Studies in Documentary Film最新文献

{"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}

{"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}

{"title":"Filming history from below: microhistorical documentaries","authors":"Pablo Alvarez","doi":"10.1080/17503280.2023.2170726","DOIUrl":"https://doi.org/10.1080/17503280.2023.2170726","url":null,"abstract":"","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"97 - 98"},"PeriodicalIF":0.6,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41619742","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}

{"title":"Perpetrator Cinema: Confronting Genocide in Cambodian Genocide","authors":"A. Piotrowska","doi":"10.1080/17503280.2022.2142429","DOIUrl":"https://doi.org/10.1080/17503280.2022.2142429","url":null,"abstract":"","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"95 - 96"},"PeriodicalIF":0.6,"publicationDate":"2022-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47437332","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}

{"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}

{"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}

{"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}

{"title":"Animating origins: the 1920s Australian oil film","authors":"Ruby Arrowsmith-Todd","doi":"10.1080/17503280.2022.2138962","DOIUrl":"https://doi.org/10.1080/17503280.2022.2138962","url":null,"abstract":"ABSTRACT In the early twentieth century, oil companies transitioned from merchants of light to merchants of movement. A discreet network of pipelines began to crisscross the Australian landscape. By the 1950s, the presence of petroleum was visible everywhere, circulating across a vast cultural infrastructure of sponsored cinema. Oil films extolled fertilisers which turned a wasteland into pasture, fitness programs to train a ‘nation of weaklings’ into a wartime army reserve and the promise of ever-more refined fuels to supercharge a motile world. Companies enlisted cinema to excite emotions and ready the mind to accept prompts for future action. In this article, I explore the emergence of the 1920s Australian animated oil film to trace a new structure of feeling attuned to energetic increase, growth and ease.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"232 - 244"},"PeriodicalIF":0.6,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47091500","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}

{"title":"The Netflix Original documentary, explained: global investment patterns in documentary films and series","authors":"Catalina Iordache, T. Raats, Sam Mombaerts","doi":"10.1080/17503280.2022.2109099","DOIUrl":"https://doi.org/10.1080/17503280.2022.2109099","url":null,"abstract":"ABSTRACT Subscription video-on-demand services have been increasingly moving away from licencing content to producing their own content. The ‘original’ label is applied to different types of productions for which streaming platforms own exclusive rights, usually worldwide and for specific periods. This has also been part of Netflix’s global strategy to attract new and existing subscribers. Research into the Netflix Original has become particularly relevant, due to its impact on audiovisual markets and the label’s opacity. This article focuses on Netflix investments in original documentaries, due to the genre’s growing popularity and the platform’s notable interest in documentary films and series. The analysis focuses on the company’s strategies and investment patterns in specific regions, languages and genres over time by mapping all documentary titles produced between 2012–2021 labelled as ‘Netflix Original’, resulting in a database of 479 titles. We found that investments in original documentaries have been growing over the years, and the large majority of these are commissions or exclusive titles. The transnational production and distribution of Netflix Original documentaries reflect wider changes in cultural trade brought on by the streaming model. However, the company’s investment strategy is also influenced by established market dynamics and financing practices in documentary production.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"151 - 171"},"PeriodicalIF":0.6,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46654789","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}

{"title":"Kill the Documentary: A Letter to Filmmakers, Students, and Scholars","authors":"Kim Munro","doi":"10.1080/17503280.2022.2103773","DOIUrl":"https://doi.org/10.1080/17503280.2022.2103773","url":null,"abstract":"Referencing her 2002 manifesto, Jill Godmilow’s 2022 book of the same name, Kill the Documentary, is a strident, searing, and sometimes humorous critique of what she calls documentary-as-we-know-it (DAWKI). But to call it a critique is to understate the energy of each of the hundred and seventy pages of this radical addition to the field of documentary theory and practice. Godmilow, like Trinh T. Minh-ha who suggested ‘there is no such thing as documentary’ (Balsom 2018) argues for a dismantling of the tropes of conventional documentary. And in doing so, challenges non-fiction filmmakers to take up more daring, political and collaborative modes of storytelling. Subtitled ‘A letter to Filmmakers, Students and Scholars’ this manifesto-by-any-othername overflows with neologisms, poetry, anecdotes, analysis, and filmmaking strategies that challenge what Godmilow calls ‘the liberal documentary’. For Godmilow, this ‘liberal documentary’ relies on the creation of a safe and distanced feeling of empathy through which the audience, who are usually white, middle-class and educated, feel they are ‘caring citizens’ (xi). Critiquing the often ‘lazy’ impulse of the documentary maker, Godmilow argues that many filmmakers use realist strategies to construct a passive audience by describing the world through audiovisual means. In doing so, the DAWKI offers few opportunities for the audience to engage critically in their own construction of knowledge, meaning, and ultimately hope. As a filmmaker and educator of many decades, Godmilow draws from a broad array of sources in crafting her call to arms (and action). Her influences span from Bill Nichols (who also wrote the foreword), Michael Renov and Brian Winston to experimental filmmakers like Harun Farocki, Trinh T. Minh-ha and John Greyson. Ranging across disciplines, she also finds good company in critical theorists Edward Said and Michel Foucault as well as luminaries of the written word – Susan Sontag, Ursula le Guin and Jorge Luis Borges. Not limited to the ‘big thinkers’, Godmilow also extols the usefulness of Wikipedia, as both timesaving and an example of a great collaborative project – an inserted section that made me laugh out loud. Early in Kill the Documentary, Godmilow makes note that to call this book a letter allows her to avoid ‘academic prose and theoretics’ (xix). Throughout the volume, the tone is conversational, stirring and often irreverent – assuming that the reader can think for themselves, and can make films with limited means. Early on in the book Godmilow outlines her intention to provide strategies to deconstruct and read documentaries to identify their implicit ideology. Only through what she calls reading these films ‘aberrantly’ or ‘against the grain’ (4), can we begin to understand how the use of the realist and narrative strategies create the world as knowable to an audience. For as Elizabeth Cowie suggests, knowability is created through the film, not through reality (2011, 13). Kil","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"91 - 93"},"PeriodicalIF":0.6,"publicationDate":"2022-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45435868","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}