Studies in Documentary Film最新文献_第8页

Redirected utopias: the politics of self-reflexive autobiographical documentary in Albertina Carri’s Los rubios and Ufuk Emiroglu’s Mon père, la révolution, et moi 重定向的乌托邦：阿尔伯蒂娜·卡里的《洛斯鲁比奥斯》和乌夫克·埃米罗格鲁的《蒙佩雷、进化论》中的自反自传体纪录片的政治

IF 0.6

Studies in Documentary Film Pub Date : 2021-01-26 DOI: 10.1080/17503280.2021.1877392

Stephanie M. Pridgeon

{"title":"Redirected utopias: the politics of self-reflexive autobiographical documentary in Albertina Carri’s Los rubios and Ufuk Emiroglu’s Mon père, la révolution, et moi","authors":"Stephanie M. Pridgeon","doi":"10.1080/17503280.2021.1877392","DOIUrl":"https://doi.org/10.1080/17503280.2021.1877392","url":null,"abstract":"ABSTRACT Twenty-first century documentary production from around the world has used self-reflexivity to challenge assumptions about subjectivity and social positioning in ways that explicitly challenge the politics of filmmaking. Released in 2003 and 2013 respectively, Argentine director Albertina Carri’s Los rubios and Turkish filmmaker Ufuk Emiroglu’s Mon père, la révolution et moi incorporate fictions and fantasies into their autobiographical stories, telling their life stories through alternative narrative forms that deviate from existing social and aesthetic precepts. The two filmmakers seek to understand – and scrutinize – the utopian ideals of the revolutionary movements to which their fathers belonged in 1970s Argentina and Turkey, respectively. The directors use non-realist, non-linear approaches to telling their own life stories as a way of challenging what audiences think they know about their nations’ recent history. Situating these two films within their respective national film industries and within documentary practices around the globe, I show that their shared metonymic structures question the utopic aspects of their respective fathers’ revolutionary politics and the non-place of memory. As I argue in my comparative discussion, these films are ‘redirecting’ utopic autobiographical storytelling to challenge notions of cohesion in both the self and political pursuits.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"68 - 82"},"PeriodicalIF":0.6,"publicationDate":"2021-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1877392","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42763122","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

“Based on actual facts”: Documentary Inscription in Fiction Films “立足事实”：小说电影中的纪实题词

IF 0.6

Studies in Documentary Film Pub Date : 2021-01-02 DOI: 10.1080/17503280.2020.1854072

P. Carrera

{"title":"“Based on actual facts”: Documentary Inscription in Fiction Films","authors":"P. Carrera","doi":"10.1080/17503280.2020.1854072","DOIUrl":"https://doi.org/10.1080/17503280.2020.1854072","url":null,"abstract":"ABSTRACT This article analyzes the discursive functions of the expression ‘based on actual facts’, or related utterances such as ‘based on real events’, ‘based on a true story’, ‘inspired by a true story’, etc., through which documentary rhetoric is inscribed in fiction films. It is concluded that one of these functions is to substract fictional stories from textual and ideological criticism by means of a supposed closeness to ‘factuality’, creating a simulacrum of discursive transparency. Through the formula ‘based on real facts’, and similar ones, reality is identified with a specific form of representation, i.e. with a particular rhetoric. This is produced through a double movement: on the one hand, it is assumed that documentary film is or should be a faithful reflection of a reality that precedes it, and that it is, as a discourse, subordinated to and at the service of that supposed pre-discursive reality; on the other hand, once this candid perspective on documentary narrative has been assumed, the fictional discourse that is said to be ‘based on actual facts’ endorses with the truth-effect of documentary narratives (‘factual truth’) the discourse on values that is characteristic of fiction.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"1 - 19"},"PeriodicalIF":0.6,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2020.1854072","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42107944","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

Spaces of engagement – critical aesthetic practice, audience experience and the documentary-like work 参与的空间——批判性审美实践、观众体验和纪实作品

IF 0.6

Studies in Documentary Film Pub Date : 2020-12-07 DOI: 10.1080/17503280.2020.1854071

B. Frankham

{"title":"Spaces of engagement – critical aesthetic practice, audience experience and the documentary-like work","authors":"B. Frankham","doi":"10.1080/17503280.2020.1854071","DOIUrl":"https://doi.org/10.1080/17503280.2020.1854071","url":null,"abstract":"ABSTRACT Aesthetic choices and the experiences they create are fundamental to how documentary works establish their credentials and address their audiences.This paper focuses on the overlap between documentary and video art practice to explore the rhetorical possibilities of aesthetic experience. Applying a critical aesthetic practice, evident within artistic contexts, has the potential to encourage greater diversity in the stories that are told in documentaries, how they are told and how they might be heard. Through examination of the two-channel video installation, Disorient by Fiona Tan, the paper analyses how aesthetic choices operate as elements of a rhetorical strategy where the work is realised as an experience in itself, existing in the space of encounter between art object and spectator. I argue that the critical aesthetic practice evident in Disorient produces a circumstance where the audience encounters the rhetorical moves as much through the direct experience of the work as they do through puzzling over the indexical references that Tan raises and combines. As a two-channel video projection that is at a one-step remove from the form of cinematic documentary, Disorient is instructive in what may be possible when these strategies are applied to an artistically inclined, expanded documentary practice.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"1 - 17"},"PeriodicalIF":0.6,"publicationDate":"2020-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2020.1854071","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43621378","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

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