scholarly journals Youtube as alternative media for digital activism in documentary film creative industry

2021 ◽  
Vol 5 (3) ◽  
pp. 665-692
Author(s):  
Marina Rospitasari
Keyword(s):  
Documentary Film ◽  
Film Industry ◽  
Alternative Media ◽  
Creative Industry ◽  
Documentary Films ◽  
Digital Activism ◽  
Digital World ◽  
Social Media Platforms ◽  
Research Findings ◽  
Production House

The development of the digital world provides ample scope to activists who are also engaged in Documentary Film Industry. In line with the democratic and deliberative spirit, YouTube, one of the social media platforms, has become an alternative media with a strategic positioning to be used by film activists to distribute their works. This research applied literature review and descriptive quantitative content analysis as a methodology. Based on alternative media theory, YouTube is alternative media that filmmakers utilise in the documentary film creative industry. Documentary films are products of the film industry and aspiration, identity struggle, and artistic expression. As a media representation of communication technology, YouTube provides ample opportunities for art activists to convey their critical ideas to voicing marginal groups’ aspirations. Based on reviewing the Watchdoc YouTube account, this research findings that YouTube supports filmmakers to develop interactive documentary and collaborative actions with other strategic stakeholders, such as Production House, NGO, individual activists, social communities, and educational institutions. According to the practising of digital activism, this phenomenon gives another perspective about building an activist network. Activism through the creative documentary industry is not reflected as people mobilisations but building engagement through the product (documentary film).

scholarly journals Creative Industry Development in Pesantren Tebuireng

2019 ◽  
Vol 4 (3) ◽  
Author(s):  
M. Musa Al Hasyim
Keyword(s):  
Industrial Revolution ◽  
Film Industry ◽  
Boarding School ◽  
Creative Economy ◽  
Creative Industry ◽  
Industry Development ◽  
Islamic Studies ◽  
Production House ◽  
Film Activity ◽  
The Way

Film, short movie, and animation are one of the sub-sectors in creative industry which are importantly considered for development of Indonesia’s creative economy. Pesantren (Islamic boarding school) have opportunity to get involve it. Kopi Ireng (Komunitas Photography Tebuireng, Tebuireng Photography Community) inspired Tebuireng santri to establish production house, namely Maksi (Rumah Produksi Tebuireng, Tebuireng Production House). Kopi Ireng has won many competitions while Maksi has produced two movies both Binar and Sakinah. Both Kopi Ireng and Maksi are an effort to regenerate the progress of film industry in Indonesia, especially in pesantren. Film in pesantren is something new which is sometimes considered unusually. Some of pesantren claimed that film activity will break the old tradition of santri and pesantren in studying Islamic studies. Both Kopi Ireng and Maksi believe that film is the way to spread dakwah and origin culture of Indonesia in the era of 4.0 industrial revolution. Keyword: 4.0 era, creative industry, film, Pesantren Tebuireng 

scholarly journals الفيلم الوثائقي ودوره في الترويج للسياحة في السودان

2021 ◽  
Vol 33 (1) ◽  
pp. 1-24
Author(s):  
د. المعز حمودة علي حمودة
Keyword(s):  
Documentary Film ◽  
Film Industry ◽  
Documentary Films ◽  
Technical Standards ◽  
Basic Premise ◽  
Television Production ◽  
Study Approach ◽  
The Media ◽  
Film Series

This study explored the extent of documentary films’ effectiveness in introducing and promoting tourism in Sudan in which the film series Ard-AlSomur was taken as a case study. The basic premise was that documentary films which promoted tourism in Sudan had not been subjected toexistening professional and technical standards in television production process; many questions were presented, however, the most important of which was the extent thatArd-AlSomur series’ had contributedto promoting and guiding tourists to sites and tourism landmarks in Sudan. The descriptive and case study approach was used for which a questionnaire and an interview were adopted as data collection tools. The study was divided into three sections:  the first tackled the documentary film; the second was on tourism and media; and the third covered the field study’s procedures. A number of findings were reached, the most important of which are that: The Ard-alsumor films series have significantly contributed to the promotion of tourism in Sudan and that there are production weaknesses in documentaries that promote tourism in Sudan incompatible with theprofessional and artistic standards. Accordingly, the researcher recommends the conduction of more research to develop the area of documentary film industry in Sudan and to encourage investment in the media by engaging in the production of documentary films that promote tourism.

Why A Doc With a Dip Doc?

2011 ◽  
Vol 1 (1) ◽  
pp. 30-34
Author(s):  
Catherine Morley
Keyword(s):  
Nutrition Education ◽  
Visual Arts ◽  
Documentary Film ◽  
Eating Behaviour ◽  
Knowledge And Skills ◽  
Time Out ◽  
Power Differentials ◽  
Research Findings

In 2007, when I began studies toward two diplomas, one in textile arts, and one in documentary film this seeming ‘change of focus’ prompted questions from dietetics and research colleagues: Was I changing careers? What did visual arts and film have to do with dietetics and research? In addition to personal reasons for these studies, I wanted ‘time out’ from consulting and research to develop my knowledge and skills in these artforms, and to explore them as means to broaden the reach of research findings. In this article, I discuss the potential for film and visual arts in dietetics practice and education. Arts-based inquiry and practice offer ways to disrupt power differentials, to question what counts as knowledge and whose/what voices ought to count, to invite reflections on and conversations about meanings imbedded in food and in eating behaviour, and to integrate this knowledge into collaborative, client-centred approaches to nutrition education.

scholarly journals Dimensions of the Javanese culture and the role of Parents in instilling values in creative industry entrepreneurship

2018 ◽  
Vol 7 (2.29) ◽  
pp. 182
Author(s):  
Agus Hermawan ◽  
Mohammad Arief ◽  
Wening Patmi Rahayu
Keyword(s):  
Cultural Values ◽  
Local Level ◽  
Social Constructionist ◽  
Creative Industry ◽  
Research Approach ◽  
Face To Face ◽  
Methodological Foundation ◽  
Research Findings ◽  
Role Of Parents ◽  
New Generation

This paper reveals how the sources of Javanese culture, which has been instilled by parents of children as the new generation of the successor to the family business, can act as values of sources of inspiration which shapes the behavior of entrepreneurship in the creative industry. Entrepreneurship in family businesses uses these Javanese values as the standards of the family's belief, which makes the principles as an identity that guides them in entrepreneurship and creates a way of life in the running entrepreneurialism. The method used in this research is a social constructionist, narrative and interpretive. The narrative-based research approach is done through data collection with depth interview, and non-participatory observation as well as analysis of the theme that create the methodological foundation. The ideas emerged and developed from in narrative face-to-face that became a proposition of research findings. Findings clearly indicate the relationship between Javanese cultures which is owned by parents has been the values that are believed by the second generation and this has motivated their behavior entrepreneurship, and impact the learning element of entrepreneurship, as well as orientation in entrepreneurship.  The internalization of the values of Javanese culture Bapakisme (paternalism) and Rukun (harmony) have motivated the behavior of entrepreneurship when running a business relationship. Javanese cultural values implemented in the form of obedience to parents, keeping harmony, learning competitors, watching of God, sincere, assertive, fortune flows, trust, motivating, cultivation of religious values, and independent values. The research provides new insights into the culture of entrepreneurship at the local level and links the insights to the cultivation of cultural values in entrepreneurship, which is realized in everyday behavior. The construct built provides the possibility of new learning materials for the perpetrators of entrepreneurs in Indonesia, where 47% of the population of Indonesia is Javanese ethnicity.  

scholarly journals Beyond The Historiography: Film Dokumenter Sejarah Sebagai Alternatif Historiografi di Indonesia

2018 ◽  
Vol 2 (2) ◽  
pp. 405
Author(s):  
Aan Ratmanto
Keyword(s):  
New Media ◽  
Documentary Film ◽  
Real Life ◽  
Documentary Films ◽  
Digital Era ◽  
History Of ◽  
The Cost ◽  
The University ◽  
Quality Of Research

The Department of History, Faculty of Cultural Sciences, the University of Gadjah Mada in 2015 made a milestone in the development of historiography in Indonesia. They made a bold move to produce a scholar with a documentary film work instead of a thesis. In the future, it is not impossible that this step will soon be followed by other universities in Indonesia. This paper was written in response to these developments. In this digital era-and in the midst of still low interest in reading in Indonesia-emerged the discourse to seek new media for historiography in Indonesia. The film, especially documentary films are seen as new media that match the characteristics of history because of they both present real-life reality. Moreover, Indonesia with the diversity of tribes and culture and history, of course, save a variety of themes that will not run out to be appointed a documentary. Based on that, this paper will discuss the types, forms, and format of the documentary that is suitable and possible to be produced by history students as a substitute for thesis-considering the cost of film production tends to be higher than thesis research. Thus, the film of a documentary a college student, especially a history produces the quality of research and aestheticsKata 

scholarly journals Legal Protection on the Moral Rights and Economic Rights of the Author of Film Script Writing Pursuant to Law No. 28 of 2014 Concerning Copyright (Analysis of Copyright Infringement Case by a Production House of the “ Benyamin Biang Kerok” Film)

2021 ◽  
Vol 8 (8) ◽  
pp. 731-739
Author(s):  
Asima Trismawati Situmeang ◽  
Saidin . ◽  
T. Keizerina Devi A
Keyword(s):  
Film Industry ◽  
Legal Protection ◽  
Copyright Infringement ◽  
Creative Industries ◽  
Moral Rights ◽  
Economic Rights ◽  
Original Manuscript ◽  
Production House ◽  
Film Scripts ◽  
Article 5

Moral Rights and Economic Rights are Exclusive Rights that cannot be separated in relation to Copyrights. Copyright protects all forms of work, one of which is Film Script Writing as referred to in Article 40 paragraph (1) of Law Number 28 of 2014 concerning Copyright (UUHC). One of the forms of infringement on the copyrighted work of the film script is the reuse of the film script without the permission of the creator, resulting in the loss of the moral rights and economic rights of the creator. The problems in this study are: how to use the principles of Moral Rights and Economic Rights of the Author in claiming protection against Copyright infringement on Film Script Writing, how legal remedies can be taken in the form of legal protection for the Author of Film Script Writing used without permission, and how analysis of the Judge's decision on the violation of Moral Rights for the Creator in the dispute of the film "Benyamin Biang Kerok" based on the decision of the Panel of Judges Number 09/Pdt.Sus-HKI/Cipta/2018/PN Niaga Jkt. Pst. This research is descriptive analytical with a normative juridical approach. Qualitative analysis methods are used to process and analyze research data and then draw conclusions using deductive methods through a normative framework. The results of the research show: the use of the Principles of Moral Rights and Economic Rights of the Creator as a claim for infringement of Copyright is listed in Article 4, Article 5. This right will continue to exist and is eternally attached to the Creator and will continue to apply indefinitely. Legal efforts as a form of legal protection for Film Scripts that are used without permission are to follow the provisions in Article 95 to Article 109 of the UUHC, namely by preventing violations from occurring and through alternative dispute resolution through arbitration or through the Commercial Court. The Plaintiff's lawsuit was declared defeated by the Panel of Judges, due to lack of parties. But the production of the film "Benyamin Biang Kerok" is not determined as a violation of the exclusive rights of the Creator. This decision has not provided justice and provided legal protection for the Plaintiff as the author of the original manuscript and it is feared that the same violation will continue to occur in the future. Suggestions that can be given include: in providing explanations and strengthening the importance of the Creator's Exclusive Rights, it is necessary to have awareness, socialization and public education so as not to use other people's creations carelessly. Legal efforts to prevent infringement of film script writing is to conduct socialization in the film industry and other related creative industries. Against a decision that has not provided legal protection for the Plaintiff, the Panel of Judges must also determine that the defendant has violated the exclusive rights of the Plaintiff's written film script and stipulates compensation for the violation of exclusive rights committed. Keywords: Legal Protection, Moral Rights, Economic Rights, The Author, Copyrights,Film Script Writing.

scholarly journals Selfies as expressively authentic identity performance

First Monday ◽  
2017 ◽  
Author(s):  
Linh Nguyen ◽  
Kim Barbour
Keyword(s):  
Social Media ◽  
Focus Group ◽  
Theoretical Frameworks ◽  
Self Identity ◽  
Face To Face ◽  
Digital World ◽  
Online Social Media ◽  
Social Media Platforms ◽  
The Individual ◽  
The University

This paper explores whether or not our online social media persona is viewed as authentic. The selfie is a fundamental part of the structure of the online identity for young people in today’s digital world. The relationship between an individual’s self-identity in the physical face-to-face environment was analysed and compared to a carefully constructed, modified virtual representation in a selfie posted on social media platforms. Data was obtained through four focus groups at the University of Adelaide. Two key theoretical frameworks provide a basis for this study: Erving Goffman’s concept of the self as a performance, and Charles Horton Cooley’s concept of the looking glass self. In examining the focus group discussions in light of these two frameworks as well as associated literature, we conclude that the authenticity of the selfie as a way of visualising a social media persona is subjective and dependent on the individual posting a selfie. Ultimately, authenticity involves a degree of subjectivity. It was on this basis that focus group participants argued that selfies could be considered authentic expressions of identity.

World Film News

2018 ◽  
Author(s):  
Thomas S. Davis
Keyword(s):  
Documentary Film ◽  
George Bernard Shaw ◽  
Documentary Films ◽  
Graham Greene ◽  
Sergei Eisenstein ◽  
Technical Issues ◽  
Christopher Isherwood ◽  
Bernard Shaw

World Film News was a publication that advanced the visibility of the documentary film movement and hosted wide-ranging debates over film, politics, and aesthetics. The magazine was preceded by the Edinburgh based journal Cinema Quarterly (1932–1935) and succeeded by Documentary Newsletter (1940–1947). The first issue was funded by Basil Wright and initially took over the audience for Cinema Quarterly. John Grierson, the brash but passionate leader of the British Documentary Film Movement, exercised editorial control over the magazine, but was careful to include articles by distinguished writers, filmmakers, and intellectuals that might lend a certain gravity to the magazine and his own ambitions. Graham Greene, J. B. Priestley, George Bernard Shaw, Sergei Eisenstein, and Vselovod Pudovkin contributed articles and essays; the magazine also listed W. H. Auden and Christopher Isherwood as correspondents. As other prominent film journals such as Sight and Sound had ceased to cover documentary films, World Film News became an important venue for propagating ideas about documentary, asserting its cultural sophistication (which was conveyed most baldly by listing its most prominent subscribers and contributors in each issue), and debating technical issues relating to amateur actors, sound, editing, and funding models as well as covering the burgeoning global film scene.

Redefining #YourAverageMuslim woman: Muslim female digital activism on social media

2019 ◽  
Vol 12 (2) ◽  
pp. 213-233 ◽  
Author(s):  
Inaash Islam
Keyword(s):  
Social Media ◽  
Visual Representations ◽  
Muslim Women ◽  
Visual Media ◽  
Muslim Woman ◽  
Complex Relationship ◽  
Digital Activism ◽  
Women In Art ◽  
Controlling Images ◽  
Social Media Platforms

Orientalist discourses have largely shaped how Muslim women have come to be represented in western visual media as oppressed, subjugated or foreign. However, with the advent of social media platforms, Muslim women are utilizing social media spaces to rearticulate the controlling images promulgated through orientalist narratives. This article examines the complex relationship visual media shares with Muslim women and demonstrates that the lens of orientalism continues to structure the imaginaries that shape visual representations of Muslim women in art, news and film. This article addresses how visual platforms and social media spaces such as YouTube are being utilized by Muslim women to undertake digital activism that seeks to subvert essentialist narratives. At the centre of this discussion is YouTuber Dina Tokio’s (2017) documentary, titled ‘#YourAverageMuslim’, which tackles western preconceived notions, and instead offers a redefined version of the ‘Muslim woman’ predicated on resisting three narratives: (1) Muslim-Woman-As-Oppressed, (2) Muslim-Woman-As-Subjugated and (3) Muslim-Woman-As-Foreign-Other. This documentary clearly demonstrates how Muslim women are using social media platforms in specific ways to shape the discourses around Muslim women. In doing so they are demonstrating their agentic capabilities, taking control of their representations, and speaking for themselves instead of being spoken for by others.

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