Studies in Documentary Film最新文献_第10页

Seven types of collaboration 7种类型的协作

IF 0.6

Studies in Documentary Film Pub Date : 2020-12-07 DOI: 10.1080/17503280.2020.1854150

D. MacDougall

引用次数: 4

The function of narrative in interactive documentary 叙事在互动纪录片中的作用

IF 0.6

Studies in Documentary Film Pub Date : 2020-09-17 DOI: 10.1080/17503280.2020.1815124

J. Reeder

引用次数: 2

More-than-human sonic engagements in documentary film and phonography 记录片和唱片法中超越人类的声音参与

IF 0.6

Studies in Documentary Film Pub Date : 2020-09-15 DOI: 10.1080/17503280.2020.1815125

Adam Diller

{"title":"More-than-human sonic engagements in documentary film and phonography","authors":"Adam Diller","doi":"10.1080/17503280.2020.1815125","DOIUrl":"https://doi.org/10.1080/17503280.2020.1815125","url":null,"abstract":"ABSTRACT Reconceiving relations with the more-than-human is a central concern of scholarship in the Anthropocene. In documentary film, entanglements with the more-than-human are expressed through cinematic relationships with subjects such as bees, freeways, Antarctic science, abandoned military bunkers, and emergency firefighting operations. Several recent documentary films use their soundtracks to anchor these engagements. This paper examines the construction of these soundtracks through a comparison between documentary film and phonography. Phonography – broadly defined as creative practices of recording, editing, and listening to sonic environments – foregrounds the material/cultural processes of all sound recording by attending to specific uses of microphones and studio editing techniques. I situate these sonic practices in relation to the foundational poles of soundscape and objet sonore established by R. Murray Schafer and Pierre Schaeffer, work by contemporary practitioners, and recent theorizations in sound studies. Interweaving an account of recent documentary soundtracks with theories and practices of phonography highlights the conceptual implications of specific sound recording techniques and attends to the ethics of sound recording practices. These sonic practices pose new questions about the work performed through documentary film soundtracks’ engagements with the more-than-human.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"238 - 255"},"PeriodicalIF":0.6,"publicationDate":"2020-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2020.1815125","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44161011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Interactive documentary as relational media: exploring an actor-network theory approach 互动纪录片作为关系媒体:探索行动者网络理论方法

IF 0.6

Studies in Documentary Film Pub Date : 2020-09-04 DOI: 10.1080/17503280.2020.1815126

John Hondros

{"title":"Interactive documentary as relational media: exploring an actor-network theory approach","authors":"John Hondros","doi":"10.1080/17503280.2020.1815126","DOIUrl":"https://doi.org/10.1080/17503280.2020.1815126","url":null,"abstract":"ABSTRACT This paper explores Actor-Network Theory (ANT) as a framework for understanding interactive documentary. It examines Adrian Miles’s work in this area, where he uses ANT as a way of conceptualising interactive documentary as socio-technical media assemblages and consequently to question the relationship between human and non-human agency as understood within the field. After introducing ANT and reviewing Miles’s position, the paper engages in a detailed discussion of ANT’s key concepts in the context of specific interactive documentaries showing how these concepts operate and examining the insights they provide. This discussion supports and extends Miles’s position while also broadening and deepening interactive documentary’s engagement with ANT through a more detailed and systematic engagement with its concepts than has been attempted previously. The paper concludes by raising issues concerning the adaption of ANT’s concepts to the field, including the question of whether they offer a complete theoretical framework for understanding interactive documentary and by suggesting future lines of enquiry to address these issues.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"256 - 270"},"PeriodicalIF":0.6,"publicationDate":"2020-09-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2020.1815126","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44687114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The autobiographical documentary: archive and montage to represent the self 自传体纪录片：展现自我的档案和蒙太奇

IF 0.6

Studies in Documentary Film Pub Date : 2020-09-02 DOI: 10.1080/17503280.2020.1815123

Vladimir Rosas, R. Dittus

引用次数: 2

Voices from the Valley: an unfinished agenda 来自硅谷的声音:一个未完成的议程

IF 0.6

Studies in Documentary Film Pub Date : 2020-06-18 DOI: 10.1080/17503280.2020.1782808

S. Venkatesan, R. James

引用次数: 1

Feminist counter-cinema and decolonial countervisuality: subversions of audiovisual archives in Un’ora sola ti vorrei (2002) and Pays Barbare (2013) 女权主义反电影与非殖民化反视觉：Un’ora sola ti vorrei（2002）和Pays Barbare（2013）视听档案的子版本

IF 0.6

Studies in Documentary Film Pub Date : 2020-06-18 DOI: 10.1080/17503280.2020.1782807

Orianna Calderón-Sandoval, A. Sanchez-Espinosa

引用次数: 0

Documentary resistance: social change and participatory media 纪实阻力：社会变革和参与性媒体

IF 0.6

Studies in Documentary Film Pub Date : 2020-05-13 DOI: 10.1080/17503280.2020.1762318

Wakae Nakane

引用次数: 1

Beyond observation: A history of authorship in ethnographic film 超越观察：民族志电影的作者史

IF 0.6

Studies in Documentary Film Pub Date : 2020-05-12 DOI: 10.1080/17503280.2020.1762319

B. Winston

引用次数: 9

Interactive documentary at the intersection of performance and mediation: navigating ‘invisible’ histories and ‘inaudible’ stories in the United States 互动纪录片在表演和调解的交叉点:在美国导航“看不见的”历史和“听不见的”故事

IF 0.6

Studies in Documentary Film Pub Date : 2020-05-03 DOI: 10.1080/17503280.2019.1678561

Dale Hudson

{"title":"Interactive documentary at the intersection of performance and mediation: navigating ‘invisible’ histories and ‘inaudible’ stories in the United States","authors":"Dale Hudson","doi":"10.1080/17503280.2019.1678561","DOIUrl":"https://doi.org/10.1080/17503280.2019.1678561","url":null,"abstract":"ABSTRACT Examining four interactive documentaries, this article analyzes how performance and mediation can encourage curosity, empathy, and accountability in relation to complex issues and perspectives that cannot be always represented with any pretense of objectivity or ethics in conventional analogue practices. They can foreground emotional and affective registers as meaningful – sometimes more meaningful than the empirical and rational registers typically prioritized in analogue media. They model a critical engagement with digital evidence, tactile interfaces, and locative experiences to navigate a postcolonial/transnational United States and allow for potentially multi-perspectival understandings of issues. Documentary studies historically focused on visible or audible evidence. It has paid less attention to invisible and inaudible evidence. By activating invisible geographies, interactive documentaries facilitate new ways of imagining relationships and new ways of enacting collaborative solutions to problems that are larger than any one of us. They can instruct in ways to navigate larger processes, such as forced migration and global warming. Rather than the universalizing revolutions of past centuries – industrial revolutions, anticolonial revolutions – the current moment demands micro-revolutions and micro-assemblies. In addition to devoting our intellectual energies and financial resources in 360° VR as a new mode for documentary presentation, we can focus on less expensive technologies that allow underrepresented perspectives to affect audiences.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"14 1","pages":"128 - 146"},"PeriodicalIF":0.6,"publicationDate":"2020-05-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2019.1678561","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44288117","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3