scholarly journals Polyphonizm of narrative in documentary film (On the case of films about P. Tychyna, M. Rylskyi, V. Sosiura)

2019 ◽  
pp. 150-164
Author(s):  
Anhelina Ganzha
Keyword(s):  
Documentary Film ◽  
Space Time ◽  
Research Paradigm ◽  
Direct Speech ◽  
Holistic View ◽  
Its Analysis ◽  
Screen Reading ◽  
Simultaneous Use ◽  
Documentary Filmmaking ◽  
Time Frames

Narratives in cinema text are seen as narratives of interrelated events occurring within specific space-time frames involving the author, narrator and characters. The intermedical nature of documentary filmmaking complicates its analysis in the coordinates of any research paradigm. However, among the universal categories of reception of film narratives, polyphonicism should be singled out as a means of creating a holistic view of a cultural product. The article offers the authorʼs vision of realization of the polyphonism of the film narrative in the documentaries “I Call You” (2006), “Poeta Maximus” (2008), “So No One Loved” (2008) from the series “Game of Fate”. It is concluded that there is a certain plot-compositional scheme of organization of audiovisual polyphonic narrative in the series. Among the specific figures of the screen narration in the analyzed documentary tapes we see transposition (eg, transition from the direct speech of the presenter to a voice-over commentary on a movie quote), overlay (simultaneous use of the “chronicle of the epoch” with the off-screen reading of an excerpt from an artistic text), photos and video snippets).

scholarly journals Sanctuary: documentary in virtual reality (VR)

2021 ◽  
Author(s):  
Shivani Mulekar
Keyword(s):  
Virtual Reality ◽  
Documentary Film ◽  
Active Role ◽  
Emerging Technology ◽  
Living Conditions ◽  
Mural Paintings ◽  
Nonlinear Form ◽  
Documentary Filmmaking ◽  
Film Viewing ◽  
Viewing Experience

Sanctuary is a documentary film in virtual reality (VR). The film uses 360-camera technology to offer a sensory immersive viewing experience. The film attempts to transcend the borders of filmmaking by merging new 360-camera technology and a nonlinear form of storytelling. The film is an observational piece. 360-degree videos are an emerging technology, which offers the viewer a sensory, immersive experience in virtual reality. Influenced by the 360-panoramic mural paintings created in 1860s, the use of the 360-camera breaks away from the syntax of documentary filmmaking and gives the audience an active role in the film-viewing experience. It breaks the traditional semantics of filmmaking and sets new rules of viewing which are personal and unique to each viewer. Sanctuary documents the Juhasz family, which has been living in a church since November 2014. The film is an eight-minute experience that gives the audience a 360- degree glimpse into the Juhasz family’s life and their living conditions. The film is presented as an installation, using Samsung’s Gear VR as the exhibition technology.

scholarly journals The Theme of Infidelity in Ajo Obi: A Reader Response Approach

2020 ◽  
pp. 47-56
Author(s):  
Chioma Magdaline Akaeze ◽  
Jacinta Ukamaka Eze ◽  
Juliana Ginika Mamah ◽  
Virginus Onyebuchi Aruah
Keyword(s):  
Qualitative Research ◽  
Reader Response ◽  
Literary Text ◽  
Literary Study ◽  
Research Paradigm ◽  
Intensive Study ◽  
Its Analysis

Thematic study is an area in any literary study that cannot be easily overlooked. It is an area that cuts across the three major genres of literature. This paper examines the literary text Ajo Obi which is written by I.G. Nwaozuzu in form of drama with the view of studying the theme of infidelity as portrayed in the text. This work aims at showing the ambiguity of the claim of innocence by the accused in the text. It also brings to light how cultural divergence brings about different interpretations of an action. The data for this study are drawn from intensive study of the literary text Ajo Obi. Following a qualitative research paradigm the study adopts reader response approach in its analysis. Findings show that there is a kind of uncertainty in the claim of innocence by the accused in the text. Again cultural divergence is also found to bring about differences in interpretation of an action.

scholarly journals Homes and Paths: Notes on Finding Place in Consumer Anthropology

2014 ◽  
Vol 3 (1) ◽  
pp. 109 ◽  
Author(s):  
Kevin Browne
Keyword(s):  
Consumer Research ◽  
Space Time ◽  
Human Actors ◽  
Time Frames

Homes are often the site of research in business anthropology. The relatively brief time frames of much consumer research can lead to a perception of stability of space-time rather than one of indeterminacy and flux. In this article I explore examples of such flows in the home and how they are actively produced. Following Latour, Ingold, and other theorists, I examine the co-creation of “home” by human and non-human actors in order to destabilize the concept and to open our research to richer possibilities and greater habitability.

From Contextualisation to Categorisation of Animated Documentaries

2018 ◽  
pp. 15-30
Author(s):  
Pascal Lefèvre
Keyword(s):  
Documentary Film ◽  
Film Studies ◽  
Film Production ◽  
New Journalism ◽  
History Of ◽  
Documentary Filmmaking ◽  
Artificial Nature ◽  
Live Action

This chapter provides a wide-ranging account of animated documentary cinema’s evolution, one which relates that ongoing history to analogous developments in related fields including live-action documentary, painting, photography and New Journalism. By their overt artificial nature animated documentaries seem to challenge the traditional documentary epistemology. Lefèvre considers the extent to which established Film Studies conceptual and analytical paradigms offer pre-existing tools that contemporary scholars can readily transpose to the study of animated documentary. This essay questions if the animated documentaries still fit in the six categories or modes of documentary film production that Bill Nichols defined: the poetic, the expository, the observational, the participatory, the reflexive, and the performative mode. This chapter highlights many of the critical and conceptual questions which that partially obscured history raises, laying out ten distinct sets of logistical, aesthetic and ideological issues that repeatedly manifest themselves across the history of animated documentary filmmaking.

A Trademark Approach to the Past: Ken Burns, the Historical Profession, and Assessing Popular Presentations of the Past

2003 ◽  
Vol 25 (3) ◽  
pp. 49-59 ◽  
Author(s):  
Vivien Ellen Rose ◽  
Julie Corley
Keyword(s):  
Documentary Film ◽  
Historical Analysis ◽  
Public Understanding ◽  
Women’S Rights ◽  
The Public ◽  
The Past ◽  
Elizabeth Cady Stanton ◽  
Documentary Filmmaking ◽  
The Impact ◽  
Historical Profession

A review of Not for Ourselves Alone, a historical documentary film by Ken Burns about Elizabeth Cady Stanton and Susan B. Anthony's leadership of the nineteenthcentury women's rights movement, indicates serious concerns about the impact of historical documentary filmmaking on public understanding of the past. New ways to engage the public in the process of historical analysis and understanding are suggested.

scholarly journals Mobilizing Knowledge via Documentary Filmmaking — Is the Academy Ready?

2015 ◽  
Vol 49 (3) ◽  
pp. 561-582 ◽  
Author(s):  
Diana M. Petrarca ◽  
Janette M. Hughes
Keyword(s):  
Documentary Film ◽  
Video Recording ◽  
Alternative Form ◽  
Scholarly Work ◽  
Knowledge Mobilization ◽  
Research Dissemination ◽  
Predominant Form ◽  
Documentary Filmmaking ◽  
Digital Filmmaking ◽  
The University

The predominant form of research dissemination resides in the scholar’s domain, namely academic conferences and peer-reviewed journals. This paper describes how two colleagues and researchers integrated documentary filmmaking with research methods in their respective scholarly work, supporting the case for documentary film as an alternative form of scholarly work and knowledge mobilization outside the walls of the university. The authors add to the ongoing conversation for a more dynamic use of digital video-recording that moves beyond simple data collection and encourage researchers to tap into multimodal forms of expression, specifically digital filmmaking.

scholarly journals A fundamental special-relativistic theory valid for all real-valued speeds

1984 ◽  
Vol 7 (3) ◽  
pp. 565-589
Author(s):  
Vedprakash Sewjathan
Keyword(s):  
General Relativity ◽  
Special Relativity ◽  
Relativistic Theory ◽  
Equivalence Principle ◽  
Rest Mass ◽  
Space Time ◽  
Twin Paradox ◽  
Relativistic Factor ◽  
Time Frames ◽  
Time Transformations

This paper constitutes a fundamental rederivation of special relativity based on thec-invariance postulate but independent of the assumptionds′2=±ds2(Einstein [1], Kittel et al [2], Recami [3]), the equivalence principle, homogeneity of space-time, isotropy of space, group properties and linearity of space-time transformations or the coincidence of the origins of inertial space-time frames. The mathematical formalism is simpler than Einstein's [4] and Recami's [3]. Whilst Einstein's subluminal and Recami's superluminal theories are rederived in this paper by further assuming the equivalence principle and “mathematical inverses” [4,3], this paper derives (independent of these assumptions) with physico-mathematical motivation an alternate singularity-free special-relativistic theory which replaces Einstein's factor[1/(1−V2/c2)]12and Recami's extended-relativistic factor[1/(V2/c2−1)]12by[(1−(V2/c2)n)/(1−V2/c2)]12, wherenequals the value of(m(V)/m0)2as|V|→c. In this theory both Newton's and Einstein's subluminal theories are experimentally valid on account of negligible terms. This theory implies that non-zero rest mass luxons will not be detected as ordinary non-zero rest mass bradyons because of spatial collapse, and non-zero rest mass tachyons are undetectable because they exist in another cosmos, resulting in a supercosmos of matter, with the possibility of infinitely many such supercosmoses, all moving forward in time. Furthermore this theory is not based on any assumption giving rise to the twin paradox controversy. The paper concludes with a discussion of the implications of this theory for general relativity.

scholarly journals The Fundamental Discussion between Newton, Maxwell, Bohr and Einstein

2021 ◽  
Author(s):  
Wim Vegt
Keyword(s):  
20Th Century ◽  
18Th Century ◽  
Albert Einstein ◽  
Time Frame ◽  
Space Time ◽  
Niels Bohr ◽  
Curved Space ◽  
Isaac Newton ◽  
Time Frames ◽  
Time Continuum

Isaac Newton, James Clerk Maxwell, Niels Bohr and Albert Einstein lived in fundamentally different time frames. Newton in the 16th century, Maxwell in the 18th century, Bohr in the 20th century and Einstein was physically living in the 20th century but he was his time far ahead and with his concept of a “curved space-time continuum” more connected to the 21st century. An interesting question would be: “Who would win the fundamental discussion about the interaction between “Gravity and Light” comparing the 4 fundamentally different time-frames? Newton, Maxwell, Bohr or Einstein? Newton with the fundamental “3rd law of equilibrium between the forces (force-densities)”. Maxwell who had built the “Mathematical Foundation for Electrodynamics”, Bohr (together with Heisenberg) who overruled Einstein during the 5th Solvay Conference in 1927 with the fundamental concept of “Quantum Mechanical Probability” or Einstein (his time-frame far ahead) who postulated a “Curved Space-Time Continuum” within a gravitational field. It is still the question who was right? Newton, Maxwell, Bohr or Einstein? This article will discuss the interaction between “Gravity and Light” based on a deductive discussion based on the fundamental arguments and way of thinking within that corresponding time-frame.

On IT and SwE Research Methodologies and Paradigms

2012 ◽  
pp. 149-164 ◽  
Author(s):  
Manuel Mora ◽  
Annette Lerine Steenkamp ◽  
Ovsei Gelman ◽  
Mahesh S. Raisinghani
Keyword(s):  
Information Technology ◽  
Software Engineering ◽  
Best Practices ◽  
Research Paradigm ◽  
Research Methodologies ◽  
Holistic View ◽  
Research Framework ◽  
The Core ◽  
Research Paradigms ◽  
Selection Of

In this chapter, the authors review the landscape of research methodologies and paradigms available for Information Technology (IT) and Software Engineering (SwE). The aims of the chapter are two-fold: (i) create awareness in current research communities in IT and SwE on the variety of research paradigms and methodologies, and (ii) provide an useful map for guiding new researchers on the selection of an IT or SwE research paradigm and methodology. To achieve this, the chapter reviews the core IT and SwE research methodological literature, and based on the findings, the authors illustrate an updated IT and SwE research framework that comprehensively integrates findings and best practices and provides a coherent systemic (holistic) view of this research landscape.

The Polarities and Hybridities of Arctic Cinemas

2019 ◽  
pp. 124-146
Author(s):  
Scott MacKenzie ◽  
Anna Westerståhl Stenport
Keyword(s):  
Documentary Film ◽  
Canadian Arctic ◽  
The Arctic ◽  
Central Importance ◽  
Moving Image ◽  
Expanded Cinema ◽  
Documentary Video ◽  
Alternative Approaches ◽  
Documentary Filmmaking ◽  
Varied Distribution

This chapter foregrounds alternative approaches to Canadian Arctic Cinemas, identifying and examining practices and aesthetics that emphasize the hybridized, situated, and local. The chapter highlights some of the most distinctive aspects of Canadian Arctic filmmaking traditions: the innovative use of technological forms, multiple and varied distribution practices, a continual return to processes of historical re-enactment, variegated documentary film practices, and the rise of Arctic Indigenous filmmaking. In alignment with many contemporary Canadian film historiographies, the chapter emphasizes the central importance of narrowcast, multimedia, documentary, video arts, and expanded cinema to the nation’s work, which is quite distinct from many aspects of American and European cinematic traditions and practices. The Arctic cinematic/moving image traditions and practices considered include participatory and documentary filmmaking, Inuit television, Indigenous filmmaking collectives such as Isuma and Arnait, le cinéma vécu, the re-release of archival works as acts of repatriation, multiscreen and expanded cinemas, and IMAX.

Sign in / Sign up

Export Citation Format

Share Document