Studies in Documentary Film最新文献_第7页

‘Women in industry are not meant to be weightlifters’: Gender and the Australian industrial workplace safety film “工业中的女性不应该成为举重运动员”:性别与澳大利亚工业工作场所安全电影

IF 0.6

Studies in Documentary Film Pub Date : 2022-05-11 DOI: 10.1080/17503280.2022.2066330

G. C. Russell

{"title":"‘Women in industry are not meant to be weightlifters’: Gender and the Australian industrial workplace safety film","authors":"G. C. Russell","doi":"10.1080/17503280.2022.2066330","DOIUrl":"https://doi.org/10.1080/17503280.2022.2066330","url":null,"abstract":"ABSTRACT ‘Utilitarian’ films - those not for the purposes of art or entertainment - include instructional films addressing workplace safety. Large quantities of these were made in Australia between WW2 and the advent of video and were viewed by many workers in different industries. Their content, social significance and relationship to a wider dispositif of media and labour is therefore a fertile source of information about how work was performed and how it was discursively conceptualised. We can glean information from these films about the presumed class, proclivities, and attitudes that Australian workers were assumed to have. Their address is also gendered, almost exclusively targeting men. In analysing one unusual workplace safety film targeted at women workers, Don’t Be Scalped (R.D. Hansen, 1960 Fortune films and the NSW Department of Labour and Industry), aspects of working-class male subjectivity commonly spoken to in workplace safety films are thrown into relief. This article examines how gendered address in industrial safety films constructs and perpetuates gendered inequalities in broader discourses about health, danger and industrial labour. Don’t Be Scalped illustrates how gender difference is one way this form of utilitarian text polices and normalises attitudes to safety through targeted and specific forms of subjectification.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"245 - 257"},"PeriodicalIF":0.6,"publicationDate":"2022-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42295334","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

Woomera’s Women: camera operators on the Anglo-Australian rocket range 1947–1970, a case study of Laurine (Hall) East Woomera的女性：1947–1970年英澳火箭靶场的摄像师，Laurine（Hall）East的案例研究

IF 0.6

Studies in Documentary Film Pub Date : 2022-04-28 DOI: 10.1080/17503280.2022.2066331

S. Barber

{"title":"Woomera’s Women: camera operators on the Anglo-Australian rocket range 1947–1970, a case study of Laurine (Hall) East","authors":"S. Barber","doi":"10.1080/17503280.2022.2066331","DOIUrl":"https://doi.org/10.1080/17503280.2022.2066331","url":null,"abstract":"ABSTRACT After WW2, with the onset of the Cold War, by virtue of an Anglo-Australian Joint Venture, Australia became a centre for scientific research into rockets and long-range weapons (including Britain’s atomic warheads) testing. By the mid 1950s a new outback town - Woomera had been created in the Australian Desert to conduct the tests. Each test generated 1,000s of images and 50,000 pictures could be generated per trial. Women’s roles at Woomera were initially expected to be traditional – supportive wives and mothers. This research based on archival records, documentary film and oral histories with those who worked on the range during 1947-1970, reveals women undertaking roles operating the kinetheodolites that filmed and tracked the rocket firings and female “computers,” who assisted in the production processes. These women recorded and analysed the data from filming and can be considered Australia’s “hidden figures”. Previous Woomera histories exclude any detailed mention of this industrial phenomenon – women as camera operators and data analysts/computers. This article examines the work of one of these women as revealed through film, archival records and oral history drawn from a broader study that examined the work of 12 former camera operators and four “computers” on the Woomera rocket range.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"258 - 273"},"PeriodicalIF":0.6,"publicationDate":"2022-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49480323","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

The utilitarian film dispositif 实用的电影处置

IF 0.6

Studies in Documentary Film Pub Date : 2022-04-24 DOI: 10.1080/17503280.2022.2066328

Deane Williams, G. C. Russell

引用次数: 0

Filmic Mutation: British nuclear tests in Australia 1952–1963 Filmic突变：1952–1963年英国在澳大利亚的核试验

IF 0.6

Studies in Documentary Film Pub Date : 2022-04-24 DOI: 10.1080/17503280.2022.2066332

Mick Broderick

引用次数: 0

Tuning and sensing with Korsakow: the ecocritical potentials of multilinear nonfiction Korsakow的调谐与感知:多线性非虚构文学的生态批评潜力

IF 0.6

Studies in Documentary Film Pub Date : 2022-04-13 DOI: 10.1080/17503280.2022.2048231

H. Brasier

{"title":"Tuning and sensing with Korsakow: the ecocritical potentials of multilinear nonfiction","authors":"H. Brasier","doi":"10.1080/17503280.2022.2048231","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048231","url":null,"abstract":"ABSTRACT The world is precarious and changing, yet we continue to find ways to order and understand these entanglements; taming the complexity out there. In linear documentary, shots by necessity need to be ordered and fixed by the edit, whilst some shots do not make the cut at all. Due to the affordances of the online network, multilinear documentary allows multiple possible arrangements of audiovisual nonfiction content without the time restrictions to leave content out. How can we conceive an audiovisual nonfiction practice which senses the entanglements of the fluxing world around us? Over the past six years I have been experimenting with the affordances of the Korsakow authoring system to make multilinear nonfiction. Korsakow works with fragments of audiovisual content and allows multiple possible relations to form between parts. Through the development of two major projects, I have found Korsakow offers a way of maintaining the world in fragments as soft multiple relations, reflecting an ecocritical world as entangled continually doing things. By sketching out the practice I developed through this body of work, I will propose that Korsakow provides an audiovisual nonfiction tool to tune into and sense the indeterminate patterns and rhythms of the world.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"71 26","pages":"114 - 126"},"PeriodicalIF":0.6,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41312018","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

Smart storytelling 聪明的故事

IF 0.6

Studies in Documentary Film Pub Date : 2022-03-29 DOI: 10.1080/17503280.2022.2048230

Max Schleser

引用次数: 1

Documentary film festivals Vol. 1: methods, history, politics/Vol. 2: changes, challenges, professional perspectives 纪录片电影节第1卷:方法、历史、政治/卷2:变化、挑战、专业视角

IF 0.6

Studies in Documentary Film Pub Date : 2022-03-22 DOI: 10.1080/17503280.2022.2054938

M. Radović

引用次数: 0

Coding reality: implications of AI for documentary media 编码现实：人工智能对纪实媒体的启示

IF 0.6

Studies in Documentary Film Pub Date : 2022-03-17 DOI: 10.1080/17503280.2022.2048235

Anandana Kapur, N. Ansari

{"title":"Coding reality: implications of AI for documentary media","authors":"Anandana Kapur, N. Ansari","doi":"10.1080/17503280.2022.2048235","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048235","url":null,"abstract":"ABSTRACT This article analyses the frameworks of co-creation between artists and AI in the context of documentary studies. As a result of emerging AI-focused experiments in documentary and transdisciplinary arts practice, we examine the nature and scope of AI as a collaborator with a focus of documentary projects exhibited and showcased at international documentary festivals. An introduction to emergent creative possibilities is made in light of non-humanism and new materialism while presenting the implications for emerging documentary forms and formats. The AI-as-medium approach allows reflection on documentary genres through the limitations and possibilities of algorithms. With the experiential turn in arts, coding has become a means of producing novel experiences. This has led to the emergence of documentary projects at the intersection of human and machine collaboration. The article addresses how operating within AI has wider consequences for collective intelligence by going beyond the visible and locating itself in the ontological. Scholarship concerns are outlined when exploring algorithms in terms of agency and autonomy and consideration of how they have come to affect our socio-cultural fabric. Coding Reality: Implications of AI for Documentary Media further discusses documentaries which were created in close collaboration with AI.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"174 - 185"},"PeriodicalIF":0.6,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41338729","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: 4

The way of the bricoleuse: experiments in documentary filmmaking 拼凑的方式：纪录片制作的实验

IF 0.6

Studies in Documentary Film Pub Date : 2022-03-11 DOI: 10.1080/17503280.2022.2048232

Jill Daniels

{"title":"The way of the bricoleuse: experiments in documentary filmmaking","authors":"Jill Daniels","doi":"10.1080/17503280.2022.2048232","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048232","url":null,"abstract":"ABSTRACT In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"127 - 139"},"PeriodicalIF":0.6,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46773721","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: 2

Beyond sonic realism: a cinematic sound approach in documentary 360° film 超越声音现实主义:纪录片360°电影的电影声音方法

IF 0.6

Studies in Documentary Film Pub Date : 2022-03-10 DOI: 10.1080/17503280.2022.2048234

Alicia Butterworth

{"title":"Beyond sonic realism: a cinematic sound approach in documentary 360° film","authors":"Alicia Butterworth","doi":"10.1080/17503280.2022.2048234","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048234","url":null,"abstract":"ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"156 - 173"},"PeriodicalIF":0.6,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42666052","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