film.
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Penteado, Julia Dantas de Oliveira [UNESP]. "As redes de conhecimento de documentários online: uma análise do The New York Times na plataforma Twitter." Universidade Estadual Paulista (UNESP), 2017. http://hdl.handle.net/11449/151113.
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Desde o seu surgimento, o documentário sempre esteve vinculado à formação de conhecimento cidadão. Esta pesquisa teve como objetivo analisar o potencial do documentário na internet para a construção do conhecimento em rede. Para isso, foi utilizada a abordagem do conhecimento conectivista, teoria de aprendizagem contemporânea que considera formação de redes como fundamental para o processo de formação do conhecimento. Para efetuar a análise, foi realizado um estudo de caso múltiplo, de caráter analítico, de três documentários publicados no portal do The New York Times e respectivas redes geradas na plataforma Twitter, selecionados pela diversidade temática e pela quantidade de posts coletados. O estudo de caso adotou uma abordagem mista, por meio de uma análise fílmica e de redes sociais de cada um dos documentários, com o objetivo de estabelecer possíveis relações entre os temas abordados e as redes de conhecimento que foram coletadas. Ao fim da pesquisa, são oferecidas contribuições para a discussão sobre a relação entre o documentário e as redes de conhecimento do Twitter, por meio de um diálogo entre os resultados do estudo de caso e questões atuais no campo do jornalismo.
Documentary is linked to knowledge formation of citizens since its emergence. This research aimed to analyze the potential of online documentary for the networked knowledge formation. In order to that, it was applied the connectivist knowledge approach, a contemporary learning theory that considers network formation fundamental for the knowledge formation process. A multiple and analytical case study was held of three documentaries published in the The New York Times website and their networks on Twitter, selected by the diversity of the subjects and amount of collected posts. The study methods present a mixed approached, with a filmic analysis and a social network analysis of each of the three documentaries, in order to establish possible relationships between its subjects and collected networks. At the end of the research, we offer contributions for the discussion on the relationship between documentary and Twitter knowledge networks, relating the case study results with contemporary topics in the journalism field.
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McWilliams, Stephen Thomas. "Exercise and Behavior Change in Adult Women Transitioning into Society: A Documentary Film Analysis." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281081.
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KinesiologyPh.D.
The Role of Film as Persuasive Tool of Social Change: Since the introduction of cinema, both non-fiction and fictional films have been used by film makers, artists, and interest groups to change minds and mold opinions. Documentary films in particular, have a history of being used in a variety of ways to further political causes, raise social or patriotic awareness, or as a call to personal activism. In this project, the use of well designed, aesthetically pleasing documentaries have been advocated for potential use in the field of sport psychology to create awareness of the work of practitioners in order to promote healthy behaviors. Filmmaking can serve the field in a number of creative ways. A recent film is submitted as a demonstration of how a well crafted film can be utilized within the field as both a advocacy piece and an educational resource. There has been a long, historical relationship between sports and film. Throughout cinematic history there have been numerous films, both narrative and documentaries, both about sports or subjects that included sports in their story. Sports lend themselves to narrative and documentary storytelling. As a filmmaker, I was drawn to a story about a non-profit organization, "Gearing Up," which uses a bicycle exercise program to help women in recovery from drug and alcohol addiction. The film explores the effectiveness of a therapeutic model developed by "Gearing Up" founder, Kristin Gavin. The production of the film, and my involvement as the producer and director, inspired me to explore the further use of documentary film as both a classroom teaching tool and a vehicle that can inspire behavioral change.
Temple University--Theses
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Fletcher, Adele Lesley. "Religion, Gender and Rank in Maori Society: A Study of Ritual and Social Practice in Eighteenth and Nineteenth-Century Documentary Sources." Thesis, University of Canterbury. Maori and Indigenous Studies, 2000. http://hdl.handle.net/10092/834.
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The main goal of this work is to understand the role that tapu (the sacred) had in ordering Maori gender relations, and set this role into a wider social context, through an investigation of early documentary sources. Particular attention is given to the distinctions Maori made between rangatira (chiefly persons), tutua (the low-born) and taurekareka (slaves). Early nineteenth-century descriptions of funerary rites and rites of welcome are analysed to shed light on Maori constructions of gender and their relation to religion, rank and ritual. Maori ideas about sexual reproduction, abortions and the menses are also investigated. A selection of sources describing the tapu prohibitions and ceremonial surrounding childbirth and children are also discussed. Various religious roles in Maori society are surveyed, giving particular attention to women's religious and ritual activities, and their interpretation. Western representations of Maori slaves and women in the eighteenth and nineteenth centuries are also investigated.
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Saell, Franziska. "Female and male audiences' perception on a plant-based (Vegan) diet after having viewed the documentary film What the Health : How perception on a plant-based diet (Vegan) changes after having watched the documentary film What the Health." Thesis, Högskolan för lärande och kommunikation, Jönköping University, HLK, Medie- och kommunikationsvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-48296.
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Veganism (or following a PBD) is scientifically proven to be one of the possible answers to the environmental, ethical and health issues our society is currently facing. The documentary film What the Health advocates this claim and presents the tremendous impacts, meat and dairy production and consumption, have on our environment, our personal health and for the people living on our planet. The documentary’s attempt of persuading people to adopt a PBD remained unanswered and was the chosen case-study for this research on audience reception and media effects. The purpose of this research is to provide new empirical data on how the documentary film What the Health changes females’ and males’ perception of a PBD. Using a qualitative method of in-depth interviews, this study aimed to understand how the documentary film What the Health changes females’ and males’ perception of a PBD in times of the 21st century Vegan social movement. Using theoretical insights from the following theories: Framing theory, schema theory, social representation theory, social cognition theory and the concept of hegemonic masculinity, this study aimed to assess whether the documentary film What the Health contributed to perception changes among its audience. And whether gender differences were prominent.The findings of this study indicated perception changes of a PBD among its audience. Preconceptions of Veganism as a social trend or for ethical justifications were changed to understanding people’s individual motivations for attaining such a diet. Overall, no significant gender differences were detected. The social determinant of perceived restrictions within a social context were the most dominant factors of not transitioning to a PBD. Meat is undoubtedly an inherent and substantial part of people’s lives and restricting oneself from it is not perceived to be the answer to environmental, personal health and ethical issues. However, the audience was observed to admire Vegans for their discipline and strength.This study indicated that the documentary film What the Health might have an effect on its audience in the long term, which is proposed as future research respectively.
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Brown, Roger Grahame. "The active presence of absent things : a study in social documentary photography and the philosophical hermeneutics of Paul Ricoeur (1913-2005)." Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2279/.
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“Phenomenology is the place where hermeneutics originates, phenomenology is also the place it has left behind.”(Ricoeur ). In this thesis I shall examine possibilities for bringing into dialogue the practice of social documentary photography and the conceptual resources of the post-Structural and critical philosophical hermeneutics of text and action developed by Paul Ricoeur (1913-2005) from the 1970’s onwards. Ricoeur called this an ‘amplifying’ hermeneutics of language, defined as ‘the art of deciphering indirect meaning’ (ibid). Social documentary photography is an intentional activity concerned with the visual interpretation, ethics and representation of life, the otherness of others, and through them something about ourselves. The narratives form social histories of encounters with others. They raise challenging questions of meaning and interpretation in understanding the relations of their subjective agency to an objective reality. Traditionally the meaning of such work is propositional. It consists in the truth conditions of bearing witness to the direct experience of the world and the verifiability of what the photography says, or appears to say about it. To understand the meaning of the photography is to know what would make it true or false. This theory has proven useful and durable, although it has not gone unchallenged. The power it has is remarkable and new documentary narratives continue to be formed in this perspective, adapting to changing technologies, and reverberate with us today. A more subtle way of thinking about this is given by a pragmatic theory of meaning. This is what I am proposing. The focus here is upon use and what documentary photography does and says. A praxis that I refer to by the act of photographing: a discourse of locutionary, illocutionary and perlocutionary utterances in whose thoughtful and informed making are unified theories of visual texts within the theories of action and history. The key is the capacity to produce visual narratives made with intention and purpose that in their performative poetics and their semantic innovations attest to the realities of 1 Ricoeur, P. 1991: From Text to Action: Essays in Hermeneutics II. trans. Kathleen Blamey and John B. Thompson. 2nd Edition 2007: with new Forward by Richard Kearney. Evanston. NorthWestern University Press. experience and sedimented historical conditions witnessed, and communicate those to others within a dialectic of historical consciousness and understanding. The narrative visualisations disclose a world, a context in which the drama of our own life and the lives of others makes sense. In their interpretations of an empiric reality can be found ethical concerns and extensions of meaning beyond the original reference that survive the absence of the original subject matter and the original author of the photography whose inferences our imaginations and later acquired knowledge can meditate upon and re-interpret. Thus in the hermeneutic view, the documentary photographic narrative is a form of text that comes to occupy an autonomy from, a) the author’s original intentions, b) the reference of the original photographic context, and c) their reception, assimilation and understanding by unknown readers-viewers. Ricoeur argues that hermeneutic interpretation discloses the reader as ‘a second order reference standing in front of the text’, whose necessary presence solicits a series of multiple and often conflicting readings and interpretations. Consequently Ricoeur’s critical, philosophical hermeneutics brings us from epistemology to a kind of ‘truncated’ ontology that is only provisional, a place where interpretation is always something begun but never completed. Interpretation according to Ricoeur engages us within a hermeneutic circle of explanation and understanding whose dialectic is mediated in history and time. For Ricoeur this implies that to be able to interpret meaning and make sense of the world beyond us is to arrive in a conversation that has already begun. His hermeneutic wager is, moreover, that our self-understandings will be enriched by the encounter. In short, the more we understand others and what is meaningful for them the better we will be able to understand ourselves and our sense of inner meaning. The central thesis of his hermeneutics is that interpretation is an ongoing process that is never completed, belonging to meaning in and through distance, that can make actively present to the imagination what is objectively absent and whose discourse is undertood as the act of “someone saying something about something to someone” (Ricoeur 1995: Intellectual Autobiography).
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Wang, Mu Yi Travis. "Resistance to death as a counter-hegemonic structure of feeling in Angels in America :ideal prophecy, documentary denial, and social acceptance." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954319.
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Preturlan, Mariana. "Os efeitos previdenciários do reconhecimento de vínculo empregatício pela justiça do trabalho." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/2/2138/tde-11042016-130856/.
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A Constituição da República, de 1988, previu em seu artigo 201, que a Previdência Social seria organizada sob a forma de regime geral, de caráter contributivo e de filiação obrigatória. Em regra, o trabalho remunerado enseja a filiação obrigatória e automática do trabalhador, assim como o surgimento de sua obrigação de contribuir para o custeio das prestações previdenciárias. Caso o empregador não registre o empregado e promova o recolhimento das contribuições previdenciárias, o trabalhador poderá ter limitada ou excluída sua proteção previdenciária. Mesmo reconhecido o vínculo de emprego no processo do trabalho, o Instituto Nacional da Seguridade Social (INSS) condiciona o aproveitamento previdenciário desse tempo de trabalho e de contribuição à apresentação de início de prova material. Essa exigência, por vezes, cria situação de contradição: há sentença trabalhista de reconhecimento de vínculo de emprego, com execução e recolhimento de contribuições previdenciárias, mas o INSS não reconhece o tempo de contribuição correspondente e nega ao trabalhador proteção previdenciária. A presente dissertação analisa se o reconhecimento de vínculo empregatício pela Justiça do Trabalho é suficiente para que se reconheça o direito do trabalhador à proteção previdenciária, partindo da premissa que o segurado empregado apenas tem de demonstrar sua filiação, não sendo prejudicado pelo descumprimento de obrigações previdenciárias de seu empregador.Article 201 of the Brazilian Constitution of 1988 provides that Social Security is to be organized in the form of universal, obligatory and contributory regime. As a rule, paid work entails the compulsory and automatic membership of the worker, as well as the emergence of the obligation to contribute to the funding of pension benefits. If the employer does not register the employee and promote the payment of contributions, the employee may have its social security protection limited or excluded. Even if the existence of the employment contract is recognized in the labor process, the National Social Security Institute (INSS) demands the worker to present documentary evidence of the labor. If this requirement isnt met, INSS does not recognize the corresponding contributions, and denies the worker social security protection. This dissertation analyzes wether the recognition of employment by labor courts is sufficient to secure recognition of the worker\'s right to social security protection.
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Nesbitt, Hills Christine. "Documentary Photography as a Tool of Social Change: reading a shifting paradigm in the representation of HIV/AIDS in Gideon Mendel's photography." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21561.
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Gideon Mendel’s ongoing photographic work documenting HIV/ AIDS, first started in 1993, has seen shifts not only in production but also in the author’s representation of his subjects. This paper looks at three texts of Mendel’s work, taken from three different stages of Mendel’s career and reads the shifting paradigm taking Mendel from photojournalist to activist armed with documentary photography as a tool of social change. This thesis explores how different positionings as an author and different representations of the subjects, living and dying, with HIV/AIDS influences meaning-making, and what that means for documentary photography as a tool of social change.
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Scheuermann, Melina. "Animated Memories : A case study of the animated documentary 'Saydnaya – Inside a Syrian Torture Prison' (2016) and its potential within social memory." Thesis, Stockholms universitet, Filmvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-185061.
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Through its ability to create images of non-representable incidents animation expands the range and depth of what documentary can represent and how. This master thesis investigates the potential of animated documentary within social memory exemplified by the interactive animated documentary Saydnaya – Inside a Syrian Torture Prison (Forensic Architecture, 2016). By applying a feminist spatial approach, I aim to contribute to the understanding of the role of animated documentary images within social memory.Embodied and haptic spectatorship as well as haptic materiality are crucial in this case study due to the nature of the virtual screen images and interactive navigation (compared to montage) of the architectural 3D model. Testimonies and evidence presented in documentary film require a discursive establishment of truth. Indexicality is discussed in this regard and eventually a theoretical shift towards movement suggested. I demonstrate that Saydnaya extends the strategies in animated documentary that have been in focus so far, such as representing mental states and subjective experiences, by deploying methods of forensic aesthetics. This opens up novel ways to establish truth claims and persuasion in documentary filmmaking that require future research.
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Machado, Pâmela de Bortoli 1987. "A representação de inclusão social e digital por meio da música em documentários brasileiros." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285332.
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Orientador: Fábio Nauras AkhrasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-26T23:59:27Z (GMT). No. of bitstreams: 1 Machado_PameladeBortoli_M.pdf: 3196543 bytes, checksum: 4c99bcfffa51629a4c7bf69db461f611 (MD5) Previous issue date: 2015
Resumo: O vídeo documentário é elemento de mobilização e crítica social uma vez que contextualiza os fatos de um problema social, evidenciado pela valorização dos indivíduos que ilustram suas expectativas, dificuldades e ideais. Buscamos enfatizar nesta dissertação com a análise dos documentários Fala Tu (2003) e L.A.P. A. (2007) a ideia de que a música, no caso o rap, pode ser utilizada na inclusão social quando expressada de forma ideológica, pelo diálogo que representa na maior parte dos conflitos integrantes da vida na periferia. E, ao estabelecer a música como prática de uma identidade cultural, a análise de Insurreição Rítmica (2008) explicita como a música promove a mudança social, ao retratar a transformação promovida por organizações sociais em bairros pobres de Salvador. Em paralelo à inclusão social, a questão da empregabilidade é mensurada a partir da inclusão no mercado da música digital, no uso das novas tecnologias disponíveis e que vêm transformando a prática do músico independente, ao substituir o consumismo do CD por arquivos de áudio intercambiáveis. Tal problemática foi explorada pelos documentários Música.BR e Internet (2009), We.Music (2010) e Profissão: Músico (2011), nos quais se pode compreender como os músicos dependentes de geração de renda por intermédio da música sobrevivem à transformação no mercado musical. A dissertação desenvolve-se a partir de teorias acerca das questões que envolvem esse conjunto de documentários, como conceitos de inclusão social e digital, identidade cultural e revolução digital no mercado musical juntamente com a análise dos mesmos. Assim, discute-se como se desenvolve a representatividade deste conjunto de documentários que explora as problemáticas relacionadas à inclusão social e digital fazendo uso da música e evidenciando o uso do audiovisual como fator de conscientização de realidades que expressam essas problemáticas
Abstract: The video documentary is an element of mobilization and social criticism it contextualizes the facts of a social problem, evidenced by the recovery of individuals who illustrate their expectations, difficulties and ideals. We emphasize in the analysis of Fala Tu (2003) and L.A.P.A (2007) the idea that music, if rap, can be used in social inclusion when expressed in ideological form, by the dialogue that represents for the most part conflicts of the periphery. And, as we set the song as practice of a cultural identity, the analysis of Rhythmic Uprising (2008) explains how music promotes social change, portraying the transformation promoted by social organizations in the slums of Salvador. In parallel to social inclusion, the issue of employability is measured to inclusion in the digital music market, by the use of new technologies available that changed the practice of independent musicians, to replace consumerism of CD for audio files. This issue was explored by the documentaries Música.BR and Internet (2009), We.Music (2010) and Occupation: Musician (2011), in which we understand how musicians that depend on the generation of income from the music survive under the transformation of the music business. Therefore in the development of this dissertation we have explored theories about the issues surrounding this set of documentaries, as concepts of social and digital inclusion, cultural identity and digital revolution in the music business, along with the analysis. Thus, we discuss how the representativeness of this set of documentaries develops exploring the issues related to social inclusion and to the use of digital music, highlighting the use of the audiovisual as a way of raising awareness about realities expressing these problems
Mestrado
Multimeios
Mestra em Multimeios
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Lazcano, Aguirre Libia Levin Ben. "Out of date." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12148.
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Wallin-Ruschman, Jennifer. "The Moving to the Beat Documentary and Hip-Hop Based Curriculum Guide: Youth Reactions and Resistance." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/192.
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Many of the academic and popular treatments of hip-hop overlook the complexity of the phenomenon. Hip-hop is often portrayed solely as a source of corruption and regressive tendencies or, alternatively, as a sort of savior for otherwise marginalized individuals and source of revolutionary power. This thesis situates hip-hop between these poles and draws out its progressive and regressive aspects for analysis. Considering its vast global influence and a growing body of academic literature, hip-hop has been notably understudied in the field of psychology. Alternatively, educational theorists and practitioners have realized the power of hip-hop in revisualizing an emancipatory education that fosters critical consciousness. This project goes beyond other hip-hop education projects in that it attends more directly to the psychological phenomenon of identity. As youth develop a strong connection to social and political identity and increase their level of critical consciousness (an additional goal of this and most other hip-hop based curriculums) they are more likely to participate and have the tools to be successful at actions aimed at progressive social change. This thesis grew out of a larger project titled Moving to the Beat, a community-based multi-media endeavor that includes both the Moving to the Beat documentary film and curriculum guide. The Moving to the Beat curriculum guide strives toward the goals of emancipatory education. The film and the curriculum guide stay near the experience of hip-hop identified youth while attempting to avoid generalizations and stereotypes. Further, the developments of the film, curriculum guide, and this thesis have been guided by academic literature from a wide range of disciplines, including psychology, sociology, cultural studies, and education. The thesis focuses on two primary questions: (1) How do youth engage the Moving to the Beat curriculum guide and documentary film? (2) Do the Moving to the Beat materials facilitate the development of critical consciousness and/or social identity in youth? Two primary waves of data collection were conducted to answer these questions. At each location, Moving to the Beat was shown and an outside facilitator guided youth through the curriculum discussions and activities that centered on identity. During these workshops, multiple sources of qualitative data were collected, including participant observations, interviews, student produced lyrics, and feedback forms. These sources of data pointed to six primary themes across locations and sources of data: traditional gender roles, "everyone is all equal", "you doing you", the new hip-hop generation, development and maturity, and youth resistance. This thesis represents the first assessment of the Moving to the Beat documentary and curriculum, the results of which will be used to alter the curriculum guide and prepare it for publication.
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Balfour, Virginia H. "Likes, comments, action: The strengths and limitations of strategic impact documentary's Facebook audience engagement strategies." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/133366/1/Virginia_Balfour_Thesis.pdf.
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The research project examined how social issue documentary is evolving in the digital age. Using case study analysis of That Sugar Film's Facebook audience engagement campaign and an innovative mixed methods approach, the research demonstrated that positive personal stories, information exchange, and authentic characters can build trust, while negative posts may gain reach, but can also lead to exclusion and polarisation. The research evidenced how publics discuss social issues in the digital age, with important implications for the way social media can be used to productively engage audiences in behaviour and attitude change in the long tail of online engagement.