Journal articles: 'Social documentary'

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Chanan, Michael. "Documentary, History, Social Memory." Journal of British Cinema and Television 1, no. 1 (May 2004): 61–77. http://dx.doi.org/10.3366/jbctv.2004.1.1.61.

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Monageng Mogalakwe. "The Documentary Research Method – Using Documentary Sources in Social Research." Eastern Africa Social Science Research Review 25, no. 1 (2009): 43–58. http://dx.doi.org/10.1353/eas.0.0006.

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Kester, Grant H. "Toward A New Social Documentary." Afterimage 14, no. 8 (March 1, 1987): 10–14. http://dx.doi.org/10.1525/aft.1987.14.8.10.

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Young, Stephanie L. "Social Documentary Photography: An Appreciation." Review of Communication 8, no. 3 (July 2008): 254–56. http://dx.doi.org/10.1080/15358590701851657.

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Jarkiewicz, Anna. "Documentary film as a tool for social work – the experience of social worker." Social Work: Experience and Methods 16, no. 2 (2015): 83–98. http://dx.doi.org/10.7220/2029-5820.16.2.5.

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Grosoli, Marco. "André Bazin: Film as Social Documentary." New Readings 11 (January 1, 2011): 1. http://dx.doi.org/10.18573/newreadings.73.

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Marbrook, Jim. "Significant social documentary examines PNG missionary." Pacific Journalism Review : Te Koakoa 15, no. 2 (October 1, 2009): 227–29. http://dx.doi.org/10.24135/pjr.v15i2.997.

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Papa Bilong Chimbu is Verena Thomas' affectionate examination of the life of her great uncle John Nilles. Father Nilles was a German missionary who worked in the highlands of Papua New Guinea for more than 50 years. Thomas steers us through Father Nilles' career and life as we return with her to the Chimbu region to meet his friends, parishioners, those who converted, educated and supported.

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Rosen, Rhoda. "The Documentary Photographer and Social Responsibility." de arte 27, no. 45 (April 1992): 4–14. http://dx.doi.org/10.1080/00043389.1992.11761138.

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Stover, John A. "Framing Social Movements Through Documentary Films." Contexts 12, no. 4 (November 2013): 56–58. http://dx.doi.org/10.1177/1536504213511218.

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Ryan, Katy. "Documentary Films on U.S. Social Issues." Humanities Collections 1, no. 3 (September 1999): 101–7. http://dx.doi.org/10.1300/j139v01n03_10.

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Anders, Petra. "Documentary and disability." Disability & Society 34, no. 4 (February 23, 2019): 674–75. http://dx.doi.org/10.1080/09687599.2019.1574094.

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Alarcón Sánchez, Gustavo Adolfo, Solman Yamile Díaz Ossa, and Luis Alejandro Martínez Rodríguez. "TENDENCIAS TEÓRICAS SOBRE JUSTICIA SOCIAL: BALANCE DOCUMENTAL." Revista Republicana 24 (January 15, 2018): 163–80. http://dx.doi.org/10.21017/rev.repub.2018.v24.a45.

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Stones, Rob. "Social theory, documentary film and distant others." European Journal of Cultural Studies 5, no. 2 (May 2002): 217–37. http://dx.doi.org/10.1177/1364942002005002873.

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Borum Chattoo, Caty, and Will Jenkins. "From reel life to real social change: the role of contemporary social-issue documentary in U.S. public policy." Media, Culture & Society 41, no. 8 (January 17, 2019): 1107–24. http://dx.doi.org/10.1177/0163443718823145.

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This article examines three digital-era social-issue documentaries – Sin by Silence, Playground, and Semper Fi – to reveal elements of cultural and narrative influence that contributed to legislative change in the United States. Expanding the coalition model of documentary’s political impact through case studies and in-depth interviews with policy subnetworks shaped for each film – policymakers and legislative staffers, advocacy group leaders, and documentary directors – this study finds that social-issue documentaries are influential for U.S. policy engagement when they are perceived as emotional, factual, and nonpartisan. Documentary is thus positioned as ‘situated knowledge’ in a policymaking context – narrative that presents human implications and lived experiences. Ultimately, the policy impact of these documentaries is attributed to the dual defining characteristics of documentary: creative expression and reflection of truth. The present work contributes to expanding literature about documentary and social change.

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Canella, Gino. "Social movement documentary practices: digital storytelling, social media and organizing." Digital Creativity 28, no. 1 (January 2, 2017): 24–37. http://dx.doi.org/10.1080/14626268.2017.1289227.

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Pfaff, Nicolle. "Die Dokumentarische Methode in der Ungleichheitsforschung." Rekonstruktive Ungleichheitsforschung 19, no. 1-2/2018 (December 10, 2018): 63–78. http://dx.doi.org/10.3224/zqf.v19i1-2.05.

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Der vorliegende Beitrag versteht sich als Versuch einer Systematisierung und methodologischen Reflexion bestehender Beiträge und Bezüge dokumentarischer Forschung zur rekonstruktiven Analyse von Ungleichheitslagen. Dazu wird zunächst auf das Konzept des konjunktiven Erfahrungsraums als praxeologische Perspektive der Vermittlung zwischen Wissen und Struktur eingegangen. Im Weiteren diskuiert der Text den analytischen Schritt der Soziogenese in seiner Bedeutung für die Ungleichheitsforschung sowie davon ausgehende neuere Ansätze zur Rekonstruktion von Normierungen und Regulationen von Teilhabechancen zu diskutieren.

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Nash, Kate. "Goa Hippy Tribe: Theorising Documentary Content on a Social Network Site." Media International Australia 142, no. 1 (February 2012): 30–40. http://dx.doi.org/10.1177/1329878x1214200105.

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In the 1970s, a wave of young Western hippies descended on the beaches of Goa in India. Forty years later, some of them reconnected on the social network site Facebook and planned a reunion. This event, and the Goan hippy community then and now, are the subjects of a documentary called Goa Hippy Tribe, produced by Australian documentary maker Darius Devas. Funded by Screen Australia, SBS and Screen New South Wales, Goa Hippy Tribe is the first Australian documentary to be produced for the social network site Facebook. In this article, I consider how documentary in a social network context might be theorised. While the concept of the database narrative is most often invoked to explain user interactivity in online documentary, social networks such as Facebook invite different forms of interaction, and therefore raise distinct theoretical questions. In particular, Goa Hippy Tribe demonstrates the potential for the audience to engage creatively and communally with documentary.

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Mast, Jelle. "Documentary at a Crossroads: Reality TV and the Hybridization of Small-Screen Documentary." Sociology Compass 3, no. 6 (October 22, 2009): 884–98. http://dx.doi.org/10.1111/j.1751-9020.2009.00242.x.

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Cornish, Sandie. "Book Review: Catholic Social Thought: The Documentary Heritage." Pacifica: Australasian Theological Studies 7, no. 2 (June 1994): 237–39. http://dx.doi.org/10.1177/1030570x9400700211.

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Canet, Fernando, Stefano Odorico, and Xoxé Soengas. "Documentary film mutations for social justice: Introductory reflections." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 169–80. http://dx.doi.org/10.1386/cjcs_00025_2.

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Anderson, Carolyn. ": The Social Documentary in Latin America . Julianne Burton." Film Quarterly 44, no. 4 (July 1991): 33–34. http://dx.doi.org/10.1525/fq.1991.44.4.04a00140.

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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.

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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.

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Park, Dug-Chun. "Effect of current documentary on viewer's political & social recognition - focused on KBS disaster documentary,." Journal of Digital Convergence 14, no. 12 (December 28, 2016): 463–70. http://dx.doi.org/10.14400/jdc.2016.14.12.463.

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Pērkone, Inga. "TOWARDS SOCIAL CINEMA: EXTENDING OF RIGA POETIC STYLE IN THE 1970s." Culture Crossroads 12 (November 10, 2022): 19–34. http://dx.doi.org/10.55877/cc.vol12.122.

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In the 1960s, a group of young and very gifted documentary filmmakers established themselves at Riga Film Studio and developed a poetic style, based on visual metaphors which they named themselves as Riga Style but later in the Soviet and East European context the style and its creators came to be known as Riga Poetic Documentary Film School. Yet in the 1970s one can identify pronounced focusing by the documentary filmmakers on social issues, the aspirations to offer in their films analysis of the problems existing in the society and sometimes offering their solution without losing the artistic qualities of the films. The article written in 1971 by Armīns Lejiņš, the script writer and theorist of the poetic cinema, “Poetic Cinema + Scientific Cinema = Social Cinema” can be perceived as their manifesto. Lejiņš was convinced that by combining poetry and science, Riga documentary filmmakers could facilitate henceforth logical, analytical and dialectical thinking culture in their films. Within the framework of my article, I’ll provide a broader insight into the social angle of films by Latvian documentary filmmakers, into their thematic and aesthetic aspects, and also offer a more detailed analysis of the film “The Woman We Expect?” (Sieviete, kuru gaida?, 1978) – the concept, the process of its making, relations with censorship and its reception.

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Kovalska, Lesia. "COMMUNICATIVE FEATURES OF FUNCTIONING DOCUMENTARY AND INFORMATION RESOURCE." Scientific journal “Library Science. Record Studies. Informology”, no. 1 (April 23, 2021): 27–34. http://dx.doi.org/10.32461/2409-9805.1.2021.229850.

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Purpose of the article. Guided by the new methodology, to find out the communicative features of the functioning of documentary and information resources, to investigate the theoretical aspects of establishing communication links, to establish their role in the formation of social and communication relations of society. Methodology. The study used the methods of the theory of social communication and records management, such as methods of scientific analysis and synthesis, survey-analytical, historical, classification, and terminological methods. The above methods made it possible to reveal the essence of social relations established with the help of documentary and informational resources. The scientific novelty of the work lies in the establishment of the communicative features of documentary and information resources, scientific and theoretical reflection on their existence, a retrospective reflection of time and reality using the latest scientific and methodological tools for studying the social and communication ties of society. Conclusions. In the study of documentary and information resources, as a reflection of time and space, revealed their communication links, the scheme of the act of social communication, which is determined by the presence of communicator, recipient, message, channel, feedback, a documentary form of communication act provoked by purpose, motives, and means.Key words: documentary and information resource, communication act, archival document, social communication, historical records management, archival science.

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Dubois, Frédéric. "Media innovation and social impact: the case of living documentaries." Journal of Media Innovations 6, no. 1 (March 6, 2020): 23–37. http://dx.doi.org/10.5617/jomi.7831.

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This scholarly essay discusses one particular form of documentary production: interactive documentary. It does so in the larger context of media innovation research. Its main aim is to shed light on how those thinking and creating living documentaries define and frame social impact. The thesis behind this essay is, that contrary to media innovation happening within the paradigm of what scholars and practitioners call the ‘media industries’ - which are largely tributary to capitalist impact criteria, living documentary producers are mainly driven by the potential social impact that their work might have. By presenting and analysing the living documentary Field Trip (2019), a project in which I assumed a combined role of practitioner-researcher, I offer a case study that illustrates and tests my assumptions. I complement my observations within the case study with interviews and other practices. My findings indicate that from a media production perspective, the impact expectations of those making living documentaries can loosely be as associated with a commons-based production paradigm. Yet, producers of these documentaries constantly need to renegotiate and compromise on their social impact expectations because of internal production affordances and the (external) dominance of the ‘media industries’ paradigm.

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Wan Yahaya, Wan Aida WAN, and Shamila Mohamed Shuhidan. "Documentary Storytelling Techniques:." Asian Journal of University Education 16, no. 3 (October 21, 2020): 247. http://dx.doi.org/10.24191/ajue.v16i3.10273.

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Documentaries are a unique form of filmmaking. It allows for the comman man/woman to address large, important issues that is able to shake society. It involves a small portion of power as it addresses a wide range of subject matters such as history, anthropology, trends, as well as, social and political constructs, ethical issues and moral responsibilities. However, even though documentaries have evolved continuously, its approaches and methods remain ambiguous, and its parameters keep enlarging and changing. As students starting out to understand the process of documentary filmmaking, many struggle in terms of identifying appropriate content suited for that of a documentary. Students are unable to develop appropriate strategies towards identifying the type of stories to tell. This research seeks out explore an idea and story identification technique, specifically through the use of strategic mapping, as a means of helping students to understand the layers required in planning and constructing a documentary story. Action research is applied to guide and observe students’ responses through a number of mapping techniques that allows for the identification of the core focus/theme of the documentary. The research discovers that through a repetitive process, students’ are able to develop, change and extend their first impression responses as they begin to understand the process of documentary story and content identification.

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Dias, Daniela Esperandio, Lara Mireny Freitas Patrocínio, and Victoria Maria Singui Guimarães. "DOCUMENTÁRIO “O QUE É, O QUE É?”: REGISTRO DE MEMÓRIA E O IMPACTO SOCIAL NA VIDA DAS CRIANÇAS DA OBRA SOCIAL CRISTO REI." Revista Científica Faesa 17, no. 2 (December 21, 2021): 136–48. http://dx.doi.org/10.5008/1809.7367.203.

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This article reports the production process, realization and result of the documentary “O que é, o que é?”, about Orfanato Cristo Rei’s history and the role it plays in society. Located in Cariacica-ES, it marked the lives of several children when it was an orphanage and today it works as a non-governmental organization that survives only on donations. Currently, the social work serves children in danger who live at the mercy of violence by their own family or the region they live in. The methodologies used to produce the documentary were bibliographic and field research, and semi-structured interviews — they helped with obtaining information and in the recording of the interviews. “O que é, o que é?” contributes to the memory’s rescue and preservation, and allows reflection on the risky situation of many children in society, encouraging viewers to have a new perception on the social vulnerability of children that live in Cariacica and the importance of welcoming and educative social works.

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Ryan, Kathleen. "Pin Up! The Interactive Documentary." Interactive Film and Media Journal 2, no. 1 (January 30, 2022): 122–35. http://dx.doi.org/10.32920/ifmj.v2i1.1513.

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Pin Up! The Movie: An Interactive Documentary uses oral history to explore an international subculture. In it, women and men adopt vintage style and advocate for social and political change. Specifically, they use the subculture to advocate for anti-racist practices, call for body positivity, and lobby for full equity and acceptance of LGBTQI subcultural members. These advocates do this with acknowledgement of historical racism and sexism, which is sometimes echoed in the contemporary subculture. This i-doc intentionally uses non-professional storytelling tactics (vertical video, online video recordings, strait to camera interviews) to transform notions of a proper “aesthetic” within the documentary genre. It also invites subcultural members to take over its social media feeds. This paper argues that actively approaching the i-doc as a shared authority demonstrates how emerging formats, gamification of storytelling, and non-narrative structures can result in a sense of subcultural authenticity: a way to use the documentary format to provide agency to both members of the subculture featured in the project, as well as to audience members.

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Ramos, Jen, Corinne T. Feldman, and Claire Norman. "Exploring Social Determinants of Health Through Community Documentary-Making." Journal of Physician Assistant Education 32, no. 2 (April 30, 2021): 123–26. http://dx.doi.org/10.1097/jpa.0000000000000363.

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

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Ghe, Woon-Gyoung. "Prostitution and Social Power in Korean Independent Documentary Unnie." Journal of the Korea Contents Association 16, no. 4 (April 28, 2016): 241–49. http://dx.doi.org/10.5392/jkca.2016.16.04.241.

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Bearman, Peter S., and John Scott. "A Matter of Record: Documentary Sources in Social Research." Contemporary Sociology 20, no. 4 (July 1991): 648. http://dx.doi.org/10.2307/2071893.

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Nikitina, Taisiia S. "Historical time in the social reality of documentary cinema." Общество: философия, история, культура, no. 5 (2022): 70–74. http://dx.doi.org/10.24158/fik.2022.5.8.

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Nock, David A., and John Scott. "A Matter of Record: Documentary Sources in Social Research." Canadian Journal of Sociology / Cahiers canadiens de sociologie 16, no. 3 (1991): 337. http://dx.doi.org/10.2307/3340693.

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Nash, Kate, and John Corner. "Strategic impact documentary: Contexts of production and social intervention." European Journal of Communication 31, no. 3 (March 10, 2016): 227–42. http://dx.doi.org/10.1177/0267323116635831.

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Deparis, Étienne, Marie-Hélène Abel, Gaëlle Lortal, and Juliette Mattioli. "Information management from social and documentary sources in organizations." Computers in Human Behavior 30 (January 2014): 753–59. http://dx.doi.org/10.1016/j.chb.2013.10.033.

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Amilia, Ika Kartika, and Hadena Adipta. "Translation Shifts in the Social Dilemma Documentary Movie Subtitle." International Journal of English and Applied Linguistics (IJEAL) 2, no. 3 (December 1, 2022): 369–78. http://dx.doi.org/10.47709/ijeal.v2i3.1789.

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This study was intended to investigate the types of translation shifts in a documentary movie entitled The Social Dilemma. The method employed was descriptive qualitative to describe the translation shifts occurring in English-Indonesian movie subtitles. The types of shifts were analyzed using Catford's shift typologies. The findings showed that all types of Catford's shifts were applied in the movie subtitles. From the data collected, it was found that there were 56 level shifts (5%), 327 intra-systems shifts (30%), 243 unit shifts (22%), 83 class shifts (7%), and 392 structure shifts (36%). Based on the findings, the type of shift applied the most was structure shift. This happened since English and Indonesian have different grammatical structures, resulting in obligatory and optional shifts. In the obligatory shifts, the form of the SL sentences must be altered following the rules accepted in the TL culture. On the other hand, the SL form can be retained as long as it is still comprehensible in the TL.

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Porter, Cody Normitta. "Social media reactions of nurses to the documentary Stacey Dooley: On the Psych Ward." British Journal of Mental Health Nursing 10, no. 3 (August 2, 2021): 1–15. http://dx.doi.org/10.12968/bjmh.2020.0041.

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Background/Aims Mental health nursing is becoming a more transparent discipline. Increasingly, documentaries have provided the general public with insights regarding these therapeutic ward environments. The opinions of staff working in such places is important for ensuring the accuracy of the information, and the usefulness of what is publicly aired. This study explored the social media comments of nursing staff (as the experts) who viewed the Stacey Dooley: On the Psych Ward documentary. Methods Social media (Facebook and Twitter) were searched for comments on the documentary 3 weeks after the documentary was aired. In total, 4008 Facebook comments and 604 tweets were downloaded and assessed. Comments that did not relate to the documentary were excluded. A total of 31 Facebook comments and 54 tweets were used for analysis. Results Some evidence of criticism towards the presenter was found, as well as the use of an award-winning hospital as a non-representative – and unrealistic – example of psychiatric care. In general, healthcare staff felt that the documentary was useful for informing the general public, as well as students. Conclusions Documentaries such as this one that capture the realities of working on mental health wards have educational merit.

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Munro, Kim. "Listening as practice: a month in Ólafsfjörður." Qualitative Research Journal 19, no. 1 (February 4, 2019): 9–17. http://dx.doi.org/10.1108/qrj-d-17-00022.

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Purpose The purpose of this paper is to discuss the practice as research of a site-specific audio documentary project made while on a residency in North Iceland. Design/methodology/approach This project uses the application of a methodology of listening in the creation of the work. Findings The author claims that rather than focusing on the concept of voice in documentary, listening reveals the inherent ecology and inter-relatedness of the documentary materials. Originality/value A practice of listening in documentary making can reveal multiple co-existing relationships.

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Wiehl, Anna. "Digital transformation of doing documentary: Committed documentary and the knitting of networks of co-creation." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 181–96. http://dx.doi.org/10.1386/cjcs_00026_1.

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What is at stake if the recent past and social atrocities are hidden by taboos? How can one break up established patterns of media making? How can ancient sociocultural infrastructures in combination with digital documentary promote campaigns to raise one’s voice and achieve social and political change? Taking The Quipu Project (2015) as a test-stone, we discuss the potential of documentary transmedia configurations to allow a hitherto silenced group of people in Peru to collaboratively tell their stories on-line and to promote action taking for justice on the ground. Bringing together Cizek’s notion of interventionist media making, Daniel’s concept of context-provision, Aston’s considerations on ‘emplaced interaction’ and the idea of co-creation, this contribution offers some propositions for a better understanding of emerging digital mutations in doing documentary and their potential for transformation, revisiting paradigms of collective wisdom and impact as well as a modified version of Gaventa’s power cube model.

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King, Barry. "Editorial: A complicated post-documentary era." Pacific Journalism Review 21, no. 2 (October 31, 2015): 6. http://dx.doi.org/10.24135/pjr.v21i2.109.

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SINCE early in the first decade of this century, the concept of documentary—never beyond contestation—has entered into a state of generic uncertainty. Reflecting on these developments, John Corner, in an influential article, dubbed the current context of production as ‘Post-documentary’ (Corner, 2002). In his view, the documentary tradition has always encompassed a range of approaches: 1. Documentary as social commentary seeking to inform audiences as citizens rather than consumers. 2. Documentary as Investigative Reporting, once the most extensive use of documentary methods on television. 3. Documentary as Radical Interrogation and Agit-Prop as found in the practices of independent cinema. 4. Documentary as popular ‘factual’ entertainment driven by ratings and box office.

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Huvila, Isto. "Authoring social reality with documents." Journal of Documentation 75, no. 1 (January 14, 2019): 44–61. http://dx.doi.org/10.1108/jd-04-2018-0063.

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PurposeIn the context of organisation studies, Shotter and colleagues have used the notion of practical authorship of social situations and identities to explain the work of managers and leaders. This notion and contemporary theories of authorship in literary scholarship can be linked to the authoring of documents in the context of document studies to explain the impact and use of documents as instruments of management and communication. The paper aims to discuss these issues.Design/methodology/approachThe conceptual discussion is supported by an empirical interview study of the information work ofN=16 archaeologists.FindingsFirst, the making of documents and other artefacts, their use as instruments (e.g. boundary objects (BOs)) of management, and the practical authorship of social situations, collective and individual identities form a continuum of authorship. Second, that because practical authorship seems to bear a closer affinity to the liabilities/responsibilities and privileges of attached to documents rather than to a mere attribution of their makership or ownership, practical authorship literature might benefit of an increased focus on them.Research limitations/implicationsThis paper shows how practical authorship can be used as a framework to link making and use of documents to how they change social reality. Further, it shows how the notion of practical authorship can benefit of being complemented with insights from the literature on documentary and literary authorship, specifically that authorship is not only a question of making but also, even more so, of social attribution of responsibilities and privileges.Originality/valueThis paper shows how the concepts of documentary and practical authorship can be used to complement each other in elaborating our understanding of the making of artefacts (documentary) BOs and the social landscape.

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Delgado Pereira, Arturo. "Reenactment as Social Action: The Making of Encierro." International Journal of Film and Media Arts 7, no. 1 (October 3, 2022): 27–47. http://dx.doi.org/10.24140/ijfma.v7.n1.02.

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On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it?

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Canella, Gino. "Youth Documentary Academy: The social practices of filmmaking and media advocacy." Journal of Alternative & Community Media 4, no. 2 (July 1, 2019): 31–43. http://dx.doi.org/10.1386/joacm_00047_1.

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Youth Documentary Academy (YDA) is a seven-week documentary workshop in Colorado Springs, Colorado. Through ethnographic research and collaborative filmmaking, I examine documentary production and exhibition as social practices that foster meaningful relationships between media makers and community organisations working for social justice. Between November 2016 and July 2018, I conducted 20interviews with current and former YDA filmmakers, faculty and community organisers. Many YDA filmmakers produced films through first-person point-of-view testimonials, which explored intimate details of their lives and the issues facing their families and communities. Although this narrative style may individualise systemic injustices, I argue that the affective nature of filmmaking and film exhibition, and the partnerships that YDA developed with community organisations, helped youth realise an advocacy role. For filmmakers, the empathic dialogues that emerged at public screenings of YDA films illuminated the way media have the potential to foster solidarity.

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Dobovšek, Zala. "The Bailiff Jernej (2018): Documentary Representation of Poverty and Social Shame." Amfiteater 9, no. 2021-2 (June 30, 2022): 212–14. http://dx.doi.org/10.51937/amfiteater-2022-1/212-214.

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The paper analyses the introduction of the themes of poverty, social exclusion, classism and class shame into the field of contemporary Slovenian drama in the form of a case study. The documentary theatre production The Bailiff Jernej and His Rights (Hlapec Jernej in njegova pravica), directed by Žiga Divjak, was created in 2018 as one of the many events marking the 100th anniversary of the death of Ivan Cankar, the author of the work of the same title upon which Divjak based the performance. Divjak’s documentary reinterpretation of Cankar’s short story The Bailiff Yerney and His Rights performs an engaged gesture of empowerment of the invisible and underpaid working forces, who are thus given a voice in the public sphere. Divjak draws central thematic motifs such as precarious work, workers’ rights, subordination and poverty from Cankar’s “social tale” and, through the gesture of documentary research, transposes them to the present time, thus affirming the idea of the deep-rooted existence of the proletariat, even if, with a time lag, it appears today in a different form and with altered effects. The attribute is precisely the “play”, which could also be described as a “dramatic text” since the dramatic is inscribed into it not in terms of form and dramaturgical elements but as the essence and effect of documentary narratives.

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Pleshkevich, E. A. "MODERN LIBRARY IN THE CONTEXT OF DOCUMENTARY– INFORMATION APPROACH." Proceedings of SPSTL SB RAS, no. 1 (December 12, 2019): 13–17. http://dx.doi.org/10.20913/2618-7515-2019-1-13-17.

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The results of the analysis of the documentary – information approach heuristic potential in the study of modern library are presented. The modern library documentary- information form of organizing information process is modelled. The differences between it and proto- documentary and post-documentary forms of information process are indicated. Attention is focused on the library as a social institution that maintains the necessary level of confidence in the information it provides.

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Trivedi, C., Z. Mansuri, R. Vadukapuram, and A. Reddy. "Social media and its effect on mental health: Friend or foe?" European Psychiatry 64, S1 (April 2021): S758. http://dx.doi.org/10.1192/j.eurpsy.2021.2009.

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IntroductionRecently, several studies have shown both positive and negative impacts of social media on mental health. However, little is known regarding the reasons for the negative impact of social media on mental health.ObjectivesTo evaluate the role of social media on mental health.MethodsWe reviewed the documentary ‘The Social Dilemma’ released on Netflix in September 2020, which explored the role of social media in our life. The documentary discussed the behind the scene development of the social media world.ResultsThe central message from the documentary is that all the social media applications we use are capable of hijacking the thought process of your brain and are consciously designed by the artificial intelligence technology in a way that one spends more time on them. It collects users’ data such as topics they like, follow, search, subscribe, shop, and several others. Based on this data it feeds you the information according to your taste and next time you log in on the website, you spend more time on it. This causes positive reinforcement, the more time you spend on a particular topic, the more you will be presented which results in addictive behavior.ConclusionsIt is known that social media addiction is prevalent, and it affects brain like drug and alcohol addiction. This documentary provided technological insight into this type of behavior. Though social media has its pros, it has numerous cons despite being used for right intentions. Better regulatory measures are needed to prevent psychological disorders related to social media usage.DisclosureNo significant relationships.

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Wong, Mei-Yee. "Understanding the educational value of the film Please Vote for Me: The case for a pedagogical course in citizenship education." Citizenship Teaching & Learning 14, no. 3 (October 1, 2019): 263–76. http://dx.doi.org/10.1386/ctl_00010_1.

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Abstract Studies have demonstrated the importance of citizenship education for preservice teachers; however, studies on citizenship education pedagogies in university programmes have been rare. This small-scale study furthers the discussions in western and Chinese literature regarding the documentary film Please Vote for Me. By using the film in a citizenship and moral education curriculum course, this study explored undergraduate students' perceptions of using the documentary film Please Vote for Me and their actual learning experiences and outcomes. Data were collected through student interviews, reflective journals and worksheets. The study revealed that, overall, the students appreciated learning by using documentary films; they learned reflection and critical thinking skills and about the concept of democracy. They also discussed the educational topics in the film and reflected on the expected teacher and parent roles of citizenship education. The study provides empirical evidence to supplement the literature on citizenship teaching and learning in teacher education by using a documentary film as a resource.

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Rodríguez-Fidalgo, María Isabel, and Adriana Paíno-Ambrosio. "Use of virtual reality and 360° video as narrative resources in the documentary genre: Towards a new immersive social documentary?" Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 239–53. http://dx.doi.org/10.1386/cjcs_00030_1.

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Virtual reality and 360° video are some of the latest technological developments within the media and communications industry. These technologies, which are designed to facilitate viewer immersion, are currently being used to create fictional and non-fictional content, thus giving rise to a new audio-visual narrative. On the basis of these premises, this research article analyses how immersive narratives are applied to the social documentary genre in its social dimension. To this end, qualitative content analysis was performed on a sample of 49 immersive documentaries published on the WITHIN platform. This analysis, which was completed with quantitative data, allowed us to confirm that these technologies have enabled the development of immersive narratives, which has given birth to a new type of documentary – the ‘immersive social documentary’.

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Journal articles on the topic 'Social documentary'

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