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

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.

2021 ◽  
Author(s):  
Shivani Mulekar

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.


2018 ◽  
Vol 2 (2) ◽  
pp. 405
Author(s):  
Aan Ratmanto

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 


2019 ◽  
pp. 150-164
Author(s):  
Anhelina Ganzha

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).


Author(s):  
Barbara Rogoff

Over the years that I spent as a co-oper for my three children in this parent co-operative school, I gradually came to understand the philosophy and become part of the structure of this learning community. It took a long time for me to grasp the underlying principles—the “common thread” that weaves through the practices of this community. An understanding of the principles gives participants a basis for knowing what to do, but at the same time, it seems that participating is essential for finding the principles. When I was a new co-oper, my career as a developmental psychologist was largely unrelated to my activities in the classroom. My choice to send my first child to the OC, over a decade ago, was based on the suggestion of a colleague in the psychology department at the University of Utah, who said, “Just think of all the research you can do in the OC!” and talked me into coming to visit his daughter’s classroom. At the time, although I liked what I saw for my daughter, I could see no way that I could make use of the OC as a research site—it didn’t connect with the way I was studying children’s learning. Over time, though, what I learned from the challenges of seeking this program’s principles of learning, in order to participate in it, has transformed my research and scholarly work. It opened my eyes to this way of thinking about learning, which I believe can contribute to advances in developmental and educational research and theory. The program philosophy is apparent in my 1990 book, Apprenticeship in Thinking, though at the time I wrote it I did not recognize the depth of its influence in my work. A key question that perplexed me as I struggled to understand how to participate in a community of learners, as a parent new to the OC, was how adults and children can collaborate in learning. This is a puzzle to many parents as they enter the program; it is also a classic issue in the fields of developmental psychology and education.


2020 ◽  
pp. 030582982093706
Author(s):  
Isaac Kamola

Why does IR scholarship seem so resistant to travel into other disciplinary spaces? To answer this question, I look at the tendency for scholars within our discipline to talk to the discipline, about the discipline, and for the discipline. We obsess over ‘IR’ and, in doing so, reify IR as a thing. I turn towards Edward Said’s arguments about the worldliness of texts, and how reification shapes how ideas travel. I then provide two illustrations of how scholars have reified IR as a thing: Robert Cox’s approach to critical theory and Amitav Acharya’s call for a ‘Global IR’. In both cases, contrary to expectation, the authors reify IR as a thing, portraying the discipline as distinct from the world. IR is treated as something with agency, ignoring how disciplinary knowledge is produced within worldly institutions. I conclude by looking at three strategies for studying worldly relations in ways that refuse to reify the discipline: showing disloyalty to the discipline, engaging the political economy of higher education, and seeking to decolonise the university. Rather than reifying IR, these strategies help us to engage our scholarly work in a way that prioritises worldly critical engagements within our disciplinary community, and the world.


2018 ◽  
Vol 34 (2) ◽  
pp. 130-144
Author(s):  
Gabrielle Houle

In this article Gabrielle Houle examines the dramaturgical process that actor Marcello Moretti applied to his creation of Arlecchino's body in Giorgio Strehler's globally acclaimed productions of The Servant of Two Masters at the Piccolo Teatro of Milan between 1947 and 1960. She provides a critical analysis of Moretti's interdisciplinary and trans-historical research and creative process, including his study of iconographic representations of the commedia dell’arte, his observation of farmers in Padua in the mid-twentieth century, and the connections he made between his life experiences and his understanding of Arlecchino. She then examines Moretti's acting style, signature postures, and footwork, both as the international press described them and as she observed them in a video recording and in photographs of the productions. The article, based on extensive archival research at the Piccolo Teatro and on interviews with artists who knew both Moretti and Strehler, concludes with a discussion of Moretti's legacy within and beyond Italy. Gabrielle Houle is a theatre scholar, educator, and artist specializing in the recent staging history of the commedia dell’arte, contemporary mask-making practices, and masked performance. She has taught in several Canadian universities, and is a member of the Centre for Oral History and Tradition at the University of Lethbridge, where she is also an Adjunct Assistant Professor.


2019 ◽  
Vol 11 (1) ◽  
pp. 4-8
Author(s):  
Michele Domenico Todino ◽  
Maurizio Sibilio

Abstract Nowadays, in many Italian and European universities, teachers’ training includes one or more examinations related to new didactic methodologies and practices. The topic of this paper is how it is possible to realize a new video analysis laboratory as a didactic and research “tool” for teachers’ training at the University of Salerno that can support teaching–learning process for new teachers. The main idea of this project is to design and implement a mobile video analysis laboratory for video recording real or simulated didactic activities. In addition, the concept that drives this research is to develop a “plug-and-play” laboratory that can be installed everywhere in less than 15 minutes by everybody. This laboratory is already designed and tested and is composed of five cameras, a control room software and an open source video analysis software.


2020 ◽  
Vol 30 (2) ◽  
pp. 80-95
Author(s):  
Jhonel Morvan ◽  
Déirdre Smith

This article illuminates the significance of exploring intersectionalities within inclusive leadership practices through case inquiry as a critical praxis. Five educational institutions engaged in a partnership focused on exploring the lived practices and professional knowledge of school leaders as they worked towards supporting a vision of inclusive education within their individual school communities. These lived experiences were represented in written cases that have been captured in a provincial resource, Exploring Inclusive Leadership Practices through Case Inquiry (Sider, Maich, Morvan, Specht, & Smith, 2018). Mobilizing the knowledge and practices within this resource and supporting exploration of this knowledge and associated practices through a lens of critical praxis has been one of the key knowledge mobilization components of the June 1, 2019 conference, Exploring Intersectionalities for Leadership and School Inclusion, held at the University of British Columbia. This knowledge mobilization event, along with other initiatives, such as the case resource, helped to foster critical dialogue and interrogation related to leadership practices that can support or hinder a vision and enactment of inclusive education within school communities.


2021 ◽  
Author(s):  
Matthew Tegelberg

John Walker’s Passage makes a valuable contribution to contemporary film studies, reflecting on the definitive work of one of Canada’s finest documentary filmmakers. Darrell Varga’s close analysis of Passage (2008) situates the film within John Walker’s prolific body of work and the tradition of documentary filmmaking in Canada. The book attests to the strength and significance of this powerful, provocative, and distinctly Canadian film, and thereby occupies a central place in the University of Toronto Press “Canadian Cinema” series.


2020 ◽  
Vol 60 (8) ◽  
pp. 1527-1537
Author(s):  
Stephanie A Chesser ◽  
Michelle M Porter ◽  
Ruth Barclay ◽  
Abby C King ◽  
Verena H Menec ◽  
...  

Abstract Background and Objectives Since the launch of Dublin City University’s Age-Friendly University (AFU) Initiative in 2012, relatively little empirical research has been published on its feasibility or implementation by institutions of higher learning. This article describes how collaborative citizen science—a research method where professional researchers and community members work together across multiple stages of the research process (e.g., data collection, analysis, and/or knowledge mobilization) to investigate an issue—was used to identify barriers and supports to university age-friendliness at the University of Manitoba (UofM) in Canada. Research Design and Methods Ten citizen scientists each completed 1 data collection walk around the UofM campus and used a tablet application to document AFU barriers and supports via photographs and accompanying audio commentaries. The citizen scientists and university researchers then worked together in 2 analysis sessions to identify AFU priority areas and brainstorm recommendations for institutional change. These were then presented to a group of interested university stakeholders. Results The citizen scientists collected 157 photos documenting AFU barriers and supports on campus. Accessibility, signage, and transportation were identified as being the most pressing issues for the university to address to improve overall age-friendliness. Discussion and Implications We suggest that academic institutions looking to complete assessments of their age-friendliness, particularly those exploring physical barriers and supports, could benefit from incorporating older citizen scientists into the process of collecting, analyzing, and mobilizing findings.


Sign in / Sign up

Export Citation Format

Share Document