Studies in Documentary Film最新文献_第3页

Documentary film as memory/memento mori in Aslaug Holm’s Brothers (Brødre) 纪录片作为记忆/纪念森在Aslaug Holm的兄弟（Brødre）

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Studies in Documentary Film Pub Date : 2023-03-15 DOI: 10.1080/17503280.2023.2185921

Aténé Mendelyté

{"title":"Documentary film as memory/memento mori in Aslaug Holm’s Brothers (Brødre)","authors":"Aténé Mendelyté","doi":"10.1080/17503280.2023.2185921","DOIUrl":"https://doi.org/10.1080/17503280.2023.2185921","url":null,"abstract":"ABSTRACT Seeing documentary film as an object for remembering and resurrecting the past is a complex issue touching upon questions pertaining to the ontology of photographic capturing, its ways of becoming an index, means of reinventing/fabricating the past through narrative and how such shared, cultural conventions impinge on the personal sphere, i.e. the singularity and authenticity of the experience preserved. While some past and present key media theorists regard such cinematization of memory as either a reduced or falsified form of pastness, I argue, employing Edward S. Casey’s influential phenomenological study of mnemonic modes and taking Aslaug Holm’s (auto)biographical documentary Brothers (Brødre, 2015) as an outstanding example, that documentary as an object perceived by a specific (not abstracted) consciousness is multiple and functions as a virtual reservoir for potential complex acts of memory to occur – it enlivens, not reduces one’s engagement with the past. Brothers is seen as both a form of reminiscence vehicle and commemoration vehicle. I furthermore identify a new mode of memory manifest in the film, not discussed by Casey, and its related object – anterior reminding and memento mori – which preserves the past and alludes to the future, this way determining what that past shall have been.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"269 - 284"},"PeriodicalIF":0.6,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42828503","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

Autopoiesis through agency in virtual reality nonfiction 虚拟现实非虚构作品中通过代理实现的自创生

IF 0.6

Studies in Documentary Film Pub Date : 2023-03-11 DOI: 10.1080/17503280.2023.2185922

Andrew Simon Tucker, M. Kiss

{"title":"Autopoiesis through agency in virtual reality nonfiction","authors":"Andrew Simon Tucker, M. Kiss","doi":"10.1080/17503280.2023.2185922","DOIUrl":"https://doi.org/10.1080/17503280.2023.2185922","url":null,"abstract":"ABSTRACT Documentary filmmakers are gradually embracing immersive media to create novel Virtual Reality Nonfiction (VRNF) content. Over the past twenty years initial experimentation in this new medium has brought forward numerous linearly structured 360° documentaries that maintain a close link to traditional documentary modes. More recently, we have observed a shift from the relatively passive 360° cinema towards more open-world, non-linear, game-like interactive experiences that challenge traditional definitions of the documentary genre. Volumetric world-building techniques provide nonfiction creators with additional tools that afford ‘viewer-users’ spatial and interactive agency, leading to a heightened autopoietic realisation of the storyworld. VRNF creators have the potential to allow their viewer-users enhanced control over framing, temporal ordering of the plot and spatial unfolding of the diegetic world, thus inviting them to become actual co-creators of a deeply personal and personalized experience. This article addresses how VRNF may go beyond the mere ‘documentation’ of people, places or past events that existed in a pre-filmic reality and provide viewer-users through augmented agency a unique present-tense autopoietic experience that pushes the boundaries of traditional 2D documentary.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"285 - 303"},"PeriodicalIF":0.6,"publicationDate":"2023-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45935635","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

From homonationalism to shame in the Israeli documentary Jonathan Agassi Saved My Life 从谐音到以色列纪录片《阿加西救了我的命》中的羞耻

IF 0.6

Studies in Documentary Film Pub Date : 2023-02-15 DOI: 10.1080/17503280.2023.2178609

R. Yosef

引用次数: 0

Social aesthetics and an unreliable narrator: engaging with homelessness in Cities of Sleep 社会美学与不可靠的叙述者:《睡眠之城》中的无家可归者

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Studies in Documentary Film Pub Date : 2023-02-02 DOI: 10.1080/17503280.2023.2167063

S. Kishore

{"title":"Social aesthetics and an unreliable narrator: engaging with homelessness in Cities of Sleep","authors":"S. Kishore","doi":"10.1080/17503280.2023.2167063","DOIUrl":"https://doi.org/10.1080/17503280.2023.2167063","url":null,"abstract":"ABSTRACT How can documentary film overcome ‘engagement at a distance' to perceptively express urban experience? In this article, I examine modes of sensory mode of spectatorial engagement in Cities of Sleep (Dir: Shaunak Sen, 2015) to foreground the place of the body and lived experience in portraying homelessness in Delhi. Drawing upon the concept of social aesthetics that recognises the perception of culturally patterned responses produced in socio-cultural environments as a form of knowledge about the world, I make two arguments. A corporeal focus on the sensuous body conveys urbanisms translated into effect, sensation, and behaviour that invite bodily connections with the documentary's traditional outsiders and victims. Next, by revealing individual negotiations with subjectivity, the film dismantles the notion of unified on-screen subjectivities to challenge audience expectations of a stable self in documentary representation. Instead, subjectivities are shown to respond to social experience, and everyday encounters, revealing a terrain of power relations experienced corporeally and emotionally. Political meaning, therefore, I contend derives not so much from the verifiable value of evidence or documentary transparency but from the act of feeling, sensing and perceiving which attempts to collapse our distance from a represented subject and world ‘out there’.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"226 - 239"},"PeriodicalIF":0.6,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43259772","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

Queer sensation and non-representational queer reading: a case study of Wu Hao’s All in My Family 酷儿感觉与非具象性酷儿阅读——以吴昊《我家所有人》为例

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Studies in Documentary Film Pub Date : 2023-01-30 DOI: 10.1080/17503280.2023.2169605

Xi W. Liu

{"title":"Queer sensation and non-representational queer reading: a case study of Wu Hao’s All in My Family","authors":"Xi W. Liu","doi":"10.1080/17503280.2023.2169605","DOIUrl":"https://doi.org/10.1080/17503280.2023.2169605","url":null,"abstract":"ABSTRACT This article develops a non-representational queer approach to the analysis of first-person queer documentary. I suggest that a change of the view from investigating queer representations to exploring queer sensation may release the desire and repression that are both hidden and maintained with images of queerness. Queer sensation in this article refers to the existence of a complex relationship between queer and familial kinship, which affectively infiltrates the queer documentary. To chart queer sensation, I propose the notion of non-representational queer reading that foregrounds the approach of charting queer sensation rather than defining it. Non-representational queer reading comprises affect-based non-representational theory and the idea of queer reading. Non-representational queer reading queers the way of analysing queer documentary that follows the idea of mobility and flexibility as the essence of queerness. Utilising Wu Hao’s All in My Family (2019) as an example, I argue that Wu’s documentary sheds light on a complex queer sensation which not only overflows from the film but also pervades within the heterosexual-dominated Chinese society outside the screen.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"240 - 254"},"PeriodicalIF":0.6,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48505076","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

Filming history from below: microhistorical documentaries 从下面拍摄历史:微观历史纪录片

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Studies in Documentary Film Pub Date : 2023-01-02 DOI: 10.1080/17503280.2023.2170726

Pablo Alvarez

引用次数: 2

Perpetrator Cinema: Confronting Genocide in Cambodian Genocide 行凶者电影:面对柬埔寨种族灭绝中的种族灭绝

IF 0.6

Studies in Documentary Film Pub Date : 2022-11-07 DOI: 10.1080/17503280.2022.2142429

A. Piotrowska

引用次数: 0

From naked bike rides to spectacles of motion: cycling and the rider-bicycle in experimental documentary film 从裸体自行车骑行到运动奇观：实验纪录片中的自行车和骑自行车

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Studies in Documentary Film Pub Date : 2022-11-01 DOI: 10.1080/17503280.2022.2140369

Kornelia Boczkowska

{"title":"From naked bike rides to spectacles of motion: cycling and the rider-bicycle in experimental documentary film","authors":"Kornelia Boczkowska","doi":"10.1080/17503280.2022.2140369","DOIUrl":"https://doi.org/10.1080/17503280.2022.2140369","url":null,"abstract":"ABSTRACT Although the relationship between cycling and cinema has recently received some attention from researchers, there are no accounts on how it links to experimental documentary film and avant-doc storytelling. To fill this gap, I take a phenomenological stance on cycling to discuss the rider’s embodied experience of travel in a few short and stylistically distinct works, Chuck Hudina’s Bicycle (1975), Jon Behrens’ Girl and a Bicycle (1995), Vanessa Renwick’s The Yodeling Lesson (1998), Ken Paul Rosenthal’s I My Bike (2002), Tomonari Nishikawa’s Into the Mass (2007) and Tony Hill’s Bike (2013). Despite a different format and narrative focus, which questions the genderedness of cycling, explores it in a trance and dreamlike state or turns it into the sheer spectacle of motion, all films echo the recent phenomenological turn in film studies and present cycling as a multisensorial, kinesthetic practice, demonstrating how the rider-bicycle hybrid assemblage relates to both cycling mobilities and the riding environment. Compared to narrative and fiction film, experimental documentary film looks at the bicycle identity as a distinctive subject of inquiry and maps cycling not so much through its traditional connotations as through the actual lived experience, one that is not necessarily already pre-determined, mediated and ideological.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"209 - 225"},"PeriodicalIF":0.6,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45340302","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

Bodies in space: XR documentary in Australia 太空中的身体:澳大利亚的XR纪录片

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Studies in Documentary Film Pub Date : 2022-10-14 DOI: 10.1080/17503280.2022.2135166

Kim Munro, Katy Morrison

{"title":"Bodies in space: XR documentary in Australia","authors":"Kim Munro, Katy Morrison","doi":"10.1080/17503280.2022.2135166","DOIUrl":"https://doi.org/10.1080/17503280.2022.2135166","url":null,"abstract":"ABSTRACT This article discusses a selection of interactive and immersive works from the past twenty years in Australia and argues that these have emerged from a specific cultural and geographical perspective in relation to space and place. In the context of settler colonial or migrant Australians, who have fraught and unresolved relationships to place, technologies that intervene with and implicate the audience can further expand documentary's capacity to frame, interpret and challenge these relationships. In this article, we discuss five specific interactive and immersive Australian documentary works. Each of these projects re-frames an encounter with space and place through the methods by which the participant-as-audience is situated in relation to the subject matter and virtual environment. The article explores the controversial asylum-seeker documentary game, Escape From Woomera ([2003]. Australia: EFW Collective); Lynette Wallworth's Collisions which recounts the atomic bomb testing in the desert (2012); Oscar Raby's examination of history, identity and witnessing, Assent (2013); Joan Ross's examination of the colonial relationship to the environment in Did you ask the river? (2019) and Tyson Mowarin's VR of the Ngarluma people of North Western Australia and the threats to their culture and land in the VR work Thalu: Dreamtime is Now (2018).","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"190 - 207"},"PeriodicalIF":0.6,"publicationDate":"2022-10-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48094121","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

From film to Web 2.0: transmedia as a distribution model for political documentary 从电影到Web2.0：跨媒体作为政治纪录片的发行模式

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Studies in Documentary Film Pub Date : 2022-09-23 DOI: 10.1080/17503280.2022.2120380

Norman Zafra

{"title":"From film to Web 2.0: transmedia as a distribution model for political documentary","authors":"Norman Zafra","doi":"10.1080/17503280.2022.2120380","DOIUrl":"https://doi.org/10.1080/17503280.2022.2120380","url":null,"abstract":"ABSTRACT This research is a creative exploration of transmedia’s ability to offer up a model of distribution and audience engagement for political documentary. Transmedia, as is well known, is a fluid concept. It is not restricted to the activities of the entertainment industry and its principles also reverberate in the practice of political and activist documentary projects. This practice-led research draws on data derived from the production and circulation of Obrero, an independent transmedia documentary. The project explores the conditions and context of the Filipino rebuild workers who migrated to Christchurch, New Zealand after the earthquake in 2011. Obrero began as a film festival documentary that co-exists with two other new media iterations, each reaching its respective target audience: a web documentary, and a Facebook-native documentary. This study argues that relocating the documentary across new media spaces not only expands the narrative but also extends the fieldwork and investigation, forms like-minded publics, and affords the creation of an organised hub of information for researchers, academics and the general public. Treating documentary as research can represent a novel pathway to knowledge generation and the present case study, overall, provides an innovative model for future scholarship.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"172 - 189"},"PeriodicalIF":0.6,"publicationDate":"2022-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42448532","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