scholarly journals Database Documentary: From Authorship to Authoring in Remediated/Remixed Documentary

2012 ◽  
Vol 4 (2) ◽  
pp. 327-346 ◽  
Author(s):  
Hart Cohen
Keyword(s):  
Documentary Film ◽  
Historical Review ◽  
Media Production ◽  
Research Focus ◽  
Film And Television ◽  
Starting Point ◽  
Authoring Program ◽  
Contemporary Media ◽  
Film Form ◽  
The Web

The engagement with documentary from its inception as a film form is frequently a set of references to documentary auteurs. The names of Flaherty, Grierson, Vertov and later Ivens, Leacock and Rouch are immediate signifiers of whole documentary film practices. These practices have given rise to histories and criticism that have dominated discussion of documentary and provided the foundation for more nuanced thinking about problems of the genre. One of the seminal texts in the field, Documentary by Erik Barnouw (1974) celebrates the auteur as the structuring principle for his historical review of documentary. It may be a reflection of the influence of this book, that so much of documentary criticism reflects the auteur approach as a starting point for analysis. The shift towards a new documentary format, the Database Documentary, challenges the concept of an auteur in its presentation of documentary materials. This format relies on a remediation technique that recalibrates documentary media within new distributive networks supported by the web and enhanced by converged and designed visual and sonic interfaces. The reception modalities are necessarily removed from the familiar forms of projection and presentation of documentary film and television. The research focus for this paper is how the concept of authorship (the “auteur”) is transformed by the emergence of the relatively new screen format of the database documentary. The paper reviews some of the more recent examples of Database Documentary, the contexts for their production and the literature on new conceptions of documentary knowledge that may be drawn from these examples. An analysis of the authoring program, Korsakow and the documentaries that have been made using its software will demonstrate the route documentary has travelled from authorship to authoring in contemporary media production.

scholarly journals Cinematizing agenda – visualizing change.

2020 ◽  
Author(s):  
Marta Fiolić
Keyword(s):  
Social Media ◽  
Social Change ◽  
Documentary Film ◽  
Functional Form ◽  
The Other ◽  
Art Form ◽  
Starting Point ◽  
Hybrid Art ◽  
The Web ◽  
The Way

Thinking about the activism nowadays it is impossible to exclude the power of the visual, of film, cinema, of video, of multimedia platforms and social media extensions that offer a possibility of conveying a message probably stronger than any other tool at our disposal. An emerging form nowadays is the web-documentary or interactive documentary, among the other names it got, which changes the way we see the cinematic narrative and offers another perspective on the engaged audiences. Is there a viable connection between the web-documentary production and social change? Is there a functional form in which the two correspond - an activist project which attained its goal through or with the help of an online documentary film? Can this hybrid art form be used as a tool for social change and how?In this paper I will address these questions, as well as combine different interpretations and suggestions using as a starting point the crossing of documentary cinema and activism practices.

Candy and Drugs for Dinner

2019 ◽  
pp. 572-588
Author(s):  
Sean Guynes
Keyword(s):  
Comic Book ◽  
Gender Politics ◽  
Media Production ◽  
Comics Studies ◽  
Contemporary Media ◽  
The Aesthetic

This chapter links the seemingly disparate but deeply interconnected discourses and practices of contemporary media production, genre, aesthetics, and comics. It offers these arguments through a case study of the popular fantasy comic book Rat Queens and in the process demonstrates the critical utility to comics studies of reading genre, aesthetics, and industry together. The chapter reads Rat Queens through Sianne Ngai’s conception of the zany, cute, and interesting, showing how each of these categories is part of the aesthetic logic of the series, while also showing how each performs or critiques the series’ (superficial) investment in gender politics and the fantasy genre.

scholarly journals Proyección y transferencia de los grupos de investigación de la Comunicación en España a partir del análisis de sus sitios web

2021 ◽  
Author(s):  
Florencia Claes ◽  
Alejandro Barranquero ◽  
Eduardo Rodríguez-Gómez
Keyword(s):  
Web 2.0 ◽  
Scientific Production ◽  
International Level ◽  
Communication Research ◽  
Research Groups ◽  
Public And Private ◽  
Or Groups ◽  
Starting Point ◽  
Los Grupos ◽  
The Web

Research groups are professional structures that cooperate to produce knowledge and that must communicate their findings to make disciplines progress. This research analyzes how Spanish Communication research groups take advantage of the functionalities of the web 2.0 to transfer knowledge and promote closer collaboration with other academic entities. The starting point is an exhaustive census of research groups, prepared within the research project MapCom 2 and including groups belonging to communication faculties of public and private universities in Spain. Content analysis is then applied to examine how these groups use their respective websites, exploring six variables: navigability, dissemination of information and services, updating, international projection, SEO positioning, and possibilities of interaction with the audience. The analysis of the sites reveals disparate results in terms of the type of update, content, functionalities, and uses. Most of the groups listed have websites to present their lines of research and objectives. However, these spaces vary from one group to another (even within the same university), and many asymmetries can be detected in the information presented and in the fact that certain statements are not always accessible. The study of these variables –composed and designed for the present research– also allows us to analyze the knowledge transfer that the groups carry out, their possible level of interaction with citizens, or to determine whether they are more or less endogamic or have an external projection when promoting links with other members or groups at a local, state, or international level. The results show that Spanish groups have not yet managed to exploit the opportunities of the web 2.0 sufficiently to transfer knowledge as well as export and increase the visibility of their scientific production. Resumen Los grupos de investigación son estructuras académicas que cooperan para producir conocimiento y que necesitan comunicar sus hallazgos para fortalecer los campos y disciplinas científicas. La presente investigación analiza cómo los grupos españoles del campo de la Comunicación aprovechan las funciones de la web 2.0 para transferir el conocimiento y fomentar mecanismos de colaboración con otras entidades científicas. Se parte de la elaboración de un censo exhaustivo de grupos de investigación, elaborado en el marco del proyecto I+D MapCom 2, y que incluye grupos adscritos a las facultades de comunicación de universidades públicas y privadas en España. Se aplica un protocolo de análisis de contenido para estudiar cómo dichos grupos emplean sus webs en relación con seis variables: navegabilidad, exposición de informaciones y servicios, actualización, proyección internacional, trabajo de posicionamiento SEO, y posibilidades de interacción con el público. El análisis de las webs demuestra resultados dispares en cuanto a tipo de actualización, contenidos, funciones y usos. La mayoría de los grupos analizados cuenta con espacios online para exponer sus líneas de investigación y objetivos. Sin embargo, dichos espacios varían de un grupo a otro (e incluso dentro de la misma universidad), y se detectan abundantes asimetrías en la información expuesta y en el propio hecho de que ciertas declaraciones no son siempre accesibles. El estudio de estas variables –compuestas y diseñadas para la presente investigación– también nos permite analizar la transferencia de conocimiento que realizan los grupos, su nivel de interacción con la ciudadanía, y si estos son más o menos endogámicos o tienen una proyección externa al favorecer vínculos con otros miembros o grupos en escalas locales, estatales o internacionales. Los resultados demuestran que los grupos españoles aún no han conseguido explotar suficientemente la web 2.0 de cara a transferir conocimiento y visibilizar e internacionalizar su producción científica.

scholarly journals Życie jak scenariusz. Na marginesie książki (Nie)zapomniani dokumentaliści

2021 ◽  
Vol 29 (38) ◽  
pp. 255-264
Author(s):  
Jadwiga Hučková
Keyword(s):  
Documentary Film ◽  
Collective Work ◽  
Starting Point ◽  
History Of ◽  
Significant Achievement

The book (Un)forgotten documentalists, edited by Katarzyna Mąka-Malatyńska and Jolanta Lemann-Zajiček (2020) is a significant achievement in research on Polish documentary film. The review of the collective work, consisting of ten texts preceded by an introduction, becomes the starting point for discussions with selected authors and reflection on the problem of the absence of significant documentary filmmakers in the history of the film. Entire currents are also forgotten, such as a film about art, represented by four out of nine documentary filmmakers discussed in the book. The meanders of life and creativity can be instructive for contemporary documentary filmmakers.

scholarly journals Cinema and Cyberphobia: Internet Tropes in Film and Television

2016 ◽  
Vol 4 (1) ◽  
pp. 36-53
Author(s):  
Lauren Rosewarne
Keyword(s):  
Social Media ◽  
Risk Factor ◽  
Significant Role ◽  
Online Gaming ◽  
The Other ◽  
The Internet ◽  
Second Nature ◽  
Film And Television ◽  
Socially Excluded ◽  
The Web

Despite the widespread embrace of the Internet and the second nature way we each turn to Google for information, to social media to see our friends, to netporn and Netflix for recreation, film and television tells a very different story. On screen, a character dating online, gaming online or shopping online, invariably serves as a clue that they’re somewhat troubled: they may be a socially excluded nerd at one end of the spectrum, through to being a paedophile or homicidal maniac seeking prey at the other. On screen, the Internet is frequently presented as a clue, a risk factor and a rationale for a character’s deviance or danger. While the Internet has come to play a significant role in screen narratives, an undercurrent of many depictions – in varying degrees of fervour – is that the Web is complicated, elusive and potentially even hazardous. This paper draws from research conducted for my book Cyberbullies, Cyberactivists, Cyberpredators: Film, TV, and Internet Stereotypes (Rosewarne, 2016). While that volume provided an analysis of the denizens of the Internet through the examination of over 500 film and television examples – profiling screen stereotypes such as netgeeks, neckbeards, and netaddicts – this paper focuses on some of the recurring themes in portrayals of the Internet, shedding light on the how, and perhaps most importantly why, the fear of the technology is so common. This paper presents a series of themes used to frame the Internet as negative on screen including dehumanisation, the Internet as a badlands, the Web as possessing inherent vulnerabilities and the cyberbogeyman.

scholarly journals The missing link - om vandrebevægelse og mangel på samme i Danmark

2010 ◽  
Vol 26 (2) ◽  
Author(s):  
Jakob Haahr
Keyword(s):  
20Th Century ◽  
Historical Review ◽  
Long Distance ◽  
Missing Link ◽  
Hiking Trails ◽  
Agriculture Industry ◽  
Starting Point ◽  
State And Local ◽  
The Right ◽  
Second World

I artiklen sættes med afsæt i fjernvandreruten fokus på, hvad det er der gør, at vi i Danmark ikke har samme vandrekultur som i vores nabolande.The Missing LinkA long-distance footpath runs from Kilpisjärvi in northern Finland to Alexandroupolis in Greece. However the track does not cross intact but is interrupted on the island of Funen in Denmark. It is no coincidence that the rupture is in Denmark, nor that it is on Funen. In this article this ‘missing link’ provides the starting point to discuss a walking culture, which in Denmark is notable by its absence.At the beginning of 20th century, thanks to the influence of neighbouring countries, the culture of walking did increasingly make itself felt in Denmark. Longer walks became popular and many Danes embarked on hiking tours, walking for several days and spending the night at special ‘vandrehjem’ (or ‘youth hostels’). Since the Second World War this culture has more or less disappeared, and the question asked here is why?The article is divided in two parts. In the first there is a historical review of the development of the Danish culture of walking from the beginning of 20th century until the late 1930’s. This is followed by a discussion of the circumstances that led to the disappearance of this walking culture, focusing on the long distance footpath. This centres on a jostling for supremacy among sporting factions and on the struggle between various outdoor interests, between different management concerns, and between farmers, the state and local authorities about who should have the right to develop and exploit the landscape in southern Funen area. In this struggle organisations representing outdoor activities have been poorly organized and until now the landscape has primary been developed on the premises of agriculture, industry and urbanism.Today the position and status of outdoor life (friluftsliv) and the culture of hiking are improving. Councils in particular are focusing on health, tourism and attracting new residents´, and there is both a political and a popular will to establish hiking trails. For the long-distance footpath these changes mean that the missing link on Funen now disappears and that the hiking trail across Europe is established.

Hearing Secondary Explosions

2021 ◽  
pp. 574-593
Author(s):  
Randolph Jordan
Keyword(s):  
World Trade ◽  
Documentary Film ◽  
World Trade Center ◽  
Media Production ◽  
Audiovisual Media ◽  
Point Of Entry ◽  
The World ◽  
Trade Center

This chapter uses the shot of the first plane crashing into the World Trade Center, as captured in the Naudet brothers’ documentary film 9/11, as a point of entry to consider how conventions of asynchronous sound in the cinema are challenged by recent forms of media production and dissemination, and, by extension, to think about whether or not we should revise our understanding of what “cinematic” might mean in relation to listening. It situates the Naudets’ 9/11 within the discourse of “performativity” in documentary film, and assesses the implications of the Naudet footage proliferating in other media outside their own film. The notion of “secondary explosions” acts as a guiding metaphor for the concept of “asynchronization,” and it leads to the argument that the proliferation of Naudet sound elements outside of the film requires an expanded notion of the work of asynchronous sound in audiovisual media.

Imagining the Filipina Trafficked Woman/Sex Worker

2020 ◽  
pp. 47-64
Author(s):  
Gina K. Velasco
Keyword(s):  
Cultural Production ◽  
Sex Workers ◽  
Web Site ◽  
Documentary Film ◽  
Domestic Labor ◽  
Discursive Construction ◽  
Mail Order ◽  
Sex Worker ◽  
Mail Order Brides ◽  
The Web

The discourse of the Filipina trafficked woman collapses together women who perform multiple kinds of commodified sexual and domestic labor within a global capitalist economy, from Filipina mail-order brides to migrant sex workers. This chapter focuses on the diasporic circulation of the figure of the Filipina trafficked woman / sex worker within three sites of Filipina/o American cultural production: the web site for Gabriela Network’s Purple Rose Campaign, the Filipina American documentary film Sin City Diary, and the Pilipino Cultural Night vignette National Heroes. These sites reveal the tension in representing the Filipina trafficked woman / sex worker, from her portrayal as a victim to be saved by her Filipina American sisters, to her discursive construction by the Philippine state as a “national hero.”

scholarly journals Documenting the copyright sphere: can festivals solve the problem of copyright clearance for documentaries?

2019 ◽  
Vol 9 (4) ◽  
pp. 452-470
Author(s):  
Oğulcan Ekiz
Keyword(s):  
Intellectual Property ◽  
Documentary Film ◽  
Property Law ◽  
International Level ◽  
Policy Perspective ◽  
Copyright Policy ◽  
Intellectual Property Law ◽  
Copyright Clearance ◽  
Starting Point ◽  
Limitations And Exceptions

The starting point of this article is a short documentary film that I and five colleagues produced in the course of the Business of Film module at Queen Mary University of London's Intellectual Property Law LLM Programme. During the process of production, we faced some borderline issues regarding our unauthorized uses of others’ copyright works. When we put ourselves into the copyright's author's shoes, three problems arose regarding our use of possible limitations and exceptions: the lack of guidance; the fear of liability; and the unharmonized status of limitations and exceptions at an international level. This article examines these problems from a copyright policy perspective and invites documentary festivals to undertake a mission of guiding new documentary directors through the complex, unharmonized world of copyright limitations and exceptions.

Horror body as a bodily manifestation of visibility: 87 ore by Costanza Quatriglio

2019 ◽  
Vol 17 (1) ◽  
pp. 101-114
Author(s):  
Laura Cesaro
Keyword(s):  
Primary School ◽  
Cultural Change ◽  
Human Body ◽  
School Teacher ◽  
Primary School Teacher ◽  
Film And Television ◽  
Starting Point ◽  
Narrative Mode

Abstract Taking as a starting point the recent surge in film and television narratives constructed around and by surveillance technologies, as a metaphor of an omnipotent observation and dystopian motif in narrating a political and cultural change, this article aims to probe how surveillance movies suggest complex phenomenological dynamics in the relationships between body and device. While recent contributions on surveillance films (Kammerer 2004) focus on the practice of body control as a narrative mode, as an image and a show (Léfait 2013; Zimmer 2015), recent sociological contributions on surveillance recognize the destruction and annihilation of body placed under the aegis of the Great Eye (Haggerty 2011; Murakami Wood 2011). This article examines Costanza Quatriglio's film 87 ore: Gli ultimi giorni di Francesco Mastrogiovanni (2015) to describe the transition from bodies as narrative object to de-naturalizing the human body. The film narrates the night of 4 August 2009 when Mastrogiovanni, a 58-year-old primary school teacher, dies after 87 hours of agony following imprisonment. The film, in the canon of 'reality cinema', consists of 75 minutes of mechanical images recorded from above.

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