Studies in Documentary Film最新文献_第9页

Re-framing documentary’s victims: documentary and collective victimhood at Indian media collective Chalchitra Abhiyan 重新建构纪录片的受害者:印度媒体集体的纪录片和集体受害者

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Studies in Documentary Film Pub Date : 2021-02-28 DOI: 10.1080/17503280.2021.1887989

S. Kishore

{"title":"Re-framing documentary’s victims: documentary and collective victimhood at Indian media collective Chalchitra Abhiyan","authors":"S. Kishore","doi":"10.1080/17503280.2021.1887989","DOIUrl":"https://doi.org/10.1080/17503280.2021.1887989","url":null,"abstract":"ABSTRACT What do we learn about documentary forms, practices and relations when marginalised communities adapt documentary filmmaking to revise their historical conditions? The use of documentary filmmaking by Indian media collective Chalchitra Abhiyan responds to three historical circumstances: socially marginalised groups’ under-representation in media industries, their misrepresentation in mainstream media products and the systematic deployment of mainstream traditional and new media forms to promote religion-based constructions of Indian national identity. In this media ecology, community use of documentary functions for social transformation, through representation and the relationships, methods and practices defined by the needs and goals of otherwise marginalised communities (such as Dalits and Muslims) who use media for functions of visibility and counter-representation. Examining media production and circulation together with the arena of social relations, I contend that ‘embedded aesthetics’ of documentary in this setting involves a representational focus on the collective in agentive processes that use documentary to recognise, deconstruct and reinterpret an accepted victimhood into a form of resistance (Ginsburg, Faye. 1994. ‘Embedded Aesthetics: Creating a Discursive Space for Indigenous Media.’ Cultural Anthropology 9 (3): 365–82). Critiquing individualist social relations of mainstream media, concrete documentary practices re-organise digital and physical modes of media production and circulation by reference social and cultural functions, connecting filmmaking to lived histories of discrimination and possibilities of collective resistance.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"14 - 31"},"PeriodicalIF":0.6,"publicationDate":"2021-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1887989","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47759360","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

In the beginning 一开始

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Studies in Documentary Film Pub Date : 2021-02-23 DOI: 10.1080/17503280.2021.1877525

Bill Nichols

{"title":"In the beginning","authors":"Bill Nichols","doi":"10.1080/17503280.2021.1877525","DOIUrl":"https://doi.org/10.1080/17503280.2021.1877525","url":null,"abstract":"ABSTRACT This article examines how documentary films begin. Narrative theory has identified the opening sequences of a narrative as where a lack calls for a response which then propels the hero to undertake various tasks to resolve problems posed by the lack. This often involves a quest and the construction of a complex course laden with obstacles and graced with assistance that allow the narrative to conclude by resolving the original lack. Attention, though, has focused both on narrative fiction and on the central portion of the narrative, where issues of gender, on the one hand, and focalization or voice, on the other, have received much attention. The beginning has received relatively slight scrutiny, especially in documentary. This paper addresses two primary questions: how exactly the beginning scenes in documentaries launch a narrative trajectory by altering our sense of time, and how these beginnings stress different narrative qualities from identifying a problem to establishing a mood. The article stresses the centrality of narrative to documentary and the vital role of the beginning plays to draw the viewer into a particular perspective on the historical world.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"34 1","pages":"83 - 96"},"PeriodicalIF":0.6,"publicationDate":"2021-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1877525","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59977621","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

Conversations with a killer: the Ted Bundy tapes and affective responses to the true crime documentary 与杀手对话:泰德·邦迪的录音带和对真实犯罪纪录片的情感反应

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Studies in Documentary Film Pub Date : 2021-02-08 DOI: 10.1080/17503280.2021.1874236

Rachelle McCabe

引用次数: 3

Sense-value and the essay film: the speculative dimension of Dónal Foreman’s The Image You Missed (2018) 感官价值与随笔电影:Dónal福尔曼《你错过的影像》(2018)的思辨维度

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Studies in Documentary Film Pub Date : 2021-02-08 DOI: 10.1080/17503280.2021.1883223

Dara Waldron

{"title":"Sense-value and the essay film: the speculative dimension of Dónal Foreman’s The Image You Missed (2018)","authors":"Dara Waldron","doi":"10.1080/17503280.2021.1883223","DOIUrl":"https://doi.org/10.1080/17503280.2021.1883223","url":null,"abstract":"ABSTRACT This article explores Dónal Foreman’s 2018 essay film The Image You Missed through a trip-partite lens: sense, speculation and knowledge. Foreman navigates a life long relationship with a largely absent father, the deceased documentary filmmaker Arthur MacCaig, using a dialogic framework; an essay in the form of a conversation between Foreman and MacCaig. He turns to the essay to explore the paternal relationship as a conduit for others: sense and knowledge, documentary and reportage, speculation and fact. By exploring these in their various guises, this article argues that an aesthetically rendered image of MacCaig manifests (through audio interviews and texts that maintain the illusion of the father’s presence) as a residual haunting in the film: an affect of the archive. It is not Foreman’s aim, the article asserts, to cultivate a verifiably true image of his father from seen and unseen footage, but to ethically manufacture a dialogical conversation that involves thinking through the relationship itself. The article develops recent scholarship on the thinking of the essay film to explore the disjunctive relationship between sense and knowledge considered formative to the essay form.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"1 - 13"},"PeriodicalIF":0.6,"publicationDate":"2021-02-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1883223","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43766429","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

Why remember? Representations of the past in non-fiction films: fabrication, re-construction and interpretation of the collective memory(s) 为什么还记得？非虚构电影中对过去的再现：集体记忆的制造、重建和诠释

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Studies in Documentary Film Pub Date : 2021-01-27 DOI: 10.1080/17503280.2021.1877388

Roberto Arnau Roselló

引用次数: 3

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

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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

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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

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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

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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

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

J. Reeder

引用次数: 2