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overflow: hidden; text-overflow: ellipsis; -webkit-line-clamp: 3; -webkit-box-orient: vertical; }</style><div class="col-xs-12 clearfix"><div class="u-floatLeft"><h1 class="PageHeader-title u-m0x u-fs30">Documentary Filmmaking</h1><div class="u-tcGrayDark">12,070 Followers</div><div class="u-tcGrayDark u-mt2x">Recent papers in <b>Documentary Filmmaking</b></div></div></div></div></div></div><div class="TabbedNavigation"><div class="container"><div class="row"><div class="col-xs-12 clearfix"><ul class="nav u-m0x u-p0x list-inline u-displayFlex"><li class="active"><a href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Top Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Documentary_Filmmaking/MostCited">Most Cited Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Documentary_Filmmaking/MostDownloaded">Most Downloaded Papers</a></li><li><a href="https://www.academia.edu/Documents/in/Documentary_Filmmaking/MostRecent">Newest Papers</a></li><li><a class="" href="https://www.academia.edu/People/Documentary_Filmmaking">People</a></li></ul></div><style type="text/css">ul.nav{flex-direction:row}@media(max-width: 567px){ul.nav{flex-direction:column}.TabbedNavigation li{max-width:100%}.TabbedNavigation li.active{background-color:var(--background-grey, #dddde2)}.TabbedNavigation li.active:before,.TabbedNavigation li.active:after{display:none}}</style></div></div></div><div class="container"><div class="row"><div class="col-xs-12"><div class="u-displayFlex"><div class="u-flexGrow1"><div class="works"><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10754857" data-work_id="10754857" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10754857/Audiovisual_Ethnography_of_Philippine_Music_A_Process_oriented_Approach">Audiovisual Ethnography of Philippine Music: A Process-oriented Approach</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Audiovisual documentation has been an important part of ethnomusicological endeavors, but until recently it was treated primarily as a tool of preservation and/or documentation that supplements written ethnography, albeit there are a few... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10754857" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Audiovisual documentation has been an important part of ethnomusicological endeavors, but until recently it was treated primarily as a tool of preservation and/or documentation that supplements written ethnography, albeit there are a few notable exceptions.The proliferation of inexpensive video equipment has encouraged the unprecedented number of scholars and students in ethnomusicology to be involved in filmmaking, but its potential as a methodology has not been fully explored. <br /> <br />As a small step to redefine the application of audiovisual media, Dr. Usopay Cadar, my teacher in Philippine music, and I produced two films: one on Maranao kolintang music and the other on Maranao culture in general, based on the audiovisual footage we collected in 2008. This short essay describes how the screenings of these films were organized in March 2013 for the diverse audiences in the Philippines, and what types of reactions and interactions transpired during the screenings.These screenings were organized both to obtain feedback about the content of the films from the caretakers and stakeholders of the documented tradition and to create a venue for interactions and collaborations to discuss the potential of audiovisual ethnography. <br /> <br />Drawing from the analysis of the current project, I propose to regard film not as a fixed product but as a living and organic site that is open to commentaries and critiques, where changes can be made throughout the process. In this perspective, ‘filmmaking’ refers to the entire process of research, filming, editing and post-production activities.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10754857" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="84f818c9c847c4f87aed150a4f11a3e7" rel="nofollow" data-download="{"attachment_id":36619630,"asset_id":10754857,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36619630/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4219986" href="https://minpaku.academia.edu/TeradaYoshitaka">Terada Yoshitaka</a><script data-card-contents-for-user="4219986" type="text/json">{"id":4219986,"first_name":"Terada","last_name":"Yoshitaka","domain_name":"minpaku","page_name":"TeradaYoshitaka","display_name":"Terada Yoshitaka","profile_url":"https://minpaku.academia.edu/TeradaYoshitaka?f_ri=37443","photo":"https://0.academia-photos.com/4219986/5841010/27943018/s65_terada.yoshitaka.jpg"}</script></span></span></li><li class="js-paper-rank-work_10754857 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10754857"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10754857, container: ".js-paper-rank-work_10754857", }); 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$(".js-view-count[data-work-id=10754857]").text(description); $(".js-view-count-work_10754857").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10754857").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10754857"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1987" href="https://www.academia.edu/Documents/in/Ethnomusicology">Ethnomusicology</a>, <script data-card-contents-for-ri="1987" type="text/json">{"id":1987,"name":"Ethnomusicology","url":"https://www.academia.edu/Documents/in/Ethnomusicology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8785" href="https://www.academia.edu/Documents/in/Philippines">Philippines</a>, <script data-card-contents-for-ri="8785" type="text/json">{"id":8785,"name":"Philippines","url":"https://www.academia.edu/Documents/in/Philippines?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="83703" href="https://www.academia.edu/Documents/in/Audiovisual">Audiovisual</a><script data-card-contents-for-ri="83703" type="text/json">{"id":83703,"name":"Audiovisual","url":"https://www.academia.edu/Documents/in/Audiovisual?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10754857]'), work: {"id":10754857,"title":"Audiovisual Ethnography of Philippine Music: A Process-oriented Approach","created_at":"2015-02-12T22:17:55.934-08:00","url":"https://www.academia.edu/10754857/Audiovisual_Ethnography_of_Philippine_Music_A_Process_oriented_Approach?f_ri=37443","dom_id":"work_10754857","summary":"Audiovisual documentation has been an important part of ethnomusicological endeavors, but until recently it was treated primarily as a tool of preservation and/or documentation that supplements written ethnography, albeit there are a few notable exceptions.The proliferation of inexpensive video equipment has encouraged the unprecedented number of scholars and students in ethnomusicology to be involved in filmmaking, but its potential as a methodology has not been fully explored.\r\n\r\nAs a small step to redefine the application of audiovisual media, Dr. Usopay Cadar, my teacher in Philippine music, and I produced two films: one on Maranao kolintang music and the other on Maranao culture in general, based on the audiovisual footage we collected in 2008. This short essay describes how the screenings of these films were organized in March 2013 for the diverse audiences in the Philippines, and what types of reactions and interactions transpired during the screenings.These screenings were organized both to obtain feedback about the content of the films from the caretakers and stakeholders of the documented tradition and to create a venue for interactions and collaborations to discuss the potential of audiovisual ethnography.\r\n\r\nDrawing from the analysis of the current project, I propose to regard film not as a fixed product but as a living and organic site that is open to commentaries and critiques, where changes can be made throughout the process. 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$(".js-view-count[data-work-id=33527537]").text(description); $(".js-view-count-work_33527537").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_33527537").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="33527537"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">7</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a><script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33527537]'), work: {"id":33527537,"title":"Intro To Film History: Documentary Filmmaking","created_at":"2017-06-17T13:50:34.048-07:00","url":"https://www.academia.edu/33527537/Intro_To_Film_History_Documentary_Filmmaking?f_ri=37443","dom_id":"work_33527537","summary":null,"downloadable_attachments":[{"id":53571242,"asset_id":33527537,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1233856,"first_name":"Jake Ivan","last_name":"Dole","domain_name":"gsu","page_name":"JakeIvanDole","display_name":"Jake Ivan Dole","profile_url":"https://gsu.academia.edu/JakeIvanDole?f_ri=37443","photo":"https://0.academia-photos.com/1233856/448290/558608/s65_jake_ivan.dole.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":88308,"name":"Direct Cinema","url":"https://www.academia.edu/Documents/in/Direct_Cinema?f_ri=37443"},{"id":119173,"name":"Documentary and ethnographic filmmaker","url":"https://www.academia.edu/Documents/in/Documentary_and_ethnographic_filmmaker?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44381023" data-work_id="44381023" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44381023/%D0%A3%D0%BD%D0%B8%D0%B2%D0%B5%D1%80%D1%81%D0%B8%D1%82%D0%B5%D1%82%D1%81%D0%BA%D0%B8%D0%B9_%D1%87%D0%B5%D0%BB%D0%BE%D0%B2%D0%B5%D0%BA_%D1%81_%D0%BD%D0%B5%D1%80%D1%8B%D0%BD%D0%BE%D1%87%D0%BD%D1%8B%D0%BC_%D1%85%D0%B0%D1%80%D0%B0%D0%BA%D1%82%D0%B5%D1%80%D0%BE%D0%BC_The_University_man_with_a_non_market_character">Университетский человек с нерыночным характером The University man with a non-market character</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Автор рассказывает о Владилене Кузине как о сотруднике университета. После многих лет административной, хозяйственной и творческой деятельности на высоких должностях он стал штатным преподавателем в школе журналистики, известным... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44381023" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Автор рассказывает о Владилене Кузине как о сотруднике университета. После многих лет административной, хозяйственной и творческой деятельности на высоких должностях он стал штатным преподавателем в школе журналистики, известным специалистом в области психологии журналистики, автором популярных у студентов учебных изданий. Широкая профессиональная эрудиция и прочные моральные принципы обеспечили ему уважение и признание со стороны коллег и учеников. <br />The author tells on Vladilen Kuzin as the University employee. After many years of administrative, economic and creative activity on high positions, he became a full-time teacher at the school of journalism, a well-known expert in the psychology of journalism field, and an author of educational publications that are popular among students. His broad professional erudition and strong moral principles earned him respect and recognition from colleagues and students.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44381023" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a7d28e1f644695243af5899345a2466e" rel="nofollow" data-download="{"attachment_id":64783542,"asset_id":44381023,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64783542/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="54011788" href="https://spbgu.academia.edu/SergeyKorkonosenko">Sergey Korkonosenko</a><script data-card-contents-for-user="54011788" type="text/json">{"id":54011788,"first_name":"Sergey","last_name":"Korkonosenko","domain_name":"spbgu","page_name":"SergeyKorkonosenko","display_name":"Sergey Korkonosenko","profile_url":"https://spbgu.academia.edu/SergeyKorkonosenko?f_ri=37443","photo":"https://0.academia-photos.com/54011788/28058844/26295319/s65_sergey.korkonosenko.jpg"}</script></span></span></li><li class="js-paper-rank-work_44381023 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44381023"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44381023, container: ".js-paper-rank-work_44381023", }); 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$(".js-view-count[data-work-id=44381023]").text(description); $(".js-view-count-work_44381023").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44381023").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44381023"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="994" href="https://www.academia.edu/Documents/in/Journalism">Journalism</a>, <script data-card-contents-for-ri="994" type="text/json">{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2621" href="https://www.academia.edu/Documents/in/Higher_Education">Higher Education</a>, <script data-card-contents-for-ri="2621" type="text/json">{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2672" href="https://www.academia.edu/Documents/in/Personality">Personality</a>, <script data-card-contents-for-ri="2672" type="text/json">{"id":2672,"name":"Personality","url":"https://www.academia.edu/Documents/in/Personality?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44381023]'), work: {"id":44381023,"title":"Университетский человек с нерыночным характером The University man with a non-market character","created_at":"2020-10-27T09:13:25.227-07:00","url":"https://www.academia.edu/44381023/%D0%A3%D0%BD%D0%B8%D0%B2%D0%B5%D1%80%D1%81%D0%B8%D1%82%D0%B5%D1%82%D1%81%D0%BA%D0%B8%D0%B9_%D1%87%D0%B5%D0%BB%D0%BE%D0%B2%D0%B5%D0%BA_%D1%81_%D0%BD%D0%B5%D1%80%D1%8B%D0%BD%D0%BE%D1%87%D0%BD%D1%8B%D0%BC_%D1%85%D0%B0%D1%80%D0%B0%D0%BA%D1%82%D0%B5%D1%80%D0%BE%D0%BC_The_University_man_with_a_non_market_character?f_ri=37443","dom_id":"work_44381023","summary":"Автор рассказывает о Владилене Кузине как о сотруднике университета. После многих лет административной, хозяйственной и творческой деятельности на высоких должностях он стал штатным преподавателем в школе журналистики, известным специалистом в области психологии журналистики, автором популярных у студентов учебных изданий. Широкая профессиональная эрудиция и прочные моральные принципы обеспечили ему уважение и признание со стороны коллег и учеников. \nThe author tells on Vladilen Kuzin as the University employee. After many years of administrative, economic and creative activity on high positions, he became a full-time teacher at the school of journalism, a well-known expert in the psychology of journalism field, and an author of educational publications that are popular among students. His broad professional erudition and strong moral principles earned him respect and recognition from colleagues and students. ","downloadable_attachments":[{"id":64783542,"asset_id":44381023,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":54011788,"first_name":"Sergey","last_name":"Korkonosenko","domain_name":"spbgu","page_name":"SergeyKorkonosenko","display_name":"Sergey Korkonosenko","profile_url":"https://spbgu.academia.edu/SergeyKorkonosenko?f_ri=37443","photo":"https://0.academia-photos.com/54011788/28058844/26295319/s65_sergey.korkonosenko.jpg"}],"research_interests":[{"id":994,"name":"Journalism","url":"https://www.academia.edu/Documents/in/Journalism?f_ri=37443","nofollow":false},{"id":2621,"name":"Higher Education","url":"https://www.academia.edu/Documents/in/Higher_Education?f_ri=37443","nofollow":false},{"id":2672,"name":"Personality","url":"https://www.academia.edu/Documents/in/Personality?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14461529" data-work_id="14461529" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14461529/La_Mise_en_sc%C3%A8ne_del_documental_performance_y_procedimientos_de_actuati%C3%B3n">La Mise-en-scène del documental: performance y procedimientos de actuatión</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">En este ensayo, abordaremos dos documentales recientes de los directores brasileiros João Salles y Eduardo Coutinho: Santiago (2007) y Jogo de Cena (2007) respectivamente. Denominamos 'actuation' a relation entre el mundo (que incluye... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_14461529" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">En este ensayo, abordaremos dos documentales recientes de los directores brasileiros João Salles y Eduardo Coutinho: Santiago (2007) y Jogo de Cena (2007) respectivamente. Denominamos 'actuation' a relation entre el mundo (que incluye objetos y personas actuando) y el sujeto que encarna la cámara artefacto. La 'mise-en-scène' designa el modo por el qual la 'actuación' está presente en la toma, teniendo en cuenta diversos aspectos materiales que componen la escene y su disposición narrativa futura (en planos). Repadando la historia del cine documental, advertimos dois variantes estructurales de la acción de las personas para el sujeto-de-la-caméra: la 'actuación-construída (accion/expresión previamente preparada por el sujeto-de-la-caméra; et la 'actuación-directa', cuanda la indeterminación de la acción compone la cena. En 'Jogo de Cena' se disponen diversas modalidades de actuación que se relacionan entre sí de manera deconstructiva. En 'Santiago', Salles contrapone dos modos históricos de actuar que se enfrentan en un movimiento por la falsa conciencia.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14461529" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="dbc17a697eec579d0f8f1e2a5fb9a2fb" rel="nofollow" data-download="{"attachment_id":38316176,"asset_id":14461529,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38316176/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="8869146" href="https://unicamp.academia.edu/Fern%C3%A3oPessoaRamos">Fernão Pessoa Ramos</a><script data-card-contents-for-user="8869146" type="text/json">{"id":8869146,"first_name":"Fernão","last_name":"Pessoa Ramos","domain_name":"unicamp","page_name":"FernãoPessoaRamos","display_name":"Fernão Pessoa Ramos","profile_url":"https://unicamp.academia.edu/Fern%C3%A3oPessoaRamos?f_ri=37443","photo":"https://0.academia-photos.com/8869146/3174653/24307259/s65_fern_o.pessoa_ramos.jpg"}</script></span></span></li><li class="js-paper-rank-work_14461529 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="14461529"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 14461529, container: ".js-paper-rank-work_14461529", }); 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$(".js-view-count[data-work-id=14461529]").text(description); $(".js-view-count-work_14461529").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_14461529").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="14461529"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16941" href="https://www.academia.edu/Documents/in/Brazilian_Cinema">Brazilian Cinema</a>, <script data-card-contents-for-ri="16941" type="text/json">{"id":16941,"name":"Brazilian Cinema","url":"https://www.academia.edu/Documents/in/Brazilian_Cinema?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="33381" href="https://www.academia.edu/Documents/in/Latin_American_Cinema">Latin American Cinema</a><script data-card-contents-for-ri="33381" type="text/json">{"id":33381,"name":"Latin American Cinema","url":"https://www.academia.edu/Documents/in/Latin_American_Cinema?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14461529]'), work: {"id":14461529,"title":"La Mise-en-scène del documental: performance y procedimientos de actuatión","created_at":"2015-07-28T07:23:07.199-07:00","url":"https://www.academia.edu/14461529/La_Mise_en_sc%C3%A8ne_del_documental_performance_y_procedimientos_de_actuati%C3%B3n?f_ri=37443","dom_id":"work_14461529","summary":"En este ensayo, abordaremos dos documentales recientes de los directores brasileiros João Salles y Eduardo Coutinho: Santiago (2007) y Jogo de Cena (2007) respectivamente. Denominamos 'actuation' a relation entre el mundo (que incluye objetos y personas actuando) y el sujeto que encarna la cámara artefacto. La 'mise-en-scène' designa el modo por el qual la 'actuación' está presente en la toma, teniendo en cuenta diversos aspectos materiales que componen la escene y su disposición narrativa futura (en planos). Repadando la historia del cine documental, advertimos dois variantes estructurales de la acción de las personas para el sujeto-de-la-caméra: la 'actuación-construída (accion/expresión previamente preparada por el sujeto-de-la-caméra; et la 'actuación-directa', cuanda la indeterminación de la acción compone la cena. En 'Jogo de Cena' se disponen diversas modalidades de actuación que se relacionan entre sí de manera deconstructiva. En 'Santiago', Salles contrapone dos modos históricos de actuar que se enfrentan en un movimiento por la falsa conciencia.","downloadable_attachments":[{"id":38316176,"asset_id":14461529,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":8869146,"first_name":"Fernão","last_name":"Pessoa Ramos","domain_name":"unicamp","page_name":"FernãoPessoaRamos","display_name":"Fernão Pessoa Ramos","profile_url":"https://unicamp.academia.edu/Fern%C3%A3oPessoaRamos?f_ri=37443","photo":"https://0.academia-photos.com/8869146/3174653/24307259/s65_fern_o.pessoa_ramos.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=37443","nofollow":false},{"id":16941,"name":"Brazilian Cinema","url":"https://www.academia.edu/Documents/in/Brazilian_Cinema?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":33381,"name":"Latin American Cinema","url":"https://www.academia.edu/Documents/in/Latin_American_Cinema?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":583225,"name":"Cinema Latino Americano","url":"https://www.academia.edu/Documents/in/Cinema_Latino_Americano?f_ri=37443"},{"id":1742545,"name":"Brazilian Documentary","url":"https://www.academia.edu/Documents/in/Brazilian_Documentary?f_ri=37443"},{"id":1785030,"name":"Latin American Documentary Film","url":"https://www.academia.edu/Documents/in/Latin_American_Documentary_Film?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_41578520" data-work_id="41578520" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/41578520/A_Review_of_the_documentary_film_XIMEI_AIDS_in_China_directed_by_Cohen_and_Ross">A Review of the documentary film XIMEI (AIDS in China) directed by Cohen and Ross</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Even though I am poor and I have AIDS, I am happy. Each day brings hope." Ximei Ximei, a documentary filmed in China over a seven-year period by Andy Cohen and Gaylen Ross, follows the HIV-positive titular protagonist and plain-spoken... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_41578520" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Even though I am poor and I have AIDS, I am happy. Each day brings hope." Ximei <br /><br />Ximei, a documentary filmed in China over a seven-year period by Andy Cohen and Gaylen Ross, follows the HIV-positive titular protagonist and plain-spoken community leader named Ximei, a local "peasant" woman in her thirties. Ximei is filmed as she negotiates the government bureaucracy in remote Henan province while acting as a community activist and advocate for the 300,000 other people in the region that developed HIV/AIDS as a result of a national government program during the 1990s, whose goal it was to increase blood bank reserves at a minimal cost. The program offered a month's wages (about five dollars) to blood donators. Tragically and stupidly, the public health workers in the province didn't decontaminate their transfusion equipment. As a result, many local residents that took advantage of the opportunity to earn extra money, contracted HIV, either from coming in contact with contaminated medical equipment or by receiving transfusions of untested, tainted blood during treatments for an accident or disease.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/41578520" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="761991eace02488273e35ff604ac1f44" rel="nofollow" data-download="{"attachment_id":61734108,"asset_id":41578520,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61734108/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="5339268" href="https://nyu.academia.edu/AlanGerstle">Alan J Gerstle</a><script data-card-contents-for-user="5339268" type="text/json">{"id":5339268,"first_name":"Alan","last_name":"Gerstle","domain_name":"nyu","page_name":"AlanGerstle","display_name":"Alan J Gerstle","profile_url":"https://nyu.academia.edu/AlanGerstle?f_ri=37443","photo":"https://0.academia-photos.com/5339268/2344984/7634968/s65_allan.gerstle.jpg"}</script></span></span></li><li class="js-paper-rank-work_41578520 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="41578520"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 41578520, container: ".js-paper-rank-work_41578520", }); 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Each day brings hope.\" Ximei \n\nXimei, a documentary filmed in China over a seven-year period by Andy Cohen and Gaylen Ross, follows the HIV-positive titular protagonist and plain-spoken community leader named Ximei, a local \"peasant\" woman in her thirties. Ximei is filmed as she negotiates the government bureaucracy in remote Henan province while acting as a community activist and advocate for the 300,000 other people in the region that developed HIV/AIDS as a result of a national government program during the 1990s, whose goal it was to increase blood bank reserves at a minimal cost. The program offered a month's wages (about five dollars) to blood donators. Tragically and stupidly, the public health workers in the province didn't decontaminate their transfusion equipment. As a result, many local residents that took advantage of the opportunity to earn extra money, contracted HIV, either from coming in contact with contaminated medical equipment or by receiving transfusions of untested, tainted blood during treatments for an accident or disease.","downloadable_attachments":[{"id":61734108,"asset_id":41578520,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":5339268,"first_name":"Alan","last_name":"Gerstle","domain_name":"nyu","page_name":"AlanGerstle","display_name":"Alan J Gerstle","profile_url":"https://nyu.academia.edu/AlanGerstle?f_ri=37443","photo":"https://0.academia-photos.com/5339268/2344984/7634968/s65_allan.gerstle.jpg"}],"research_interests":[{"id":1085,"name":"Epidemiology","url":"https://www.academia.edu/Documents/in/Epidemiology?f_ri=37443","nofollow":false},{"id":2592,"name":"Human Rights","url":"https://www.academia.edu/Documents/in/Human_Rights?f_ri=37443","nofollow":false},{"id":4814,"name":"HIV/AIDS","url":"https://www.academia.edu/Documents/in/HIV_AIDS?f_ri=37443","nofollow":false},{"id":16288,"name":"Public Health","url":"https://www.academia.edu/Documents/in/Public_Health?f_ri=37443","nofollow":false},{"id":19468,"name":"Chinese Cinema","url":"https://www.academia.edu/Documents/in/Chinese_Cinema?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":127890,"name":"China, HIV/AIDS","url":"https://www.academia.edu/Documents/in/China_HIV_AIDS?f_ri=37443"},{"id":435938,"name":"Public Health in China","url":"https://www.academia.edu/Documents/in/Public_Health_in_China?f_ri=37443"},{"id":1305891,"name":"Coronavirus","url":"https://www.academia.edu/Documents/in/Coronavirus?f_ri=37443"},{"id":2548050,"name":"Henan","url":"https://www.academia.edu/Documents/in/Henan?f_ri=37443"},{"id":2596435,"name":"Chinese public health system","url":"https://www.academia.edu/Documents/in/Chinese_public_health_system?f_ri=37443"},{"id":3563544,"name":" Ximei","url":"https://www.academia.edu/Documents/in/Ximei?f_ri=37443"},{"id":3563545,"name":" Alan Gerstle","url":"https://www.academia.edu/Documents/in/Alan_Gerstle?f_ri=37443"},{"id":4238394,"name":" China corona","url":"https://www.academia.edu/Documents/in/China_corona?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_40912694 coauthored" data-work_id="40912694" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/40912694/Militant_Documentary_and_May_68">Militant Documentary & May 68</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Militant Documentary & May 1968 in the world" - published by Slovenska Kinoteka (Slovene Cinematheque) edited by Nace With texts by Mark Betz, Nace Zavrl, Nina Cvar, Michael N. Goddard, Tara Najd Ahmadi, Sophia Satchell-Baeza, Raquel... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_40912694" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Militant Documentary & May 1968 in the world" - published by Slovenska Kinoteka (Slovene Cinematheque)  edited by Nace With texts by Mark Betz, Nace Zavrl, Nina Cvar, Michael N. Goddard, Tara Najd Ahmadi, Sophia Satchell-Baeza, Raquel Schefer, Andrej Sprah, Darko Štrajn. Image of the cover from 'Black Days (Čierne dni) dir. by L. Kudelka, M. Černák, Š. Kamenický, C. Kováč, 1968). After the Symposium in Ljubljana one year ago.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/40912694" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c604a14273ab0b387d32bbb5d51b3742" rel="nofollow" data-download="{"attachment_id":61201412,"asset_id":40912694,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/61201412/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4125555" href="https://independent.academia.edu/OlivierHadouchi">Olivier Hadouchi</a><script data-card-contents-for-user="4125555" type="text/json">{"id":4125555,"first_name":"Olivier","last_name":"Hadouchi","domain_name":"independent","page_name":"OlivierHadouchi","display_name":"Olivier Hadouchi","profile_url":"https://independent.academia.edu/OlivierHadouchi?f_ri=37443","photo":"https://0.academia-photos.com/4125555/2547760/54512323/s65_olivier.hadouchi.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-40912694">+1</span><div class="hidden js-additional-users-40912694"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/AndrejSprah">Andrej Sprah</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-40912694'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-40912694').html(); 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Goddard, Tara Najd Ahmadi, Sophia Satchell-Baeza, Raquel Schefer, Andrej Sprah, Darko Štrajn. Image of the cover from 'Black Days (Čierne dni) dir. by L. Kudelka, M. Černák, Š. Kamenický, C. Kováč, 1968). After the Symposium in Ljubljana one year ago.","downloadable_attachments":[{"id":61201412,"asset_id":40912694,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4125555,"first_name":"Olivier","last_name":"Hadouchi","domain_name":"independent","page_name":"OlivierHadouchi","display_name":"Olivier Hadouchi","profile_url":"https://independent.academia.edu/OlivierHadouchi?f_ri=37443","photo":"https://0.academia-photos.com/4125555/2547760/54512323/s65_olivier.hadouchi.jpg"},{"id":3875666,"first_name":"Andrej","last_name":"Sprah","domain_name":"independent","page_name":"AndrejSprah","display_name":"Andrej Sprah","profile_url":"https://independent.academia.edu/AndrejSprah?f_ri=37443","photo":"https://0.academia-photos.com/3875666/78081533/66627527/s65_andrej.sprah.png"}],"research_interests":[{"id":3399,"name":"Documentary (Film 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href="https://www.academia.edu/33467267/Forms_Politics_Makers_Contexts_Basic_Issues_for_a_Theory_of_Radical_Political_Documentary">Forms, Politics, Makers, Contexts: Basic Issues for a Theory of Radical Political Documentary</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">"Forms, Politics, Makers, and Contexts: Basic Issues for a Theory of Radical Political Documentary," in Thomas Waugh, ed., Show Us Life: Towards a History and Aesthetics of Radical Documentary Film (Metuchen NJ: Scarecrow Press, 1984),... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_33467267" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">"Forms, Politics, Makers, and Contexts:  Basic Issues for a Theory of Radical Political Documentary," in Thomas Waugh, ed., Show Us Life:  Towards a History and Aesthetics of Radical Documentary Film (Metuchen NJ: Scarecrow Press, 1984), pp. 318-342.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/33467267" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f617e46e7024194c145660ba41170f12" rel="nofollow" data-download="{"attachment_id":53512207,"asset_id":33467267,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" 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Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="152954" href="https://www.academia.edu/Documents/in/Political_Documentary_Film">Political Documentary Film</a><script data-card-contents-for-ri="152954" type="text/json">{"id":152954,"name":"Political Documentary Film","url":"https://www.academia.edu/Documents/in/Political_Documentary_Film?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=33467267]'), work: 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Ambiguity and Degradation in Multi-Mediated Ethnographic Research (2020)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Essay on the 2016 film Thrust into Heaven (found at <a href="http://www.juergen-schaflechner.com" rel="nofollow">www.juergen-schaflechner.com</a>)</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43583445" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7e58a4f0b8731c6642ffd3e53c2b83ed" rel="nofollow" data-download="{"attachment_id":93372702,"asset_id":43583445,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/93372702/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="40960866" href="https://fu-berlin.academia.edu/J%C3%BCrgenSchaflechner">Jürgen Schaflechner</a><script data-card-contents-for-user="40960866" type="text/json">{"id":40960866,"first_name":"Jürgen","last_name":"Schaflechner","domain_name":"fu-berlin","page_name":"JürgenSchaflechner","display_name":"Jürgen Schaflechner","profile_url":"https://fu-berlin.academia.edu/J%C3%BCrgenSchaflechner?f_ri=37443","photo":"https://0.academia-photos.com/40960866/16344351/35598374/s65_j_rgen.schaflechner.jpg"}</script></span></span></li><li class="js-paper-rank-work_43583445 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43583445"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43583445, container: ".js-paper-rank-work_43583445", }); 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data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Briar March’s award-winning documentary There Once Was an Island chronicles the lives of the Polynesian inhabitants of Takuu, a small atoll in the Pacific, who are faced with the gradual submersion of their home due to sea level rise.  Applying Rob Nixon’s concept of “slow violence” to the ecological and political processes shown in the film, the chapter argues that March’s documentary is a eco-cosmopolitan project reaching out to new forms of solidarity.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12694453" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" 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data-has-card-for-user="23533552" href="https://uni-klu.academia.edu/AlexaWeikvonMossner">Alexa Weik von Mossner</a><script data-card-contents-for-user="23533552" type="text/json">{"id":23533552,"first_name":"Alexa","last_name":"Weik von Mossner","domain_name":"uni-klu","page_name":"AlexaWeikvonMossner","display_name":"Alexa Weik von Mossner","profile_url":"https://uni-klu.academia.edu/AlexaWeikvonMossner?f_ri=37443","photo":"https://0.academia-photos.com/23533552/6378288/7216482/s65_alexa.weik_von_mossner.jpg"}</script></span></span></li><li class="js-paper-rank-work_12694453 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12694453"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12694453, container: ".js-paper-rank-work_12694453", }); });</script></li><li class="js-percentile-work_12694453 InlineList-item 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data-has-card-for-ri="859" href="https://www.academia.edu/Documents/in/Communication">Communication</a>, <script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="928" href="https://www.academia.edu/Documents/in/Media_Studies">Media Studies</a>, <script data-card-contents-for-ri="928" type="text/json">{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="934" href="https://www.academia.edu/Documents/in/Media_and_Cultural_Studies">Media and Cultural Studies</a><script data-card-contents-for-ri="934" type="text/json">{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12694453]'), work: {"id":12694453,"title":"Slow Violence on the Beach: Documenting Disappearance in There Once Was an Island","created_at":"2015-05-30T19:41:31.218-07:00","url":"https://www.academia.edu/12694453/Slow_Violence_on_the_Beach_Documenting_Disappearance_in_There_Once_Was_an_Island?f_ri=37443","dom_id":"work_12694453","summary":"Briar March’s award-winning documentary There Once Was an Island chronicles the lives of the Polynesian inhabitants of Takuu, a small atoll in the Pacific, who are faced with the gradual submersion of their home due to sea level rise. Applying Rob Nixon’s concept of “slow violence” to the ecological and political processes shown in the film, the chapter argues that March’s documentary is a eco-cosmopolitan project reaching out to new forms of solidarity. ","downloadable_attachments":[{"id":50031534,"asset_id":12694453,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23533552,"first_name":"Alexa","last_name":"Weik von Mossner","domain_name":"uni-klu","page_name":"AlexaWeikvonMossner","display_name":"Alexa Weik von Mossner","profile_url":"https://uni-klu.academia.edu/AlexaWeikvonMossner?f_ri=37443","photo":"https://0.academia-photos.com/23533552/6378288/7216482/s65_alexa.weik_von_mossner.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=37443","nofollow":false},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=37443","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=37443","nofollow":false},{"id":934,"name":"Media and Cultural 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u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/37370439/Of_Chickens_and_Coyotes_a_poets_take_on_the_physician_assistant">Of Chickens and Coyotes: a poet's take on the physician assistant</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In a question about the future of the Indian physician assistant (PA), association president R. Shivakumar replied, " Basically, it's whether the chicken came from the egg or the egg came from the chicken, whether to produce more PAs and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_37370439" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In a question about the future of the Indian physician assistant (PA), association president R. Shivakumar replied, " Basically, it's whether the chicken came from the egg or the egg came from the chicken, whether to produce more PAs and go for recognition or whether to get recognition and produce more PAs-that's the billion dollar question. " One could say the chicken of course comes first, and the egg is retroactively posited. In other words, the chicken " lays " the very egg from which it hatches: only once the PA profession is fully established will the contingent path toward that end become necessary. In 2017, I toured the world capturing on film PA-like professionals and programs, old and new, in nine countries on five continents. Like the coyote who placed the constellation of others in the sky before his own, I had hoped to capture this unsung profession, responsible for a large part of world health.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/37370439" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="05055fc43277248d972f1c7d1c669bd7" rel="nofollow" data-download="{"attachment_id":57332320,"asset_id":37370439,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57332320/download_file?st=MTczMjQzMDIxNiw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="6538056" href="https://life.academia.edu/AdamHalbur">Adam Halbur</a><script data-card-contents-for-user="6538056" type="text/json">{"id":6538056,"first_name":"Adam","last_name":"Halbur","domain_name":"life","page_name":"AdamHalbur","display_name":"Adam Halbur","profile_url":"https://life.academia.edu/AdamHalbur?f_ri=37443","photo":"https://0.academia-photos.com/6538056/16527971/16861402/s65_adam.halbur.jpg"}</script></span></span></li><li class="js-paper-rank-work_37370439 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="37370439"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 37370439, container: ".js-paper-rank-work_37370439", }); 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Shivakumar replied, \" Basically, it's whether the chicken came from the egg or the egg came from the chicken, whether to produce more PAs and go for recognition or whether to get recognition and produce more PAs-that's the billion dollar question. \" One could say the chicken of course comes first, and the egg is retroactively posited. In other words, the chicken \" lays \" the very egg from which it hatches: only once the PA profession is fully established will the contingent path toward that end become necessary. In 2017, I toured the world capturing on film PA-like professionals and programs, old and new, in nine countries on five continents. Like the coyote who placed the constellation of others in the sky before his own, I had hoped to capture this unsung profession, responsible for a large part of world health.","downloadable_attachments":[{"id":57332320,"asset_id":37370439,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":6538056,"first_name":"Adam","last_name":"Halbur","domain_name":"life","page_name":"AdamHalbur","display_name":"Adam Halbur","profile_url":"https://life.academia.edu/AdamHalbur?f_ri=37443","photo":"https://0.academia-photos.com/6538056/16527971/16861402/s65_adam.halbur.jpg"}],"research_interests":[{"id":803,"name":"Philosophy","url":"https://www.academia.edu/Documents/in/Philosophy?f_ri=37443","nofollow":false},{"id":3581,"name":"Poetry","url":"https://www.academia.edu/Documents/in/Poetry?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":502582,"name":"Physician Assistant","url":"https://www.academia.edu/Documents/in/Physician_Assistant?f_ri=37443","nofollow":false},{"id":700980,"name":"Integrative Medicine; Heath Systems; globalisation and health care","url":"https://www.academia.edu/Documents/in/Integrative_Medicine_Heath_Systems_globalisation_and_health_care?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_19220194" data-work_id="19220194" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/19220194/Embodying_truthful_possibilities_an_interview_with_D_A_Pennebaker">Embodying 'truthful possibilities': an interview with D.A. Pennebaker</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films:... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_19220194" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express<br />(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/19220194" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7233aa101be384072b25ad23cea82c53" rel="nofollow" data-download="{"attachment_id":40498194,"asset_id":19220194,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/40498194/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12897768" href="https://sussex.academia.edu/FrankVerano">Frank Verano</a><script data-card-contents-for-user="12897768" type="text/json">{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=37443","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}</script></span></span></li><li class="js-paper-rank-work_19220194 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="19220194"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 19220194, container: ".js-paper-rank-work_19220194", }); 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$(".js-view-count[data-work-id=19220194]").text(description); $(".js-view-count-work_19220194").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_19220194").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="19220194"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">24</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a><script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=19220194]'), work: {"id":19220194,"title":"Embodying 'truthful possibilities': an interview with D.A. Pennebaker","created_at":"2015-11-30T02:34:55.287-08:00","url":"https://www.academia.edu/19220194/Embodying_truthful_possibilities_an_interview_with_D_A_Pennebaker?f_ri=37443","dom_id":"work_19220194","summary":"American observational documentary pioneer D.A. Pennebaker traces his embrace of film-making as a ‘witnessing process’ that allows him to reach a unique understanding of his subjects in this conversation on several rarely discussed films: the highly formative early shorts Baby (1954) and Daybreak Express\n(1953–1957), the Drew Associates oddity David (1961), as well as Wild 90 (1968), Eat the Document (1972) and 1 P.M. (1972) – collaborations with Norman Mailer, Bob Dylan and Jean-Luc Godard, respectively. He addresses the meaning of cinéma vérité, Godard’s ‘reckless’ approach to film-making, and the sadness behind his second, and ultimately abandoned, collaboration with Dylan.","downloadable_attachments":[{"id":40498194,"asset_id":19220194,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=37443","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}],"research_interests":[{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=37443","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":16128,"name":"Bob Dylan","url":"https://www.academia.edu/Documents/in/Bob_Dylan?f_ri=37443"},{"id":19166,"name":"Duke Ellington","url":"https://www.academia.edu/Documents/in/Duke_Ellington?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=37443"},{"id":47854,"name":"Jean-Luc Godard","url":"https://www.academia.edu/Documents/in/Jean-Luc_Godard?f_ri=37443"},{"id":82213,"name":"Jean Rouch","url":"https://www.academia.edu/Documents/in/Jean_Rouch?f_ri=37443"},{"id":87786,"name":"New York City","url":"https://www.academia.edu/Documents/in/New_York_City?f_ri=37443"},{"id":88308,"name":"Direct Cinema","url":"https://www.academia.edu/Documents/in/Direct_Cinema?f_ri=37443"},{"id":103053,"name":"Norman Mailer","url":"https://www.academia.edu/Documents/in/Norman_Mailer?f_ri=37443"},{"id":123252,"name":"John F. Kennedy","url":"https://www.academia.edu/Documents/in/John_F._Kennedy?f_ri=37443"},{"id":163191,"name":"Martin Scorsese","url":"https://www.academia.edu/Documents/in/Martin_Scorsese?f_ri=37443"},{"id":194324,"name":"History of New York City","url":"https://www.academia.edu/Documents/in/History_of_New_York_City?f_ri=37443"},{"id":397745,"name":"Cinema Verite","url":"https://www.academia.edu/Documents/in/Cinema_Verite?f_ri=37443"},{"id":833160,"name":"Richard Leacock","url":"https://www.academia.edu/Documents/in/Richard_Leacock?f_ri=37443"},{"id":957961,"name":"Robert Flaherty","url":"https://www.academia.edu/Documents/in/Robert_Flaherty?f_ri=37443"},{"id":1282012,"name":"D.A. Pennebaker","url":"https://www.academia.edu/Documents/in/D.A._Pennebaker?f_ri=37443"},{"id":1415478,"name":"Albert Maysles","url":"https://www.academia.edu/Documents/in/Albert_Maysles?f_ri=37443"},{"id":1661642,"name":"John Sloan","url":"https://www.academia.edu/Documents/in/John_Sloan?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_3361324" data-work_id="3361324" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/3361324/On_Making_Mangrove_Music_">On Making "Mangrove Music" </a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Perhaps, the strongest theme that emerged out of my experience of making ‘Mangrove Music’, an ethnographic documentary about musicians of the island of Culebra, was to consider the fissures between the creative practice of music making... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_3361324" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Perhaps, the strongest theme that emerged out of my experience of making ‘Mangrove Music’, an ethnographic documentary about musicians of the island of Culebra, was to consider the fissures between the creative practice of music making and place. My initial provocation of making a documentary about the musicians of this particular island was to research the presupposed fixity between music and place. Texts abound on the relationship between salsa and Colombia (Wade 2000), merengue and the Dominican Republic (Austerlitz 1996), tango and Argentina (Taylor 1998), reggae and Jamaica (Manuel et al. 1996), calypso and Trinidad & Tobago (Birth 1994) – as if music and place had an inextricable connection.<br /><br />But how does one avoid implying that these expressions and their relationship are stable and static?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/3361324" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="5a50ce5139c1d88b6e66721f34040e8f" rel="nofollow" data-download="{"attachment_id":64522758,"asset_id":3361324,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64522758/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="65225" href="https://tallinn.academia.edu/CarloCubero">Carlo Cubero</a><script data-card-contents-for-user="65225" type="text/json">{"id":65225,"first_name":"Carlo","last_name":"Cubero","domain_name":"tallinn","page_name":"CarloCubero","display_name":"Carlo Cubero","profile_url":"https://tallinn.academia.edu/CarloCubero?f_ri=37443","photo":"https://0.academia-photos.com/65225/18340/27302969/s65_carlo_a..cubero.jpg"}</script></span></span></li><li class="js-paper-rank-work_3361324 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="3361324"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 3361324, container: ".js-paper-rank-work_3361324", }); });</script></li><li class="js-percentile-work_3361324 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 3361324; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_3361324"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_3361324 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="3361324"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 3361324; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=3361324]").text(description); $(".js-view-count-work_3361324").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_3361324").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="3361324"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="925" href="https://www.academia.edu/Documents/in/Visual_Anthropology">Visual Anthropology</a>, <script data-card-contents-for-ri="925" type="text/json">{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7945" href="https://www.academia.edu/Documents/in/Caribbean_Studies">Caribbean Studies</a>, <script data-card-contents-for-ri="7945" type="text/json">{"id":7945,"name":"Caribbean Studies","url":"https://www.academia.edu/Documents/in/Caribbean_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=3361324]'), work: {"id":3361324,"title":"On Making \"Mangrove Music\" ","created_at":"2013-04-22T17:57:27.449-07:00","url":"https://www.academia.edu/3361324/On_Making_Mangrove_Music_?f_ri=37443","dom_id":"work_3361324","summary":"Perhaps, the strongest theme that emerged out of my experience of making ‘Mangrove Music’, an ethnographic documentary about musicians of the island of Culebra, was to consider the fissures between the creative practice of music making and place. My initial provocation of making a documentary about the musicians of this particular island was to research the presupposed fixity between music and place. Texts abound on the relationship between salsa and Colombia (Wade 2000), merengue and the Dominican Republic (Austerlitz 1996), tango and Argentina (Taylor 1998), reggae and Jamaica (Manuel et al. 1996), calypso and Trinidad \u0026 Tobago (Birth 1994) – as if music and place had an inextricable connection.\n\nBut how does one avoid implying that these expressions and their relationship are stable and static?","downloadable_attachments":[{"id":64522758,"asset_id":3361324,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":65225,"first_name":"Carlo","last_name":"Cubero","domain_name":"tallinn","page_name":"CarloCubero","display_name":"Carlo Cubero","profile_url":"https://tallinn.academia.edu/CarloCubero?f_ri=37443","photo":"https://0.academia-photos.com/65225/18340/27302969/s65_carlo_a..cubero.jpg"}],"research_interests":[{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=37443","nofollow":false},{"id":7945,"name":"Caribbean Studies","url":"https://www.academia.edu/Documents/in/Caribbean_Studies?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_69499652" data-work_id="69499652" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/69499652/Cross_Cultural_Digital_Storywork_A_Framework_for_Engagement_with_in_Indigenous_Communities">Cross-Cultural Digital Storywork: A Framework for Engagement with/in Indigenous Communities</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">While Indigenous peoples have long urged attention to Six Rs (respect, relevance, reciprocity, responsibility, relationality, and representation) that are important to community-engaged work, application of these principles has been... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_69499652" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">While Indigenous peoples have long urged attention to Six Rs (respect, relevance, reciprocity, responsibility, relationality, and representation) that are important to community-engaged work, application of these principles has been sporadic within the filmmaking industry. Many Indigenous communities do not have the technical expertise and/or resources needed to support professional quality audiovisual production. As a result, they rely on predominantly White filmmakers from beyond the community. Unfortunately, mainstream filmmaking practices have historically demonstrated a disregard for Indigenous ways of knowing, and a scarcity of meaningful relationships between filmmakers and community members has further contributed to a legacy of insensitive filmmaking within Indigenous contexts. In addition, internet-based distribution of cultural content raises questions about post-production sovereignty. In this project, Tribal College (TC) students and faculty partnered with students and ...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/69499652" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="61349c973f54b257199dba024d49edf7" rel="nofollow" data-download="{"attachment_id":79573885,"asset_id":69499652,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/79573885/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="209351848" href="https://independent.academia.edu/ChristineRogersStanton">Christine R Stanton</a><script data-card-contents-for-user="209351848" type="text/json">{"id":209351848,"first_name":"Christine","last_name":"Stanton","domain_name":"independent","page_name":"ChristineRogersStanton","display_name":"Christine R Stanton","profile_url":"https://independent.academia.edu/ChristineRogersStanton?f_ri=37443","photo":"https://0.academia-photos.com/209351848/69185824/57580807/s65_christine.rogers_stanton.jpeg"}</script></span></span></li><li class="js-paper-rank-work_69499652 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="69499652"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 69499652, container: ".js-paper-rank-work_69499652", }); });</script></li><li class="js-percentile-work_69499652 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 69499652; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_69499652"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_69499652 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="69499652"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 69499652; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=69499652]").text(description); $(".js-view-count-work_69499652").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_69499652").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="69499652"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a>, <script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3559" href="https://www.academia.edu/Documents/in/Indigenous_Research_Methodologies">Indigenous Research Methodologies</a>, <script data-card-contents-for-ri="3559" type="text/json">{"id":3559,"name":"Indigenous Research Methodologies","url":"https://www.academia.edu/Documents/in/Indigenous_Research_Methodologies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="40116" href="https://www.academia.edu/Documents/in/Community_Based_Participatory_Research">Community Based Participatory Research</a><script data-card-contents-for-ri="40116" type="text/json">{"id":40116,"name":"Community Based Participatory Research","url":"https://www.academia.edu/Documents/in/Community_Based_Participatory_Research?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=69499652]'), work: {"id":69499652,"title":"Cross-Cultural Digital Storywork: A Framework for Engagement with/in Indigenous Communities","created_at":"2022-01-26T09:46:19.238-08:00","url":"https://www.academia.edu/69499652/Cross_Cultural_Digital_Storywork_A_Framework_for_Engagement_with_in_Indigenous_Communities?f_ri=37443","dom_id":"work_69499652","summary":"While Indigenous peoples have long urged attention to Six Rs (respect, relevance, reciprocity, responsibility, relationality, and representation) that are important to community-engaged work, application of these principles has been sporadic within the filmmaking industry. Many Indigenous communities do not have the technical expertise and/or resources needed to support professional quality audiovisual production. As a result, they rely on predominantly White filmmakers from beyond the community. Unfortunately, mainstream filmmaking practices have historically demonstrated a disregard for Indigenous ways of knowing, and a scarcity of meaningful relationships between filmmakers and community members has further contributed to a legacy of insensitive filmmaking within Indigenous contexts. In addition, internet-based distribution of cultural content raises questions about post-production sovereignty. 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As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_7130758" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The documentary sports film has evolved considerably since it first appeared in the 1930s. As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the possibilities that sport offered to exploit the growing range of capabilities of film in both cinematography and editing. Eventually an expository approach would come to dominate under the influence of the British school of documentary but also as the preferred televisual mode for documentary film, and it is in this mode that most television sport documentaries currently employ. In response to perceived weaknesses of the expository mode, and the advent of new technologies in the 1960s, filmmakers exploited an increasingly observational mode in their depictions, and this would also feature to a limited degree in depictions of sport. Directors of sport films have tended to prefer a participative (or interactive) mode in their approaches to the topic, exemplified in the use of the interview method as a means of exploring the subjects considered. However, increasingly, as with documentary films in general, the cinematic sport documentary employs aspects of several modes, particularly the participatory and expositional. While initially priding itself on its distinctness as a form that captured with integrity aspects of social reality, the documentary film has more and more in its cinematic form come to adopt aesthetics associated with popular fiction film. Though documentary has long being viewed as the form best placed to provide complex engagements and understandings of the social and political contexts of the subjects featured, this is increasingly no longer the case in its contemporary cinematic manifestations. Rather, the focus has moved to exploiting the dramatic possibilities of found footage or renderings of social reality rather than providing a means of understanding or engaging critically with such footage. The cinematic sport documentary film has instead focused, as in fiction film, on individualist tales of overcoming and achievement often configured within the familiar three-act-structure of popular cinema.  As such, in the post 9/11 moment, the cinematic sport documentary film has provided, in common with its fictional counterpart, a further affirmation of the American Dream ideology in individualist tales of overcoming and achievement often against the most extraordinary odds.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7130758" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="668596" href="https://universityofgalway.academia.edu/Se%C3%A1nCrosson">Seán Crosson</a><script data-card-contents-for-user="668596" type="text/json">{"id":668596,"first_name":"Seán","last_name":"Crosson","domain_name":"universityofgalway","page_name":"SeánCrosson","display_name":"Seán Crosson","profile_url":"https://universityofgalway.academia.edu/Se%C3%A1nCrosson?f_ri=37443","photo":"https://0.academia-photos.com/668596/234343/19704762/s65_se_n.crosson.jpeg"}</script></span></span></li><li class="js-paper-rank-work_7130758 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7130758"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7130758, container: ".js-paper-rank-work_7130758", }); 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As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the possibilities that sport offered to exploit the growing range of capabilities of film in both cinematography and editing. Eventually an expository approach would come to dominate under the influence of the British school of documentary but also as the preferred televisual mode for documentary film, and it is in this mode that most television sport documentaries currently employ. In response to perceived weaknesses of the expository mode, and the advent of new technologies in the 1960s, filmmakers exploited an increasingly observational mode in their depictions, and this would also feature to a limited degree in depictions of sport. Directors of sport films have tended to prefer a participative (or interactive) mode in their approaches to the topic, exemplified in the use of the interview method as a means of exploring the subjects considered. However, increasingly, as with documentary films in general, the cinematic sport documentary employs aspects of several modes, particularly the participatory and expositional. While initially priding itself on its distinctness as a form that captured with integrity aspects of social reality, the documentary film has more and more in its cinematic form come to adopt aesthetics associated with popular fiction film. Though documentary has long being viewed as the form best placed to provide complex engagements and understandings of the social and political contexts of the subjects featured, this is increasingly no longer the case in its contemporary cinematic manifestations. Rather, the focus has moved to exploiting the dramatic possibilities of found footage or renderings of social reality rather than providing a means of understanding or engaging critically with such footage. The cinematic sport documentary film has instead focused, as in fiction film, on individualist tales of overcoming and achievement often configured within the familiar three-act-structure of popular cinema. As such, in the post 9/11 moment, the cinematic sport documentary film has provided, in common with its fictional counterpart, a further affirmation of the American Dream ideology in individualist tales of overcoming and achievement often against the most extraordinary odds.","downloadable_attachments":[],"ordered_authors":[{"id":668596,"first_name":"Seán","last_name":"Crosson","domain_name":"universityofgalway","page_name":"SeánCrosson","display_name":"Seán Crosson","profile_url":"https://universityofgalway.academia.edu/Se%C3%A1nCrosson?f_ri=37443","photo":"https://0.academia-photos.com/668596/234343/19704762/s65_se_n.crosson.jpeg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":1570,"name":"European Cinema","url":"https://www.academia.edu/Documents/in/European_Cinema?f_ri=37443","nofollow":false},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":4982,"name":"Digital Cinema","url":"https://www.academia.edu/Documents/in/Digital_Cinema?f_ri=37443"},{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=37443"},{"id":15996,"name":"American Cinema","url":"https://www.academia.edu/Documents/in/American_Cinema?f_ri=37443"},{"id":16196,"name":"Film \u0026 Digital Video","url":"https://www.academia.edu/Documents/in/Film_and_Digital_Video?f_ri=37443"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=37443"},{"id":21227,"name":"Sport Cinema","url":"https://www.academia.edu/Documents/in/Sport_Cinema?f_ri=37443"},{"id":23214,"name":"Documentary 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Television","url":"https://www.academia.edu/Documents/in/Cinema_and_Television?f_ri=37443"},{"id":496706,"name":"Cinema, Sport Movies","url":"https://www.academia.edu/Documents/in/Cinema_Sport_Movies?f_ri=37443"},{"id":684250,"name":"Sport and Cinema","url":"https://www.academia.edu/Documents/in/Sport_and_Cinema?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9563017 coauthored" data-work_id="9563017" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9563017/El_juego_de_Cuba_de_Manuel_Mart%C3%ADn_Cuenca_del_Para%C3%ADso_perdido_al_desencanto">El juego de Cuba de Manuel Martín Cuenca: del Paraíso perdido al desencanto</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li 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window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=9563017]").text(description); $(".js-view-count-work_9563017").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9563017").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9563017"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="4989" href="https://www.academia.edu/Documents/in/Baseball">Baseball</a>, <script data-card-contents-for-ri="4989" type="text/json">{"id":4989,"name":"Baseball","url":"https://www.academia.edu/Documents/in/Baseball?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="41305" href="https://www.academia.edu/Documents/in/Cuban_Cinema">Cuban Cinema</a><script data-card-contents-for-ri="41305" type="text/json">{"id":41305,"name":"Cuban Cinema","url":"https://www.academia.edu/Documents/in/Cuban_Cinema?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9563017]'), work: {"id":9563017,"title":"El juego de Cuba de Manuel Martín Cuenca: del Paraíso perdido al desencanto","created_at":"2014-11-30T03:23:46.985-08:00","url":"https://www.academia.edu/9563017/El_juego_de_Cuba_de_Manuel_Mart%C3%ADn_Cuenca_del_Para%C3%ADso_perdido_al_desencanto?f_ri=37443","dom_id":"work_9563017","summary":null,"downloadable_attachments":[{"id":35780034,"asset_id":9563017,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7970730,"first_name":"Nancy","last_name":"Berthier","domain_name":"paris-sorbonne","page_name":"berthiernancy","display_name":"Nancy Berthier","profile_url":"https://paris-sorbonne.academia.edu/berthiernancy?f_ri=37443","photo":"https://0.academia-photos.com/7970730/2973325/18664915/s65_nancy.berthier.jpg"},{"id":22581947,"first_name":"Marianne","last_name":"Bloch-Robin","domain_name":"sorbonne-universite","page_name":"MarianneBlochRobin","display_name":"Marianne Bloch-Robin","profile_url":"https://sorbonne-universite.academia.edu/MarianneBlochRobin?f_ri=37443","photo":"https://0.academia-photos.com/22581947/7378057/8294440/s65_marianne.bloch-robin.jpg"}],"research_interests":[{"id":4989,"name":"Baseball","url":"https://www.academia.edu/Documents/in/Baseball?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":41305,"name":"Cuban Cinema","url":"https://www.academia.edu/Documents/in/Cuban_Cinema?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_20430946" data-work_id="20430946" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/20430946/Ethnographic_Film_as_Image_Object_in_Museum_Practices">Ethnographic Film as Image-Object in Museum Practices</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">This is a paper presented at the National Museum of Denmark which explores the way in which ethnographic films are often perceived and displayed in museum practices, using as example the Musée du quai Branly, Paris</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/20430946" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="b5ca2bd6f333d6d72eb7453a0f2e8034" rel="nofollow" data-download="{"attachment_id":41366914,"asset_id":20430946,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/41366914/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="7365305" href="https://univ-paris3.academia.edu/GiuliaBattaglia">Giulia Battaglia</a><script data-card-contents-for-user="7365305" type="text/json">{"id":7365305,"first_name":"Giulia","last_name":"Battaglia","domain_name":"univ-paris3","page_name":"GiuliaBattaglia","display_name":"Giulia Battaglia","profile_url":"https://univ-paris3.academia.edu/GiuliaBattaglia?f_ri=37443","photo":"https://0.academia-photos.com/7365305/3612504/18811776/s65_giulia.battaglia.jpg"}</script></span></span></li><li class="js-paper-rank-work_20430946 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden 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InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="20430946"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 20430946; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=20430946]").text(description); $(".js-view-count-work_20430946").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_20430946").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="20430946"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a>, <script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="925" href="https://www.academia.edu/Documents/in/Visual_Anthropology">Visual Anthropology</a>, <script data-card-contents-for-ri="925" type="text/json">{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8232" href="https://www.academia.edu/Documents/in/Anthropology_Of_Art">Anthropology Of Art</a>, <script data-card-contents-for-ri="8232" type="text/json">{"id":8232,"name":"Anthropology Of Art","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Art?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="18876" href="https://www.academia.edu/Documents/in/Ethnographic_Film">Ethnographic Film</a><script data-card-contents-for-ri="18876" type="text/json">{"id":18876,"name":"Ethnographic Film","url":"https://www.academia.edu/Documents/in/Ethnographic_Film?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=20430946]'), work: {"id":20430946,"title":"Ethnographic Film as Image-Object in Museum Practices","created_at":"2016-01-21T04:07:59.128-08:00","url":"https://www.academia.edu/20430946/Ethnographic_Film_as_Image_Object_in_Museum_Practices?f_ri=37443","dom_id":"work_20430946","summary":"This is a paper presented at the National Museum of Denmark which explores the way in which ethnographic films are often perceived and displayed in museum practices, using as example the Musée du quai Branly, Paris","downloadable_attachments":[{"id":41366914,"asset_id":20430946,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":7365305,"first_name":"Giulia","last_name":"Battaglia","domain_name":"univ-paris3","page_name":"GiuliaBattaglia","display_name":"Giulia Battaglia","profile_url":"https://univ-paris3.academia.edu/GiuliaBattaglia?f_ri=37443","photo":"https://0.academia-photos.com/7365305/3612504/18811776/s65_giulia.battaglia.jpg"}],"research_interests":[{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=37443","nofollow":false},{"id":925,"name":"Visual Anthropology","url":"https://www.academia.edu/Documents/in/Visual_Anthropology?f_ri=37443","nofollow":false},{"id":8232,"name":"Anthropology Of Art","url":"https://www.academia.edu/Documents/in/Anthropology_Of_Art?f_ri=37443","nofollow":false},{"id":18876,"name":"Ethnographic Film","url":"https://www.academia.edu/Documents/in/Ethnographic_Film?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":241671,"name":"Documentary, Experimental Documentary, Visual Anthropology","url":"https://www.academia.edu/Documents/in/Documentary_Experimental_Documentary_Visual_Anthropology?f_ri=37443"},{"id":536356,"name":"Anthropology and Art","url":"https://www.academia.edu/Documents/in/Anthropology_and_Art?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_12662862" data-work_id="12662862" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/12662862/L_immagine_del_museo_fra_documentari_didattici_e_cinema">L’immagine del museo fra documentari didattici e cinema</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">L’immagine del museo si forma anche attraverso la sua rappresentazione cinematografica. Il cinema ha fatto spesso ricorso alle sale dei musei per ambientare le scene dei film. D’altra parte, i primi decenni del Novecento vedono un grande... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_12662862" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">L’immagine del museo si forma anche attraverso la sua rappresentazione cinematografica. Il cinema ha fatto spesso ricorso alle sale dei musei per ambientare le scene dei film. D’altra parte, i primi decenni del Novecento vedono un grande movimento a livello internazionale per introdurre la cinematografia didattica nelle scuole, con la creazione di appositi istituti (come l’Istituto internazionale di cinematografia educativa) rivolti alla produzione, distribuzione e scambio di filmati didattici. La storia dell’arte era una materia che si prestava particolarmente bene a questo tipo di comunicazione. Oggi il documentario cinematografico storico-artistico ha trovato una nuova possibilità nella serie “La grande arte al cinema”, che trasforma il documentario in uno spettacolo, in un grande “evento”, con la proiezione al cinema, solo per un giorno, della presentazione di un museo, di una mostra o di un artista.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/12662862" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="ffe1ea97f9e7f25d1a101d75e71bc983" rel="nofollow" data-download="{"attachment_id":37768030,"asset_id":12662862,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37768030/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1075512" href="https://independent.academia.edu/ElenaFranchi">Elena Franchi</a><script data-card-contents-for-user="1075512" type="text/json">{"id":1075512,"first_name":"Elena","last_name":"Franchi","domain_name":"independent","page_name":"ElenaFranchi","display_name":"Elena Franchi","profile_url":"https://independent.academia.edu/ElenaFranchi?f_ri=37443","photo":"https://0.academia-photos.com/1075512/434676/29022766/s65_elena.franchi.jpg"}</script></span></span></li><li class="js-paper-rank-work_12662862 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="12662862"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 12662862, container: ".js-paper-rank-work_12662862", }); });</script></li><li class="js-percentile-work_12662862 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 12662862; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_12662862"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_12662862 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="12662862"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 12662862; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=12662862]").text(description); $(".js-view-count-work_12662862").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_12662862").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="12662862"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1657" href="https://www.academia.edu/Documents/in/Museum_Studies">Museum Studies</a>, <script data-card-contents-for-ri="1657" type="text/json">{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6093" href="https://www.academia.edu/Documents/in/Museum_Education">Museum Education</a>, <script data-card-contents-for-ri="6093" type="text/json">{"id":6093,"name":"Museum Education","url":"https://www.academia.edu/Documents/in/Museum_Education?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16927" href="https://www.academia.edu/Documents/in/Museum_Interpretation">Museum Interpretation</a>, <script data-card-contents-for-ri="16927" type="text/json">{"id":16927,"name":"Museum Interpretation","url":"https://www.academia.edu/Documents/in/Museum_Interpretation?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=12662862]'), work: {"id":12662862,"title":"L’immagine del museo fra documentari didattici e cinema","created_at":"2015-05-29T01:03:56.981-07:00","url":"https://www.academia.edu/12662862/L_immagine_del_museo_fra_documentari_didattici_e_cinema?f_ri=37443","dom_id":"work_12662862","summary":"L’immagine del museo si forma anche attraverso la sua rappresentazione cinematografica. Il cinema ha fatto spesso ricorso alle sale dei musei per ambientare le scene dei film. D’altra parte, i primi decenni del Novecento vedono un grande movimento a livello internazionale per introdurre la cinematografia didattica nelle scuole, con la creazione di appositi istituti (come l’Istituto internazionale di cinematografia educativa) rivolti alla produzione, distribuzione e scambio di filmati didattici. La storia dell’arte era una materia che si prestava particolarmente bene a questo tipo di comunicazione. Oggi il documentario cinematografico storico-artistico ha trovato una nuova possibilità nella serie “La grande arte al cinema”, che trasforma il documentario in uno spettacolo, in un grande “evento”, con la proiezione al cinema, solo per un giorno, della presentazione di un museo, di una mostra o di un artista.","downloadable_attachments":[{"id":37768030,"asset_id":12662862,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1075512,"first_name":"Elena","last_name":"Franchi","domain_name":"independent","page_name":"ElenaFranchi","display_name":"Elena Franchi","profile_url":"https://independent.academia.edu/ElenaFranchi?f_ri=37443","photo":"https://0.academia-photos.com/1075512/434676/29022766/s65_elena.franchi.jpg"}],"research_interests":[{"id":1657,"name":"Museum Studies","url":"https://www.academia.edu/Documents/in/Museum_Studies?f_ri=37443","nofollow":false},{"id":6093,"name":"Museum Education","url":"https://www.academia.edu/Documents/in/Museum_Education?f_ri=37443","nofollow":false},{"id":16927,"name":"Museum Interpretation","url":"https://www.academia.edu/Documents/in/Museum_Interpretation?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":40719,"name":"Museums","url":"https://www.academia.edu/Documents/in/Museums?f_ri=37443"},{"id":69620,"name":"Documentaries","url":"https://www.academia.edu/Documents/in/Documentaries?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_28283955" data-work_id="28283955" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/28283955/Documentary_film_as_a_research_tool_exploring_schooling_for_modernity_in_rural_Zambia">Documentary film as a research tool: exploring schooling for modernity in rural Zambia</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Published in: Bell, D (Ed.) (2016) Mind the Gap! Practice based research in the creative, media and visual arts. NCAD and Distillers Press: Dublin. A reflective discussion on the potential benefits, and challenges of the use of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_28283955" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Published in: Bell, D (Ed.) (2016) Mind the Gap! Practice based research in the creative, media and visual arts. NCAD and Distillers Press: Dublin. <br /><br />A reflective discussion on the potential benefits, and challenges of the use of documentary film as a medium, and tool, for research. The paper focuses on the research project resulting in the feature length documentary film Colours of the Alphabet (<a href="http://www.coloursofthealphabet.com" rel="nofollow">www.coloursofthealphabet.com</a>), a project investigating the challenges and dilemmas surrounding language and primary education in multilingual Zambia, a country with 72 languages, and only one official language - English, spoken at home by only 1.7% of the population. The film tells the story of three students in a rural Zambian grade one class over their first year at school, aiming to academically and creatively address the ideological and practical complexities that surround language use and rural education within the multilingual Southern African nation. The chapter highlights the complexities of the chosen documentary film based methodology within a research enquiry orientated in  Linguistic Anthropology, highlighting the potential and opportunities that creative documentary film practice brings to these traditional fields in the humanities, and vise versa.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/28283955" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="318e007aff4f7f606b7e8632985c5a6e" rel="nofollow" data-download="{"attachment_id":48613628,"asset_id":28283955,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/48613628/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="949781" href="https://newcastle.academia.edu/AlastairCole">Alastair Cole</a><script data-card-contents-for-user="949781" type="text/json">{"id":949781,"first_name":"Alastair","last_name":"Cole","domain_name":"newcastle","page_name":"AlastairCole","display_name":"Alastair Cole","profile_url":"https://newcastle.academia.edu/AlastairCole?f_ri=37443","photo":"https://0.academia-photos.com/949781/351907/125132494/s65_alastair.cole.jpg"}</script></span></span></li><li class="js-paper-rank-work_28283955 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="28283955"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 28283955, container: ".js-paper-rank-work_28283955", }); 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$(".js-view-count[data-work-id=28283955]").text(description); $(".js-view-count-work_28283955").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_28283955").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="28283955"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="922" href="https://www.academia.edu/Documents/in/Education">Education</a>, <script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2308" href="https://www.academia.edu/Documents/in/Multilingualism">Multilingualism</a>, <script data-card-contents-for-ri="2308" type="text/json">{"id":2308,"name":"Multilingualism","url":"https://www.academia.edu/Documents/in/Multilingualism?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2718" href="https://www.academia.edu/Documents/in/Linguistic_Anthropology">Linguistic Anthropology</a>, <script data-card-contents-for-ri="2718" type="text/json">{"id":2718,"name":"Linguistic Anthropology","url":"https://www.academia.edu/Documents/in/Linguistic_Anthropology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2870" href="https://www.academia.edu/Documents/in/Art_Practice_as_Research">Art Practice as Research</a><script data-card-contents-for-ri="2870" type="text/json">{"id":2870,"name":"Art Practice as Research","url":"https://www.academia.edu/Documents/in/Art_Practice_as_Research?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=28283955]'), work: {"id":28283955,"title":"Documentary film as a research tool: exploring schooling for modernity in rural Zambia","created_at":"2016-09-06T06:42:52.634-07:00","url":"https://www.academia.edu/28283955/Documentary_film_as_a_research_tool_exploring_schooling_for_modernity_in_rural_Zambia?f_ri=37443","dom_id":"work_28283955","summary":"Published in: Bell, D (Ed.) (2016) Mind the Gap! Practice based research in the creative, media and visual arts. NCAD and Distillers Press: Dublin. \n\nA reflective discussion on the potential benefits, and challenges of the use of documentary film as a medium, and tool, for research. The paper focuses on the research project resulting in the feature length documentary film Colours of the Alphabet (www.coloursofthealphabet.com), a project investigating the challenges and dilemmas surrounding language and primary education in multilingual Zambia, a country with 72 languages, and only one official language - English, spoken at home by only 1.7% of the population. The film tells the story of three students in a rural Zambian grade one class over their first year at school, aiming to academically and creatively address the ideological and practical complexities that surround language use and rural education within the multilingual Southern African nation. The chapter highlights the complexities of the chosen documentary film based methodology within a research enquiry orientated in Linguistic Anthropology, highlighting the potential and opportunities that creative documentary film practice brings to these traditional fields in the humanities, and vise versa.\n","downloadable_attachments":[{"id":48613628,"asset_id":28283955,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":949781,"first_name":"Alastair","last_name":"Cole","domain_name":"newcastle","page_name":"AlastairCole","display_name":"Alastair Cole","profile_url":"https://newcastle.academia.edu/AlastairCole?f_ri=37443","photo":"https://0.academia-photos.com/949781/351907/125132494/s65_alastair.cole.jpg"}],"research_interests":[{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=37443","nofollow":false},{"id":2308,"name":"Multilingualism","url":"https://www.academia.edu/Documents/in/Multilingualism?f_ri=37443","nofollow":false},{"id":2718,"name":"Linguistic Anthropology","url":"https://www.academia.edu/Documents/in/Linguistic_Anthropology?f_ri=37443","nofollow":false},{"id":2870,"name":"Art Practice as Research","url":"https://www.academia.edu/Documents/in/Art_Practice_as_Research?f_ri=37443","nofollow":false},{"id":17478,"name":"Practice as Research","url":"https://www.academia.edu/Documents/in/Practice_as_Research?f_ri=37443"},{"id":22534,"name":"Practice-Based Research","url":"https://www.academia.edu/Documents/in/Practice-Based_Research?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":25922,"name":"Zambia","url":"https://www.academia.edu/Documents/in/Zambia?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_44378852" data-work_id="44378852" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/44378852/La_fantastica_vita_della_plastica">La fantastica vita della plastica</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">La fantastica vita della plastica è una tesi pensata concettualmente con la logica del transmedia. È incentrata su un progetto a sua volta transmediale dedicato alla gestione della plastica in chiave di economia verde. L’idea nasce dalla... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_44378852" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">La fantastica vita della plastica è una tesi pensata concettualmente con la logica del transmedia. È incentrata su un progetto a sua volta transmediale dedicato alla gestione della plastica in chiave di economia verde. <br />L’idea nasce dalla considerazione che la plastica è diventata la principale accusata dell’inquinamento ambientale e costiero. Osannata negli anni a ridosso della sua scoperta, ha subìto un ribaltamento: da rimedio a tutti i mali è diventata il male senza rimedio. <br />La tesi dimostra che entrambi i concetti sono errati e anche per la plastica esiste una “terza via”; consiste nell’uso più consapevole di questo materiale nato con un fine ecologico per evitare il depauperamento delle risorse naturali. Il consumismo e la logica dell’usa e getta hanno deformato l’impiego della plastica, creando le catastrofi ambientali che sono sotto gli occhi di tutti. <br />Pensare di eliminare tutta la plastica presente nella vita quotidiana di ognuno di noi è impossibile e diventerebbe forse ancora più dannoso per l’ambiente. La plastica deve continuare ad essere il rimedio a molti mali (non tutti), proprio per evitare lo sfruttamento sconsiderato delle materie; nello stesso tempo deve essere modificato il comportamento che porta la plastica ad essere fra i peggiori nemici del pianeta. <br />La fantastica vita della plastica, titolo della tesi, ha un significato duplice: l’aggettivo fantastica è da intendersi nel senso di “fuori dal normale”, fuori dall’ordinario; anche l’aggettivo straordinario è da intendersi nel senso di immaginifico, di qualcosa legato alla fantasia, all’invenzione. Ed infatti c’è ancora tanto da inventare e da ingegnare affinché la plastica possa diventare tutta riciclabile o, in alternativa, biodegradabile. <br />La soluzione facile e nota nella teoria è molto meno facile nella pratica. Andare verso la gestione corretta di questo materiale sintetico non è facile, ma è possibile. Tutto gioca sulla cultura la cui divulgazione attiene alla sfera della comunicazione in tutte le forme e con tutti i mezzi a disposizione. In un contesto di audience diffuse e di una pluralità in continua crescita di canali mediatici, è necessario adottare una strategia comunicativa che coinvolga quanti più pubblici possibile. In questo contesto storico, il transmedia è l’impostazione narrativa che meglio di ogni altra consente di raggiungere questo risultato. <br />L’ultimo capitolo della tesi entra nel vivo della questione: prendendo spunto da un progetto destinato alle scuole, “Humans save the sea”, che prevedeva già una partecipazione dal basso, quella degli studenti, è stato costruito un progetto transmediale contenente più elementi narrativi fra cui uno slogan, un documentario, una web serie, un Arg e un teaser in formato audiovisivo. Si tratta di strumenti differenti e indipendenti, ma che vanno a comporre un universo narrativo che possa coinvolgere altre audience, oltre a quelle studentesche. <br />Solo arrivando a sensibilizzare il numero più alto sia di individui singoli, sia realtà strutturate come le istituzioni, le industrie e il terziario si può sperare di arrivare a quel punto di equilibrio tanto agognato che riesce a far convivere il progresso con l’ambiente, senza che l’uno danneggi l’altro.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44378852" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="caa427f9af98e3dd8d277f90499a2daf" rel="nofollow" data-download="{"attachment_id":64780594,"asset_id":44378852,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/64780594/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="176160699" href="https://independent.academia.edu/TonniElisabetta">Elisabetta Tonni</a><script data-card-contents-for-user="176160699" type="text/json">{"id":176160699,"first_name":"Elisabetta","last_name":"Tonni","domain_name":"independent","page_name":"TonniElisabetta","display_name":"Elisabetta Tonni","profile_url":"https://independent.academia.edu/TonniElisabetta?f_ri=37443","photo":"https://0.academia-photos.com/176160699/48832036/36946352/s65_elisabetta.tonni.jpg"}</script></span></span></li><li class="js-paper-rank-work_44378852 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44378852"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44378852, container: ".js-paper-rank-work_44378852", }); });</script></li><li class="js-percentile-work_44378852 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 44378852; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_44378852"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_44378852 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="44378852"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 44378852; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=44378852]").text(description); $(".js-view-count-work_44378852").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_44378852").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="44378852"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="14070" href="https://www.academia.edu/Documents/in/Transmedial_Storytelling">Transmedial Storytelling</a>, <script data-card-contents-for-ri="14070" type="text/json">{"id":14070,"name":"Transmedial Storytelling","url":"https://www.academia.edu/Documents/in/Transmedial_Storytelling?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="55650" href="https://www.academia.edu/Documents/in/Transmedia">Transmedia</a><script data-card-contents-for-ri="55650" type="text/json">{"id":55650,"name":"Transmedia","url":"https://www.academia.edu/Documents/in/Transmedia?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=44378852]'), work: {"id":44378852,"title":"La fantastica vita della plastica","created_at":"2020-10-27T03:20:54.179-07:00","url":"https://www.academia.edu/44378852/La_fantastica_vita_della_plastica?f_ri=37443","dom_id":"work_44378852","summary":"La fantastica vita della plastica è una tesi pensata concettualmente con la logica del transmedia. È incentrata su un progetto a sua volta transmediale dedicato alla gestione della plastica in chiave di economia verde. \nL’idea nasce dalla considerazione che la plastica è diventata la principale accusata dell’inquinamento ambientale e costiero. Osannata negli anni a ridosso della sua scoperta, ha subìto un ribaltamento: da rimedio a tutti i mali è diventata il male senza rimedio. \nLa tesi dimostra che entrambi i concetti sono errati e anche per la plastica esiste una “terza via”; consiste nell’uso più consapevole di questo materiale nato con un fine ecologico per evitare il depauperamento delle risorse naturali. Il consumismo e la logica dell’usa e getta hanno deformato l’impiego della plastica, creando le catastrofi ambientali che sono sotto gli occhi di tutti. \nPensare di eliminare tutta la plastica presente nella vita quotidiana di ognuno di noi è impossibile e diventerebbe forse ancora più dannoso per l’ambiente. La plastica deve continuare ad essere il rimedio a molti mali (non tutti), proprio per evitare lo sfruttamento sconsiderato delle materie; nello stesso tempo deve essere modificato il comportamento che porta la plastica ad essere fra i peggiori nemici del pianeta. \nLa fantastica vita della plastica, titolo della tesi, ha un significato duplice: l’aggettivo fantastica è da intendersi nel senso di “fuori dal normale”, fuori dall’ordinario; anche l’aggettivo straordinario è da intendersi nel senso di immaginifico, di qualcosa legato alla fantasia, all’invenzione. Ed infatti c’è ancora tanto da inventare e da ingegnare affinché la plastica possa diventare tutta riciclabile o, in alternativa, biodegradabile. \nLa soluzione facile e nota nella teoria è molto meno facile nella pratica. Andare verso la gestione corretta di questo materiale sintetico non è facile, ma è possibile. Tutto gioca sulla cultura la cui divulgazione attiene alla sfera della comunicazione in tutte le forme e con tutti i mezzi a disposizione. In un contesto di audience diffuse e di una pluralità in continua crescita di canali mediatici, è necessario adottare una strategia comunicativa che coinvolga quanti più pubblici possibile. In questo contesto storico, il transmedia è l’impostazione narrativa che meglio di ogni altra consente di raggiungere questo risultato. \nL’ultimo capitolo della tesi entra nel vivo della questione: prendendo spunto da un progetto destinato alle scuole, “Humans save the sea”, che prevedeva già una partecipazione dal basso, quella degli studenti, è stato costruito un progetto transmediale contenente più elementi narrativi fra cui uno slogan, un documentario, una web serie, un Arg e un teaser in formato audiovisivo. Si tratta di strumenti differenti e indipendenti, ma che vanno a comporre un universo narrativo che possa coinvolgere altre audience, oltre a quelle studentesche. \nSolo arrivando a sensibilizzare il numero più alto sia di individui singoli, sia realtà strutturate come le istituzioni, le industrie e il terziario si può sperare di arrivare a quel punto di equilibrio tanto agognato che riesce a far convivere il progresso con l’ambiente, senza che l’uno danneggi l’altro.","downloadable_attachments":[{"id":64780594,"asset_id":44378852,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":176160699,"first_name":"Elisabetta","last_name":"Tonni","domain_name":"independent","page_name":"TonniElisabetta","display_name":"Elisabetta Tonni","profile_url":"https://independent.academia.edu/TonniElisabetta?f_ri=37443","photo":"https://0.academia-photos.com/176160699/48832036/36946352/s65_elisabetta.tonni.jpg"}],"research_interests":[{"id":14070,"name":"Transmedial Storytelling","url":"https://www.academia.edu/Documents/in/Transmedial_Storytelling?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":55650,"name":"Transmedia","url":"https://www.academia.edu/Documents/in/Transmedia?f_ri=37443","nofollow":false},{"id":63004,"name":"Interactive Documentary","url":"https://www.academia.edu/Documents/in/Interactive_Documentary?f_ri=37443"},{"id":283812,"name":"Sceneggiatura","url":"https://www.academia.edu/Documents/in/Sceneggiatura?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_39336909" data-work_id="39336909" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/39336909/Grenfell_Tower_and_Social_Murder">Grenfell Tower and Social Murder</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">An overview of the making of The Open University Film 'Grenfell Tower and Social Murder', which draws upon the testimonies of bereaved families and survivors. The film was awarded the 'life changing award' at the British Film Documentary... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39336909" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">An overview of the making of The Open University Film 'Grenfell Tower and Social Murder', which draws upon the testimonies of bereaved families and survivors.  The film was awarded the 'life changing award' at the British Film Documentary Festival in November 2018.  It was also awarded three further awards. <br /> <br /> <br />World Gold Medal at New York Festivals TV and Film Awards for The Open University Film ‘Grenfell Tower and Social Murder’ (2020) <br /> <br /> <br />Vcom Gold Clarion Award for best Education and Training film for The Open University Film ‘Grenfell Tower and Social Murder’ (2019) <br /> <br /> <br />EVcom Gold Clarion Award for best Social Welfare film for The Open University Film ‘Grenfell Tower and Social Murder’ (2019)</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39336909" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="19a09b6c1128a580a6548aa6fada4d89" rel="nofollow" data-download="{"attachment_id":59477105,"asset_id":39336909,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59477105/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="19165298" href="https://open.academia.edu/DScott">David Scott</a><script data-card-contents-for-user="19165298" type="text/json">{"id":19165298,"first_name":"David","last_name":"Scott","domain_name":"open","page_name":"DScott","display_name":"David Scott","profile_url":"https://open.academia.edu/DScott?f_ri=37443","photo":"https://0.academia-photos.com/19165298/5338483/26371560/s65_david.scott.jpg"}</script></span></span></li><li class="js-paper-rank-work_39336909 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39336909"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39336909, container: ".js-paper-rank-work_39336909", }); });</script></li><li class="js-percentile-work_39336909 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39336909; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39336909"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39336909 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39336909"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39336909; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39336909]").text(description); $(".js-view-count-work_39336909").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39336909").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39336909"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="7229" href="https://www.academia.edu/Documents/in/Critical_Criminology">Critical Criminology</a>, <script data-card-contents-for-ri="7229" type="text/json">{"id":7229,"name":"Critical Criminology","url":"https://www.academia.edu/Documents/in/Critical_Criminology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39336909]'), work: {"id":39336909,"title":"Grenfell Tower and Social Murder","created_at":"2019-06-01T04:33:39.522-07:00","url":"https://www.academia.edu/39336909/Grenfell_Tower_and_Social_Murder?f_ri=37443","dom_id":"work_39336909","summary":"An overview of the making of The Open University Film 'Grenfell Tower and Social Murder', which draws upon the testimonies of bereaved families and survivors. The film was awarded the 'life changing award' at the British Film Documentary Festival in November 2018. It was also awarded three further awards.\r\n\r\n\r\nWorld Gold Medal at New York Festivals TV and Film Awards for The Open University Film ‘Grenfell Tower and Social Murder’ (2020)\r\n\r\n\r\nVcom Gold Clarion Award for best Education and Training film for The Open University Film ‘Grenfell Tower and Social Murder’ (2019)\r\n\r\n\r\nEVcom Gold Clarion Award for best Social Welfare film for The Open University Film ‘Grenfell Tower and Social Murder’ (2019)\r\n\r\n","downloadable_attachments":[{"id":59477105,"asset_id":39336909,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":19165298,"first_name":"David","last_name":"Scott","domain_name":"open","page_name":"DScott","display_name":"David Scott","profile_url":"https://open.academia.edu/DScott?f_ri=37443","photo":"https://0.academia-photos.com/19165298/5338483/26371560/s65_david.scott.jpg"}],"research_interests":[{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":7229,"name":"Critical Criminology","url":"https://www.academia.edu/Documents/in/Critical_Criminology?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":47898,"name":"Corporate Crime","url":"https://www.academia.edu/Documents/in/Corporate_Crime?f_ri=37443"},{"id":1440726,"name":"State-Corporate Crime","url":"https://www.academia.edu/Documents/in/State-Corporate_Crime?f_ri=37443"},{"id":2742474,"name":"Grenfell Tower Disaster","url":"https://www.academia.edu/Documents/in/Grenfell_Tower_Disaster?f_ri=37443"},{"id":3264792,"name":"Social Murder","url":"https://www.academia.edu/Documents/in/Social_Murder?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_60132260" data-work_id="60132260" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/60132260/Documentary_Ethics_Navigating_Consent_and_Representation_in_Bing_Lius_Minding_the_Gap">Documentary Ethics: Navigating Consent and Representation in Bing Liu's Minding the Gap</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Engaging with recent scholarship concerning ethics in practical documentary filmmaking, this research paper explores one filmmaker's navigation of issues of consent and representation in their documentary project. The object of my case... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_60132260" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Engaging with recent scholarship concerning ethics in practical documentary filmmaking, this research paper explores one filmmaker's navigation of issues of consent and representation in their documentary project. The object of my case study is Bing Liu's MINDING THE GAP (Kartemquin Pictures, 2018). <br /><br />Following Patricia Aufderheide et al (2009) I discuss ethics in documentary filmmaking as something to be approached situationally, according to the specific context and circumstances of the documentary project.<br /><br />"There is no code of conduct, no set of ethical standards that governs all documentary filmmaking [...] The true test is in the particulars, and every filmmaking effort and every viewing experience will bring a distinct set of circumstances to bear."<br />—Bill Nichols, Speaking Truths with Film</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/60132260" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="2a9375696625e5cc635f5482647956a9" rel="nofollow" data-download="{"attachment_id":73707757,"asset_id":60132260,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/73707757/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="61359029" href="https://uva.academia.edu/LaurenDevine">Lauren Devine</a><script data-card-contents-for-user="61359029" type="text/json">{"id":61359029,"first_name":"Lauren","last_name":"Devine","domain_name":"uva","page_name":"LaurenDevine","display_name":"Lauren Devine","profile_url":"https://uva.academia.edu/LaurenDevine?f_ri=37443","photo":"https://0.academia-photos.com/61359029/50529497/38557277/s65_lauren.devine.jpg"}</script></span></span></li><li class="js-paper-rank-work_60132260 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="60132260"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 60132260, container: ".js-paper-rank-work_60132260", }); });</script></li><li class="js-percentile-work_60132260 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 60132260; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_60132260"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_60132260 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="60132260"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 60132260; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=60132260]").text(description); $(".js-view-count-work_60132260").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_60132260").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="60132260"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3072" href="https://www.academia.edu/Documents/in/Documentary_Communication_">Documentary (Communication)</a>, <script data-card-contents-for-ri="3072" type="text/json">{"id":3072,"name":"Documentary (Communication)","url":"https://www.academia.edu/Documents/in/Documentary_Communication_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=60132260]'), work: {"id":60132260,"title":"Documentary Ethics: Navigating Consent and Representation in Bing Liu's Minding the Gap","created_at":"2021-10-27T03:56:16.320-07:00","url":"https://www.academia.edu/60132260/Documentary_Ethics_Navigating_Consent_and_Representation_in_Bing_Lius_Minding_the_Gap?f_ri=37443","dom_id":"work_60132260","summary":"Engaging with recent scholarship concerning ethics in practical documentary filmmaking, this research paper explores one filmmaker's navigation of issues of consent and representation in their documentary project. The object of my case study is Bing Liu's MINDING THE GAP (Kartemquin Pictures, 2018). \n\nFollowing Patricia Aufderheide et al (2009) I discuss ethics in documentary filmmaking as something to be approached situationally, according to the specific context and circumstances of the documentary project.\n\n\"There is no code of conduct, no set of ethical standards that governs all documentary filmmaking [...] The true test is in the particulars, and every filmmaking effort and every viewing experience will bring a distinct set of circumstances to bear.\"\n—Bill Nichols, Speaking Truths with Film","downloadable_attachments":[{"id":73707757,"asset_id":60132260,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":61359029,"first_name":"Lauren","last_name":"Devine","domain_name":"uva","page_name":"LaurenDevine","display_name":"Lauren Devine","profile_url":"https://uva.academia.edu/LaurenDevine?f_ri=37443","photo":"https://0.academia-photos.com/61359029/50529497/38557277/s65_lauren.devine.jpg"}],"research_interests":[{"id":3072,"name":"Documentary (Communication)","url":"https://www.academia.edu/Documents/in/Documentary_Communication_?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=37443"},{"id":58052,"name":"Independent Filmmaking","url":"https://www.academia.edu/Documents/in/Independent_Filmmaking?f_ri=37443"},{"id":74028,"name":"Oral History and Documentary","url":"https://www.academia.edu/Documents/in/Oral_History_and_Documentary?f_ri=37443"},{"id":209715,"name":"Ethics and Documentary","url":"https://www.academia.edu/Documents/in/Ethics_and_Documentary?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_5626414" data-work_id="5626414" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/5626414/Sherpa_Everest_expedition_Documentary_synopsis">Sherpa, Everest expedition, Documentary synopsis</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">I am looking to document the lives, needs, and special skills and abilities of the high mountain dwellers, the 'Sherpa' people, of Nepal, to show how and why they are willing and so able to support the rest of the world climb to the... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_5626414" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">I am looking to document the lives, needs, and special skills and abilities of the high mountain dwellers, the 'Sherpa' people, of Nepal, to show how and why they are willing and so able to support the rest of the world climb to the highest mountain peaks. <br /> <br />I am specifically interested in them as people, personalities and in their physiology.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue 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class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="684114" href="https://deakin.academia.edu/MartinPotter">Martin Potter</a><script data-card-contents-for-user="684114" type="text/json">{"id":684114,"first_name":"Martin","last_name":"Potter","domain_name":"deakin","page_name":"MartinPotter","display_name":"Martin Potter","profile_url":"https://deakin.academia.edu/MartinPotter?f_ri=37443","photo":"https://0.academia-photos.com/684114/2692058/36559158/s65_martin.potter.jpg"}</script></span></span></li><li class="js-paper-rank-work_5393123 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="5393123"><i class="u-m1x fa fa-bar-chart"></i><strong 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href="https://www.academia.edu/Documents/in/Film_And_Video_Art_In_Canada">Film And Video Art In Canada</a><script data-card-contents-for-ri="29591" type="text/json">{"id":29591,"name":"Film And Video Art In Canada","url":"https://www.academia.edu/Documents/in/Film_And_Video_Art_In_Canada?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=5393123]'), work: {"id":5393123,"title":"Challenge for Change: Activist Documentary at the National Film Board of Canada (book 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u-lineHeight1_5 u-tcGrayDarkest">Review of a book that makes a deep analysis of films made in India by David MacDougall, the Desire Machine Collective and Kumar Shahani</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/32095293" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e7c2b4856b1ed0a76168b05374eab961" rel="nofollow" data-download="{"attachment_id":52345147,"asset_id":32095293,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button 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class="InlineList-item-text" data-has-card-for-ri="1571" href="https://www.academia.edu/Documents/in/Television_Studies">Television Studies</a><script data-card-contents-for-ri="1571" type="text/json">{"id":1571,"name":"Television Studies","url":"https://www.academia.edu/Documents/in/Television_Studies?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31384789]'), work: {"id":31384789,"title":"Channel 4's \"The Undateables\" - Media Case Study - Main focuses: Genre, Narrative, Representations, \u0026 Industry","created_at":"2017-02-12T06:42:28.098-08:00","url":"https://www.academia.edu/31384789/Channel_4s_The_Undateables_Media_Case_Study_Main_focuses_Genre_Narrative_Representations_and_Industry?f_ri=37443","dom_id":"work_31384789","summary":"A2 Level Research \u0026 Study Guide on A2 Media Studies - Case Study for Channel 4's \"The 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u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">This paper explores the recent documentary, aired on the American Heroes Network, showing polychromatization of black-and-white World War One military footage. The film's apocalyptic character and effect on current popular culture trends... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10742971" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">This paper explores the recent documentary, aired on the American Heroes Network, showing polychromatization of black-and-white World War One military footage. The film's apocalyptic character and effect on current popular culture trends will be analyzed.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10742971" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="908c0a5ea051e31afc058902f6124926" rel="nofollow" data-download="{"attachment_id":36614814,"asset_id":10742971,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36614814/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="10346527" href="https://svots.academia.edu/DanielVanderKolk">Daniel VanderKolk</a><script data-card-contents-for-user="10346527" type="text/json">{"id":10346527,"first_name":"Daniel","last_name":"VanderKolk","domain_name":"svots","page_name":"DanielVanderKolk","display_name":"Daniel VanderKolk","profile_url":"https://svots.academia.edu/DanielVanderKolk?f_ri=37443","photo":"https://0.academia-photos.com/10346527/3325314/5345671/s65_daniel.vanderkolk.jpg"}</script></span></span></li><li class="js-paper-rank-work_10742971 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10742971"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10742971, container: ".js-paper-rank-work_10742971", }); 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CINEMONTAGE</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35924724" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="023e82e9f789ef76c774014d1b409738" rel="nofollow" data-download="{"attachment_id":55806284,"asset_id":35924724,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55806284/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa 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Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="44811" href="https://www.academia.edu/Documents/in/Documentary">Documentary</a>, <script data-card-contents-for-ri="44811" type="text/json">{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="59822" href="https://www.academia.edu/Documents/in/Documentary_Editing">Documentary Editing</a><script data-card-contents-for-ri="59822" 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Editing","url":"https://www.academia.edu/Documents/in/Documentary_Editing?f_ri=37443","nofollow":false},{"id":100017,"name":"Film Editing","url":"https://www.academia.edu/Documents/in/Film_Editing?f_ri=37443"},{"id":1192803,"name":"Digital Image Editing","url":"https://www.academia.edu/Documents/in/Digital_Image_Editing?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_43062677" data-work_id="43062677" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/43062677/El_Odiseo_espa%C3%B1ol_cr%C3%B3nica_de_la_realizaci%C3%B3n_de_un_documental_hist%C3%B3rico_sobre_Jos%C3%A9_de_Ribas">El Odiseo español: crónica de la realización de un documental histórico sobre José de Ribas</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Entre los días 1 y 17 de septiembre, un grupo de nueve estudiantes, junto con antiguos alumnos y dos profesores, Álvaro Bonet y el autor de esta comunicación, estuvimos en la ciudad de Odessa, Ucrania, para la preproducción de un... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_43062677" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Entre los días 1 y 17 de septiembre, un grupo de nueve estudiantes, junto con antiguos alumnos y dos profesores, Álvaro Bonet y el autor de esta comunicación, estuvimos en la ciudad de Odessa, Ucrania, para la preproducción de un documental sobre la figura de su fundador, el italiano-español José de Ribas. Se trata de un proyecto que cuenta con apoyo de la Embajada Española en Ucrania, y que aspira a presentarse en festivales y distribuirse en televisión tanto en Ucrania y Rusia como en España. José de Ribas Plunkett (1749-1800) fue un personaje de epopeya que, pese a su origen extranjero (nació en Nápoles, de padre Barcelonés y madre irlandesa), ocupó cargos de relevancia en el gobierno del Imperio Ruso durante los últimos años de Catalina la Grande y su hijo el zar Pablo I. Como militar de profesión, participó en las batallas más decisivas contra los turcos en el Norte del Mar Negro, y decidió el lugar y el modo en el que surgiría esta ciudad cosmopolita de nombre griego, conocida universalmente gracias al cine soviético de Babel,  Vertov, Dovchenko o Eisenstein.<br /><br />La preproducción del documental ha supuesto, además del trabajo de campo previo en localizaciones, la realización de entrevistas a los expertos de la historia de la ciudad, que hoy forma parte de Ucrania; y también hemos podido hablar con los herederos del personaje que todavía viven en Odessa. El resultado es una toma de conciencia de la distancia que se da siempre entre la historia oficial por un lado, la novela histórica por otro (El súbdito de la Zarina de Diego Merry de Val, que sirvió de inspiración a un primer guión del trabajo), y finalmente los testimonios contrapuestos que sólo un acercamiento poético, no exento de cierta ironía, puede aglutinar. En esta comunicación se expondrá detalladamente cada uno de los pasos dados en la realización del documental, y las consiguientes reflexiones sobre los difusos límites entre historia y mito, narración poética y evocación fílmica, supuestamente documental, de un pasado que sigue vivo en el presente de una ciudad, Odessa, situada en una encrucijada histórica y por tanto abierta aún a todo tipo de interpretaciones sobre su pasado.<br /><br />Palabras clave: Falso documental, ficción y realidad, cine histórico, Odessa, José De Ribas, biopic.<br /><br />Between the first and seventeenth of September a group of nine students, along with alumni and two professors, Álvaro Bonet and the author of this communication, were in the Ukraine city of Odessa for the preproduction of a documentary about the founder of the city, the Spanish-Italian José de Ribas. The project is supported by the Spanish Embassy in the Ukraine and aspires to be presented in festivals and be distributed on television in the Ukraine, Russia, and Spain. José de Ribas Plunkett (1749-1800) was an epic figure that, despite being born outside the country (born in Napoles, from a Spanish father and an Irish mother), occupied government official work in the Russian Empire during the last years of Catherine the Great and her son Tsar Pablo I. While in the military he fought in the most decisive battles in the North of the Black Sea against the Turks. He decided the location and the method used to create the cosmopolitan city with a Greek name, known universally thanks to Soviet films such as Babel, Vertov, Dovchenko, or Eisenstein.<br /><br />The preproduction of the documentary has consisted of, aside from the previous onsite work at the locations, interviews to history experts of the city that is today a part of the Ukraine; we have also been able to speak to the descendants of the founder who still live in Odessa. The result is an insight to the ever-existing distance between official history, historical novel (El súbdito de la Zarina by Diego Merry de Val, who served as an inspiration to the first script), and finally the conflicting testimonies that only a poetic approach, not exempt of some irony, can agglutinate. In this presentation there is a detailed explanation to each and every one of the steps taken to make the documentary, and the consequential reflections about the diffused limits between history and myth, poetic narration and fictional films, supposed documentary, of a past that remains in the present of a city, Odessa, situated in a historic crossroads and therefore still open to all sorts of interpretations about its past.<br /><br />Key words: Mock-cumentary, fiction and history, biopic, historical cinema, Odessa, José de Ribas.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/43062677" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="e57ac5150a9581f43e2715b4965b226f" rel="nofollow" data-download="{"attachment_id":63322533,"asset_id":43062677,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/63322533/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="31803112" href="https://independent.academia.edu/JorgeLatorre11">Jorge Latorre</a><script data-card-contents-for-user="31803112" type="text/json">{"id":31803112,"first_name":"Jorge","last_name":"Latorre","domain_name":"independent","page_name":"JorgeLatorre11","display_name":"Jorge Latorre","profile_url":"https://independent.academia.edu/JorgeLatorre11?f_ri=37443","photo":"https://0.academia-photos.com/31803112/9446156/10525710/s65_jorge.latorre.jpg_oh_b682d12117d04ad75b89420154de35e6_oe_55ed7fff___gda___1441417906_054b797d10556a2daca8ea3c9592477b"}</script></span></span></li><li class="js-paper-rank-work_43062677 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="43062677"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 43062677, container: ".js-paper-rank-work_43062677", }); 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$(".js-view-count[data-work-id=43062677]").text(description); $(".js-view-count-work_43062677").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_43062677").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="43062677"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">4</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="133" href="https://www.academia.edu/Documents/in/Military_History">Military History</a>, <script data-card-contents-for-ri="133" type="text/json">{"id":133,"name":"Military History","url":"https://www.academia.edu/Documents/in/Military_History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="136" href="https://www.academia.edu/Documents/in/Cultural_History">Cultural History</a>, <script data-card-contents-for-ri="136" type="text/json">{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="455426" href="https://www.academia.edu/Documents/in/Cinema_and_Television">Cinema and Television</a><script data-card-contents-for-ri="455426" type="text/json">{"id":455426,"name":"Cinema and Television","url":"https://www.academia.edu/Documents/in/Cinema_and_Television?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=43062677]'), work: {"id":43062677,"title":"El Odiseo español: crónica de la realización de un documental histórico sobre José de Ribas","created_at":"2020-05-15T11:17:17.334-07:00","url":"https://www.academia.edu/43062677/El_Odiseo_espa%C3%B1ol_cr%C3%B3nica_de_la_realizaci%C3%B3n_de_un_documental_hist%C3%B3rico_sobre_Jos%C3%A9_de_Ribas?f_ri=37443","dom_id":"work_43062677","summary":"Entre los días 1 y 17 de septiembre, un grupo de nueve estudiantes, junto con antiguos alumnos y dos profesores, Álvaro Bonet y el autor de esta comunicación, estuvimos en la ciudad de Odessa, Ucrania, para la preproducción de un documental sobre la figura de su fundador, el italiano-español José de Ribas. Se trata de un proyecto que cuenta con apoyo de la Embajada Española en Ucrania, y que aspira a presentarse en festivales y distribuirse en televisión tanto en Ucrania y Rusia como en España. José de Ribas Plunkett (1749-1800) fue un personaje de epopeya que, pese a su origen extranjero (nació en Nápoles, de padre Barcelonés y madre irlandesa), ocupó cargos de relevancia en el gobierno del Imperio Ruso durante los últimos años de Catalina la Grande y su hijo el zar Pablo I. Como militar de profesión, participó en las batallas más decisivas contra los turcos en el Norte del Mar Negro, y decidió el lugar y el modo en el que surgiría esta ciudad cosmopolita de nombre griego, conocida universalmente gracias al cine soviético de Babel, Vertov, Dovchenko o Eisenstein.\n\nLa preproducción del documental ha supuesto, además del trabajo de campo previo en localizaciones, la realización de entrevistas a los expertos de la historia de la ciudad, que hoy forma parte de Ucrania; y también hemos podido hablar con los herederos del personaje que todavía viven en Odessa. El resultado es una toma de conciencia de la distancia que se da siempre entre la historia oficial por un lado, la novela histórica por otro (El súbdito de la Zarina de Diego Merry de Val, que sirvió de inspiración a un primer guión del trabajo), y finalmente los testimonios contrapuestos que sólo un acercamiento poético, no exento de cierta ironía, puede aglutinar. En esta comunicación se expondrá detalladamente cada uno de los pasos dados en la realización del documental, y las consiguientes reflexiones sobre los difusos límites entre historia y mito, narración poética y evocación fílmica, supuestamente documental, de un pasado que sigue vivo en el presente de una ciudad, Odessa, situada en una encrucijada histórica y por tanto abierta aún a todo tipo de interpretaciones sobre su pasado.\n\nPalabras clave: Falso documental, ficción y realidad, cine histórico, Odessa, José De Ribas, biopic.\n\nBetween the first and seventeenth of September a group of nine students, along with alumni and two professors, Álvaro Bonet and the author of this communication, were in the Ukraine city of Odessa for the preproduction of a documentary about the founder of the city, the Spanish-Italian José de Ribas. The project is supported by the Spanish Embassy in the Ukraine and aspires to be presented in festivals and be distributed on television in the Ukraine, Russia, and Spain. José de Ribas Plunkett (1749-1800) was an epic figure that, despite being born outside the country (born in Napoles, from a Spanish father and an Irish mother), occupied government official work in the Russian Empire during the last years of Catherine the Great and her son Tsar Pablo I. While in the military he fought in the most decisive battles in the North of the Black Sea against the Turks. He decided the location and the method used to create the cosmopolitan city with a Greek name, known universally thanks to Soviet films such as Babel, Vertov, Dovchenko, or Eisenstein.\n\nThe preproduction of the documentary has consisted of, aside from the previous onsite work at the locations, interviews to history experts of the city that is today a part of the Ukraine; we have also been able to speak to the descendants of the founder who still live in Odessa. The result is an insight to the ever-existing distance between official history, historical novel (El súbdito de la Zarina by Diego Merry de Val, who served as an inspiration to the first script), and finally the conflicting testimonies that only a poetic approach, not exempt of some irony, can agglutinate. In this presentation there is a detailed explanation to each and every one of the steps taken to make the documentary, and the consequential reflections about the diffused limits between history and myth, poetic narration and fictional films, supposed documentary, of a past that remains in the present of a city, Odessa, situated in a historic crossroads and therefore still open to all sorts of interpretations about its past.\n\nKey words: Mock-cumentary, fiction and history, biopic, historical cinema, Odessa, José de Ribas.\n","downloadable_attachments":[{"id":63322533,"asset_id":43062677,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":31803112,"first_name":"Jorge","last_name":"Latorre","domain_name":"independent","page_name":"JorgeLatorre11","display_name":"Jorge Latorre","profile_url":"https://independent.academia.edu/JorgeLatorre11?f_ri=37443","photo":"https://0.academia-photos.com/31803112/9446156/10525710/s65_jorge.latorre.jpg_oh_b682d12117d04ad75b89420154de35e6_oe_55ed7fff___gda___1441417906_054b797d10556a2daca8ea3c9592477b"}],"research_interests":[{"id":133,"name":"Military History","url":"https://www.academia.edu/Documents/in/Military_History?f_ri=37443","nofollow":false},{"id":136,"name":"Cultural History","url":"https://www.academia.edu/Documents/in/Cultural_History?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":455426,"name":"Cinema and Television","url":"https://www.academia.edu/Documents/in/Cinema_and_Television?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_9774102" data-work_id="9774102" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/9774102/Moving_Environments_Affect_Emotion_Ecology_and_Film">Moving Environments: Affect, Emotion, Ecology and Film</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">In Moving Environments: Affect, Emotion, Ecology, and Film, international scholars investigate how films portray human emotional relationships with the more-than-human world and how such films act upon their viewers’ emotions. Emotion and... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_9774102" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">In Moving Environments: Affect, Emotion, Ecology, and Film, international scholars investigate how films portray human emotional relationships with the more-than-human world and how such films act upon their viewers’ emotions. Emotion and affect are the basic mechanisms that connect us to our environment, shape our knowledge, and motivate our actions. Contributors explore how film represents and shapes human emotion in relation to different environments and what role time, place, and genre play in these affective processes. Individual essays resituate well-researched environmental films such as An Inconvenient Truth and March of the Penguins by paying close attention to their emotionalizing strategies, and bring to our attention the affective qualities of films that have so far received little attention from ecocritics, such as Stan Brakhage’s Dog Star Man. <br /> <br />The collection opens a new discursive space at the disciplinary intersection of film studies, affect studies, cognitive approaches to film emotion, and a growing body of ecocritical scholarship. It will be of interest not only to scholars and students working in the field of ecocriticism and the environmental humanities, but for everyone with an interest in our emotional responses to film.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/9774102" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d540e6b4b7a430fb60c8ab9066776bf3" rel="nofollow" data-download="{"attachment_id":39409568,"asset_id":9774102,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/39409568/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="23533552" href="https://uni-klu.academia.edu/AlexaWeikvonMossner">Alexa Weik von Mossner</a><script data-card-contents-for-user="23533552" type="text/json">{"id":23533552,"first_name":"Alexa","last_name":"Weik von Mossner","domain_name":"uni-klu","page_name":"AlexaWeikvonMossner","display_name":"Alexa Weik von Mossner","profile_url":"https://uni-klu.academia.edu/AlexaWeikvonMossner?f_ri=37443","photo":"https://0.academia-photos.com/23533552/6378288/7216482/s65_alexa.weik_von_mossner.jpg"}</script></span></span></li><li class="js-paper-rank-work_9774102 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="9774102"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 9774102, container: ".js-paper-rank-work_9774102", }); 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$(".js-view-count[data-work-id=9774102]").text(description); $(".js-view-count-work_9774102").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_9774102").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="9774102"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">50</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="188" href="https://www.academia.edu/Documents/in/Cultural_Studies">Cultural Studies</a>, <script data-card-contents-for-ri="188" type="text/json">{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="254" href="https://www.academia.edu/Documents/in/Emotion">Emotion</a>, <script data-card-contents-for-ri="254" type="text/json">{"id":254,"name":"Emotion","url":"https://www.academia.edu/Documents/in/Emotion?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="859" href="https://www.academia.edu/Documents/in/Communication">Communication</a>, <script data-card-contents-for-ri="859" type="text/json">{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="863" href="https://www.academia.edu/Documents/in/Visual_Studies">Visual Studies</a><script data-card-contents-for-ri="863" type="text/json">{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=9774102]'), work: {"id":9774102,"title":"Moving Environments: Affect, Emotion, Ecology and Film","created_at":"2014-12-15T00:40:32.451-08:00","url":"https://www.academia.edu/9774102/Moving_Environments_Affect_Emotion_Ecology_and_Film?f_ri=37443","dom_id":"work_9774102","summary":"In Moving Environments: Affect, Emotion, Ecology, and Film, international scholars investigate how films portray human emotional relationships with the more-than-human world and how such films act upon their viewers’ emotions. Emotion and affect are the basic mechanisms that connect us to our environment, shape our knowledge, and motivate our actions. Contributors explore how film represents and shapes human emotion in relation to different environments and what role time, place, and genre play in these affective processes. Individual essays resituate well-researched environmental films such as An Inconvenient Truth and March of the Penguins by paying close attention to their emotionalizing strategies, and bring to our attention the affective qualities of films that have so far received little attention from ecocritics, such as Stan Brakhage’s Dog Star Man.\r\n\r\nThe collection opens a new discursive space at the disciplinary intersection of film studies, affect studies, cognitive approaches to film emotion, and a growing body of ecocritical scholarship. It will be of interest not only to scholars and students working in the field of ecocriticism and the environmental humanities, but for everyone with an interest in our emotional responses to film. ","downloadable_attachments":[{"id":39409568,"asset_id":9774102,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":23533552,"first_name":"Alexa","last_name":"Weik von Mossner","domain_name":"uni-klu","page_name":"AlexaWeikvonMossner","display_name":"Alexa Weik von Mossner","profile_url":"https://uni-klu.academia.edu/AlexaWeikvonMossner?f_ri=37443","photo":"https://0.academia-photos.com/23533552/6378288/7216482/s65_alexa.weik_von_mossner.jpg"}],"research_interests":[{"id":188,"name":"Cultural Studies","url":"https://www.academia.edu/Documents/in/Cultural_Studies?f_ri=37443","nofollow":false},{"id":254,"name":"Emotion","url":"https://www.academia.edu/Documents/in/Emotion?f_ri=37443","nofollow":false},{"id":859,"name":"Communication","url":"https://www.academia.edu/Documents/in/Communication?f_ri=37443","nofollow":false},{"id":863,"name":"Visual Studies","url":"https://www.academia.edu/Documents/in/Visual_Studies?f_ri=37443","nofollow":false},{"id":928,"name":"Media Studies","url":"https://www.academia.edu/Documents/in/Media_Studies?f_ri=37443"},{"id":934,"name":"Media and Cultural Studies","url":"https://www.academia.edu/Documents/in/Media_and_Cultural_Studies?f_ri=37443"},{"id":1554,"name":"Film Theory and Practice","url":"https://www.academia.edu/Documents/in/Film_Theory_and_Practice?f_ri=37443"},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443"},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=37443"},{"id":1575,"name":"Animation","url":"https://www.academia.edu/Documents/in/Animation?f_ri=37443"},{"id":1625,"name":"Human-Animal Relations","url":"https://www.academia.edu/Documents/in/Human-Animal_Relations?f_ri=37443"},{"id":2319,"name":"Place Attachment","url":"https://www.academia.edu/Documents/in/Place_Attachment?f_ri=37443"},{"id":2858,"name":"Popular Culture","url":"https://www.academia.edu/Documents/in/Popular_Culture?f_ri=37443"},{"id":3116,"name":"Space and Place","url":"https://www.academia.edu/Documents/in/Space_and_Place?f_ri=37443"},{"id":3233,"name":"Animal Studies","url":"https://www.academia.edu/Documents/in/Animal_Studies?f_ri=37443"},{"id":3301,"name":"Film Analysis","url":"https://www.academia.edu/Documents/in/Film_Analysis?f_ri=37443"},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443"},{"id":5301,"name":"Film Genre","url":"https://www.academia.edu/Documents/in/Film_Genre?f_ri=37443"},{"id":5382,"name":"Environmental Communication","url":"https://www.academia.edu/Documents/in/Environmental_Communication?f_ri=37443"},{"id":13958,"name":"Media","url":"https://www.academia.edu/Documents/in/Media?f_ri=37443"},{"id":16201,"name":"Ecocriticism","url":"https://www.academia.edu/Documents/in/Ecocriticism?f_ri=37443"},{"id":16349,"name":"Cognitive Film Theory","url":"https://www.academia.edu/Documents/in/Cognitive_Film_Theory?f_ri=37443"},{"id":16391,"name":"Space And Place (Art)","url":"https://www.academia.edu/Documents/in/Space_And_Place_Art_?f_ri=37443"},{"id":17330,"name":"Affect Theory","url":"https://www.academia.edu/Documents/in/Affect_Theory?f_ri=37443"},{"id":18845,"name":"Environmental Sustainability","url":"https://www.academia.edu/Documents/in/Environmental_Sustainability?f_ri=37443"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=37443"},{"id":21498,"name":"Affect/Emotion","url":"https://www.academia.edu/Documents/in/Affect_Emotion?f_ri=37443"},{"id":23193,"name":"Environmental Humanities","url":"https://www.academia.edu/Documents/in/Environmental_Humanities?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":23855,"name":"Affect Studies","url":"https://www.academia.edu/Documents/in/Affect_Studies?f_ri=37443"},{"id":24058,"name":"Animals in Culture","url":"https://www.academia.edu/Documents/in/Animals_in_Culture?f_ri=37443"},{"id":26585,"name":"Anthropomorphism","url":"https://www.academia.edu/Documents/in/Anthropomorphism?f_ri=37443"},{"id":26812,"name":"Human-Animal Studies","url":"https://www.academia.edu/Documents/in/Human-Animal_Studies?f_ri=37443"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=37443"},{"id":28374,"name":"Visual and Cultural Studies","url":"https://www.academia.edu/Documents/in/Visual_and_Cultural_Studies?f_ri=37443"},{"id":30842,"name":"Cinematic Affect","url":"https://www.academia.edu/Documents/in/Cinematic_Affect?f_ri=37443"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":42162,"name":"Emotions","url":"https://www.academia.edu/Documents/in/Emotions?f_ri=37443"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=37443"},{"id":44886,"name":"Empathy","url":"https://www.academia.edu/Documents/in/Empathy?f_ri=37443"},{"id":50238,"name":"Affect","url":"https://www.academia.edu/Documents/in/Affect?f_ri=37443"},{"id":52745,"name":"Cinema Studies","url":"https://www.academia.edu/Documents/in/Cinema_Studies?f_ri=37443"},{"id":103474,"name":"Human-Nature Relationships","url":"https://www.academia.edu/Documents/in/Human-Nature_Relationships?f_ri=37443"},{"id":209715,"name":"Ethics and Documentary","url":"https://www.academia.edu/Documents/in/Ethics_and_Documentary?f_ri=37443"},{"id":234157,"name":"Cognitive Approaches to Literature \u0026 Film","url":"https://www.academia.edu/Documents/in/Cognitive_Approaches_to_Literature_and_Film?f_ri=37443"},{"id":328672,"name":"Film and emotions, film-phenomenology, film aesthetics","url":"https://www.academia.edu/Documents/in/Film_and_emotions_film-phenomenology_film_aesthetics?f_ri=37443"},{"id":331354,"name":"Film and emotions","url":"https://www.academia.edu/Documents/in/Film_and_emotions?f_ri=37443"},{"id":501614,"name":"Media and Culture","url":"https://www.academia.edu/Documents/in/Media_and_Culture?f_ri=37443"},{"id":700197,"name":"Ecocinema","url":"https://www.academia.edu/Documents/in/Ecocinema?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31608772" data-work_id="31608772" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31608772/Syllabus_Documentary_Film_Studies_">Syllabus: "Documentary Film Studies"</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">The popular perception of documentary film is that it represents the real word. There is some truth to this perception, as documentary films tend to tell fact-based stories about people, events and places. Yet this popular perception of... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_31608772" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">The popular perception of documentary film is that it represents the real word.  There is some truth to this perception, as documentary films tend to tell fact-based stories about people, events and places. Yet this popular perception of documentary film belies how all films – from fiction to experimental – come to be made by people (i.e., producers, directors, cinematographers, editors, etc.). Documentary filmmakers interpret facts in the hope of telling compelling yet “truthful” stories. In this light, documentaries are less about the real world than they are about the audience’s perception of a real world.  This does not make documentaries distortions, but, a powerful mechanism, or mode of storytelling, that attempts to direct audiences to a kind of truth.  Of course, audiences bring their own history to the experience of watching documentaries – including their own perceptions of truth. <br />So why study documentary as distinct from fiction film?  It is the way documentary film positions its audience – and how those audiences see documentary film – that makes them worthy of distinct methods of critical analysis.  In this course we will look at a variety of documentaries, across time and nation, in an effort to think through – even create – the ways documentary film positions its audiences and the ways in which audiences see and even use documentary film. <br />Learning Outcomes <br /> <br />• Authenticity of documentary film stories. <br /> <br />• Documentary film as historical record, factual evidence, “objective” witness. <br /> <br />• Rhetorical strategies and ideological positions adopted by doc filmmakers. <br /> <br />• Use of techniques and styles in documentary film (e.g., plot, editing, sound, etc.) <br /> <br />• Production, exhibition and distribution practices. <br /> <br />• Impact of digital technology and new media upon documentary.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/31608772" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="34830d12a9a0ca7260877934bcd3eb52" rel="nofollow" data-download="{"attachment_id":51937022,"asset_id":31608772,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51937022/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="3089055" href="https://sfsu.academia.edu/DanielBernardi">Daniel Bernardi</a><script data-card-contents-for-user="3089055" type="text/json">{"id":3089055,"first_name":"Daniel","last_name":"Bernardi","domain_name":"sfsu","page_name":"DanielBernardi","display_name":"Daniel Bernardi","profile_url":"https://sfsu.academia.edu/DanielBernardi?f_ri=37443","photo":"https://0.academia-photos.com/3089055/1014956/1268917/s65_daniel.bernardi.jpg"}</script></span></span></li><li class="js-paper-rank-work_31608772 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="31608772"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 31608772, container: ".js-paper-rank-work_31608772", }); });</script></li><li class="js-percentile-work_31608772 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 31608772; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_31608772"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_31608772 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="31608772"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 31608772; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=31608772]").text(description); $(".js-view-count-work_31608772").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_31608772").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="31608772"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">2</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=31608772]'), work: {"id":31608772,"title":"Syllabus: \"Documentary Film Studies\"","created_at":"2017-02-25T21:02:45.734-08:00","url":"https://www.academia.edu/31608772/Syllabus_Documentary_Film_Studies_?f_ri=37443","dom_id":"work_31608772","summary":"The popular perception of documentary film is that it represents the real word. There is some truth to this perception, as documentary films tend to tell fact-based stories about people, events and places. Yet this popular perception of documentary film belies how all films – from fiction to experimental – come to be made by people (i.e., producers, directors, cinematographers, editors, etc.). Documentary filmmakers interpret facts in the hope of telling compelling yet “truthful” stories. In this light, documentaries are less about the real world than they are about the audience’s perception of a real world. This does not make documentaries distortions, but, a powerful mechanism, or mode of storytelling, that attempts to direct audiences to a kind of truth. Of course, audiences bring their own history to the experience of watching documentaries – including their own perceptions of truth. \r\nSo why study documentary as distinct from fiction film? It is the way documentary film positions its audience – and how those audiences see documentary film – that makes them worthy of distinct methods of critical analysis. In this course we will look at a variety of documentaries, across time and nation, in an effort to think through – even create – the ways documentary film positions its audiences and the ways in which audiences see and even use documentary film. \r\nLearning Outcomes\r\n\r\n•\tAuthenticity of documentary film stories.\r\n\r\n•\tDocumentary film as historical record, factual evidence, “objective” witness.\r\n\r\n•\tRhetorical strategies and ideological positions adopted by doc filmmakers.\r\n\r\n•\tUse of techniques and styles in documentary film (e.g., plot, editing, sound, etc.)\r\n\r\n•\tProduction, exhibition and distribution practices.\r\n\r\n•\tImpact of digital technology and new media upon documentary.\r\n","downloadable_attachments":[{"id":51937022,"asset_id":31608772,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":3089055,"first_name":"Daniel","last_name":"Bernardi","domain_name":"sfsu","page_name":"DanielBernardi","display_name":"Daniel Bernardi","profile_url":"https://sfsu.academia.edu/DanielBernardi?f_ri=37443","photo":"https://0.academia-photos.com/3089055/1014956/1268917/s65_daniel.bernardi.jpg"}],"research_interests":[{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_35425713" data-work_id="35425713" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/35425713/A_City_of_Cinema_Perseveres_The_15th_Yamagata_International_Documentary_Film_Festival">A City of Cinema Perseveres: The 15th Yamagata International Documentary Film Festival</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35425713" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="c70f632ce8241c6ba8355ef0a736de2c" rel="nofollow" data-download="{"attachment_id":57521024,"asset_id":35425713,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/57521024/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="446684" href="https://ithaca.academia.edu/JoelNevilleAnderson">Joel Neville Anderson</a><script data-card-contents-for-user="446684" type="text/json">{"id":446684,"first_name":"Joel","last_name":"Neville Anderson","domain_name":"ithaca","page_name":"JoelNevilleAnderson","display_name":"Joel Neville Anderson","profile_url":"https://ithaca.academia.edu/JoelNevilleAnderson?f_ri=37443","photo":"https://0.academia-photos.com/446684/144626/67475333/s65_joel.neville_anderson.jpg"}</script></span></span></li><li class="js-paper-rank-work_35425713 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35425713"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35425713, container: ".js-paper-rank-work_35425713", }); });</script></li><li class="js-percentile-work_35425713 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 35425713; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container 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style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35425713"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="6434" href="https://www.academia.edu/Documents/in/Documentary_Cinema">Documentary Cinema</a>, <script data-card-contents-for-ri="6434" type="text/json">{"id":6434,"name":"Documentary Cinema","url":"https://www.academia.edu/Documents/in/Documentary_Cinema?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15977" href="https://www.academia.edu/Documents/in/East_Asian_Cinema">East Asian Cinema</a>, <script data-card-contents-for-ri="15977" type="text/json">{"id":15977,"name":"East Asian Cinema","url":"https://www.academia.edu/Documents/in/East_Asian_Cinema?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="15979" href="https://www.academia.edu/Documents/in/Economics_of_Film_Festivals">Economics of Film Festivals</a>, <script data-card-contents-for-ri="15979" type="text/json">{"id":15979,"name":"Economics of Film Festivals","url":"https://www.academia.edu/Documents/in/Economics_of_Film_Festivals?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="16487" href="https://www.academia.edu/Documents/in/Southeast_Asian_Cinema">Southeast Asian Cinema</a><script data-card-contents-for-ri="16487" type="text/json">{"id":16487,"name":"Southeast Asian Cinema","url":"https://www.academia.edu/Documents/in/Southeast_Asian_Cinema?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35425713]'), work: {"id":35425713,"title":"A City of Cinema Perseveres: The 15th Yamagata International Documentary Film 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u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Strategic Psychotherapy is a person centered approach based on the integration of different kind of techniques and has the aim to promote patients' well-being. Principal peculiarity of this approach is that the psychological strategies... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_39267445" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Strategic Psychotherapy is a person centered approach based on the integration of different kind of techniques and has the aim to promote patients' well-being. Principal peculiarity of this approach is that the psychological strategies used are comparable to a custom-made dresses. Among the arts therapies which use audiovisual language, we can find cinematherapy, filmtherapy, videotherapy and therapeutic filmmaking that allow the patient to create the film of his/her life, overcoming the resistances typical of traditional psychotherapy.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39267445" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f11da4b52db01753864ce86633f05b85" rel="nofollow" data-download="{"attachment_id":59402043,"asset_id":39267445,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59402043/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42541677" href="https://salerno.academia.edu/AnnaChiaraSabatino">Anna Chiara Sabatino</a><script data-card-contents-for-user="42541677" type="text/json">{"id":42541677,"first_name":"Anna Chiara","last_name":"Sabatino","domain_name":"salerno","page_name":"AnnaChiaraSabatino","display_name":"Anna Chiara Sabatino","profile_url":"https://salerno.academia.edu/AnnaChiaraSabatino?f_ri=37443","photo":"https://0.academia-photos.com/42541677/12668735/14092314/s65_anna_chiara.sabatino.jpg"}</script></span></span></li><li class="js-paper-rank-work_39267445 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="39267445"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 39267445, container: ".js-paper-rank-work_39267445", }); });</script></li><li class="js-percentile-work_39267445 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 39267445; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_39267445"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_39267445 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39267445"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39267445; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39267445]").text(description); $(".js-view-count-work_39267445").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39267445").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39267445"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">11</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2065" href="https://www.academia.edu/Documents/in/Research_Methodology">Research Methodology</a>, <script data-card-contents-for-ri="2065" type="text/json">{"id":2065,"name":"Research Methodology","url":"https://www.academia.edu/Documents/in/Research_Methodology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2311" href="https://www.academia.edu/Documents/in/Art_Therapy">Art Therapy</a>, <script data-card-contents-for-ri="2311" type="text/json">{"id":2311,"name":"Art Therapy","url":"https://www.academia.edu/Documents/in/Art_Therapy?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="5513" href="https://www.academia.edu/Documents/in/Narratology">Narratology</a><script data-card-contents-for-ri="5513" type="text/json">{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39267445]'), work: {"id":39267445,"title":"From cinematherapy to therapeutic filmmaking: audiovisual language and psychotherapy","created_at":"2019-05-26T16:09:44.371-07:00","url":"https://www.academia.edu/39267445/From_cinematherapy_to_therapeutic_filmmaking_audiovisual_language_and_psychotherapy?f_ri=37443","dom_id":"work_39267445","summary":"Strategic Psychotherapy is a person centered approach based on the integration of different kind of techniques and has the aim to promote patients' well-being. 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A mix of interviews, archival materials, and new footage, tracks the regime's quests to... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_30878183" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Narrated by Dominicans, DESPUÉS DE TRUJILLO tells the story of the violent dictatorship of Rafael Trujillo through the marks it left on the landscape. A mix of interviews, archival materials, and new footage, tracks the regime's quests to tame the nation, and surveys sites where past trauma lives on. <br /><br />Myriad voices—from historians and architects, to activists and torture victims—guide this journey through monuments, memory gardens, and contemporary ruins, moving from the cyclone that devastated Santo Domingo as Trujillo came to power through to the modern architecture erected to consolidate his rule, and the testimonies of resistance that led to his demise. <br /><br />Amid the remanents of dictatorship that live on after Trujillo, questions arise as to how Dominicans manage this violent legacy. Can the built environment and natural ecologies attest to the experience of dictatorship? Or, do they help it to be forgotten instead?</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/30878183" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="76625ebff3c2af7f74e2a2b8cadd9029" rel="nofollow" data-download="{"attachment_id":51304041,"asset_id":30878183,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/51304041/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1621084" href="https://essex.academia.edu/LisaBlackmore">Lisa Blackmore</a><script data-card-contents-for-user="1621084" type="text/json">{"id":1621084,"first_name":"Lisa","last_name":"Blackmore","domain_name":"essex","page_name":"LisaBlackmore","display_name":"Lisa Blackmore","profile_url":"https://essex.academia.edu/LisaBlackmore?f_ri=37443","photo":"https://0.academia-photos.com/1621084/565297/54572607/s65_lisa.blackmore.jpg"}</script></span></span><span class="u-displayInlineBlock InlineList-item-text"> and <span class="u-textDecorationUnderline u-clickable InlineList-item-text js-work-more-authors-30878183">+1</span><div class="hidden js-additional-users-30878183"><div><span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a href="https://independent.academia.edu/JorgeDubuc">Jorge Dubuc</a></span></div></div></span><script>(function(){ var popoverSettings = { el: $('.js-work-more-authors-30878183'), placement: 'bottom', hide_delay: 200, html: true, content: function(){ return $('.js-additional-users-30878183').html(); } } new HoverPopover(popoverSettings); })();</script></li><li class="js-paper-rank-work_30878183 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="30878183"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 30878183, container: ".js-paper-rank-work_30878183", }); });</script></li><li class="js-percentile-work_30878183 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 30878183; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_30878183"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_30878183 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="30878183"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 30878183; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=30878183]").text(description); $(".js-view-count-work_30878183").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_30878183").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="30878183"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">25</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="388" href="https://www.academia.edu/Documents/in/Latin_American_Studies">Latin American Studies</a>, <script data-card-contents-for-ri="388" type="text/json">{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1250" href="https://www.academia.edu/Documents/in/Latin_American_and_Caribbean_History">Latin American and Caribbean History</a>, <script data-card-contents-for-ri="1250" type="text/json">{"id":1250,"name":"Latin American and Caribbean History","url":"https://www.academia.edu/Documents/in/Latin_American_and_Caribbean_History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1372" href="https://www.academia.edu/Documents/in/Architecture">Architecture</a>, <script data-card-contents-for-ri="1372" type="text/json">{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2132" href="https://www.academia.edu/Documents/in/Cultural_Heritage">Cultural Heritage</a><script data-card-contents-for-ri="2132" type="text/json">{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=30878183]'), work: {"id":30878183,"title":"After Trujillo: a documentary on dictatorship, space, and memory","created_at":"2017-01-11T09:03:18.371-08:00","url":"https://www.academia.edu/30878183/After_Trujillo_a_documentary_on_dictatorship_space_and_memory?f_ri=37443","dom_id":"work_30878183","summary":"Narrated by Dominicans, DESPUÉS DE TRUJILLO tells the story of the violent dictatorship of Rafael Trujillo through the marks it left on the landscape. A mix of interviews, archival materials, and new footage, tracks the regime's quests to tame the nation, and surveys sites where past trauma lives on. \n\nMyriad voices—from historians and architects, to activists and torture victims—guide this journey through monuments, memory gardens, and contemporary ruins, moving from the cyclone that devastated Santo Domingo as Trujillo came to power through to the modern architecture erected to consolidate his rule, and the testimonies of resistance that led to his demise. \n\nAmid the remanents of dictatorship that live on after Trujillo, questions arise as to how Dominicans manage this violent legacy. Can the built environment and natural ecologies attest to the experience of dictatorship? Or, do they help it to be forgotten instead? \n","downloadable_attachments":[{"id":51304041,"asset_id":30878183,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1621084,"first_name":"Lisa","last_name":"Blackmore","domain_name":"essex","page_name":"LisaBlackmore","display_name":"Lisa Blackmore","profile_url":"https://essex.academia.edu/LisaBlackmore?f_ri=37443","photo":"https://0.academia-photos.com/1621084/565297/54572607/s65_lisa.blackmore.jpg"},{"id":57776865,"first_name":"Jorge","last_name":"Dubuc","domain_name":"independent","page_name":"JorgeDubuc","display_name":"Jorge Dubuc","profile_url":"https://independent.academia.edu/JorgeDubuc?f_ri=37443","photo":"https://0.academia-photos.com/57776865/15375407/16015265/s65_jorge.dubuc.jpg"}],"research_interests":[{"id":388,"name":"Latin American Studies","url":"https://www.academia.edu/Documents/in/Latin_American_Studies?f_ri=37443","nofollow":false},{"id":1250,"name":"Latin American and Caribbean History","url":"https://www.academia.edu/Documents/in/Latin_American_and_Caribbean_History?f_ri=37443","nofollow":false},{"id":1372,"name":"Architecture","url":"https://www.academia.edu/Documents/in/Architecture?f_ri=37443","nofollow":false},{"id":2132,"name":"Cultural Heritage","url":"https://www.academia.edu/Documents/in/Cultural_Heritage?f_ri=37443","nofollow":false},{"id":6519,"name":"Cultural Landscapes","url":"https://www.academia.edu/Documents/in/Cultural_Landscapes?f_ri=37443"},{"id":6735,"name":"Heritage Conservation","url":"https://www.academia.edu/Documents/in/Heritage_Conservation?f_ri=37443"},{"id":11452,"name":"Memory Studies","url":"https://www.academia.edu/Documents/in/Memory_Studies?f_ri=37443"},{"id":11483,"name":"Cultural Memory","url":"https://www.academia.edu/Documents/in/Cultural_Memory?f_ri=37443"},{"id":18102,"name":"Landscape Urbanism","url":"https://www.academia.edu/Documents/in/Landscape_Urbanism?f_ri=37443"},{"id":18639,"name":"Dictatorships","url":"https://www.academia.edu/Documents/in/Dictatorships?f_ri=37443"},{"id":19041,"name":"Dominican History","url":"https://www.academia.edu/Documents/in/Dominican_History?f_ri=37443"},{"id":22288,"name":"Architectural Heritage","url":"https://www.academia.edu/Documents/in/Architectural_Heritage?f_ri=37443"},{"id":22831,"name":"Landscape","url":"https://www.academia.edu/Documents/in/Landscape?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":30095,"name":"Cultural power and resistance","url":"https://www.academia.edu/Documents/in/Cultural_power_and_resistance?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":39829,"name":"Dominican Studies","url":"https://www.academia.edu/Documents/in/Dominican_Studies?f_ri=37443"},{"id":44962,"name":"Dominican Republic","url":"https://www.academia.edu/Documents/in/Dominican_Republic?f_ri=37443"},{"id":100721,"name":"Postdictatorship Literature and Criticism","url":"https://www.academia.edu/Documents/in/Postdictatorship_Literature_and_Criticism?f_ri=37443"},{"id":102041,"name":"Amnesia","url":"https://www.academia.edu/Documents/in/Amnesia?f_ri=37443"},{"id":126408,"name":"Political protest and resistance","url":"https://www.academia.edu/Documents/in/Political_protest_and_resistance?f_ri=37443"},{"id":174421,"name":"Literature on Rafael Trujillo","url":"https://www.academia.edu/Documents/in/Literature_on_Rafael_Trujillo?f_ri=37443"},{"id":191256,"name":"Republica Dominicana","url":"https://www.academia.edu/Documents/in/Republica_Dominicana?f_ri=37443"},{"id":512568,"name":"Trujillo","url":"https://www.academia.edu/Documents/in/Trujillo?f_ri=37443"},{"id":2582992,"name":"Hermanas Mirabal ","url":"https://www.academia.edu/Documents/in/Hermanas_Mirabal?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29301221" data-work_id="29301221" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29301221/Biography_as_of_October_2016_">Biography (as of October 2016)</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Recently featured on C-Span3 American History TV (<a href="http://www.c-span.org/video/?c4584023/keynote-address-asalh" rel="nofollow">http://www.c-span.org/video/?c4584023/keynote-address-asalh</a>), Karsonya (Kaye) Wise Whitehead is an associate professor of Communication and African and African American Studies at Loyola... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29301221" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Recently featured on C-Span3 American History TV (<a href="http://www.c-span.org/video/?c4584023/keynote-address-asalh" rel="nofollow">http://www.c-span.org/video/?c4584023/keynote-address-asalh</a>), Karsonya (Kaye) Wise Whitehead is an associate professor of Communication and African and African American Studies at Loyola University Maryland and the award-winning author of Notes from a Colored Girl: The Civil War Pocket Diaries of Emilie Frances Davis; a Featured Guest Commentator for WYPR and the Baltimore Sun; a K-12 master teacher in African American History; an award-winning curriculum writer and lesson plan developer; an award-winning former Baltimore City middle school teacher; and, a three-time New York Emmy-nominated documentary filmmaker.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29301221" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="60867a0570a621877bff94bdd5986b4e" rel="nofollow" data-download="{"attachment_id":49742748,"asset_id":29301221,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49742748/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="539095" href="https://loyola.academia.edu/KayeWiseWhitehead">Karsonya (Kaye) Wise Whitehead</a><script data-card-contents-for-user="539095" type="text/json">{"id":539095,"first_name":"Karsonya (Kaye)","last_name":"Wise Whitehead","domain_name":"loyola","page_name":"KayeWiseWhitehead","display_name":"Karsonya (Kaye) Wise Whitehead","profile_url":"https://loyola.academia.edu/KayeWiseWhitehead?f_ri=37443","photo":"https://0.academia-photos.com/539095/193248/13816019/s65_karsonya_kaye_.wise_whitehead.jpg"}</script></span></span></li><li class="js-paper-rank-work_29301221 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29301221"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29301221, container: ".js-paper-rank-work_29301221", }); });</script></li><li class="js-percentile-work_29301221 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 29301221; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_29301221"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_29301221 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="29301221"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 29301221; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=29301221]").text(description); $(".js-view-count-work_29301221").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29301221").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29301221"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1" href="https://www.academia.edu/Documents/in/Creative_Writing">Creative Writing</a>, <script data-card-contents-for-ri="1" type="text/json">{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="128" href="https://www.academia.edu/Documents/in/History">History</a>, <script data-card-contents-for-ri="128" type="text/json">{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="296" href="https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies">Black Studies Or African American Studies</a>, <script data-card-contents-for-ri="296" type="text/json">{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="922" href="https://www.academia.edu/Documents/in/Education">Education</a><script data-card-contents-for-ri="922" type="text/json">{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29301221]'), work: {"id":29301221,"title":"Biography (as of October 2016)","created_at":"2016-10-20T08:09:34.901-07:00","url":"https://www.academia.edu/29301221/Biography_as_of_October_2016_?f_ri=37443","dom_id":"work_29301221","summary":"Recently featured on C-Span3 American History TV (http://www.c-span.org/video/?c4584023/keynote-address-asalh), Karsonya (Kaye) Wise Whitehead is an associate professor of Communication and African and African American Studies at Loyola University Maryland and the award-winning author of Notes from a Colored Girl: The Civil War Pocket Diaries of Emilie Frances Davis; a Featured Guest Commentator for WYPR and the Baltimore Sun; a K-12 master teacher in African American History; an award-winning curriculum writer and lesson plan developer; an award-winning former Baltimore City middle school teacher; and, a three-time New York Emmy-nominated documentary filmmaker. ","downloadable_attachments":[{"id":49742748,"asset_id":29301221,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":539095,"first_name":"Karsonya (Kaye)","last_name":"Wise Whitehead","domain_name":"loyola","page_name":"KayeWiseWhitehead","display_name":"Karsonya (Kaye) Wise Whitehead","profile_url":"https://loyola.academia.edu/KayeWiseWhitehead?f_ri=37443","photo":"https://0.academia-photos.com/539095/193248/13816019/s65_karsonya_kaye_.wise_whitehead.jpg"}],"research_interests":[{"id":1,"name":"Creative Writing","url":"https://www.academia.edu/Documents/in/Creative_Writing?f_ri=37443","nofollow":false},{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History?f_ri=37443","nofollow":false},{"id":296,"name":"Black Studies Or African American Studies","url":"https://www.academia.edu/Documents/in/Black_Studies_Or_African_American_Studies?f_ri=37443","nofollow":false},{"id":922,"name":"Education","url":"https://www.academia.edu/Documents/in/Education?f_ri=37443","nofollow":false},{"id":1601,"name":"Teacher Education","url":"https://www.academia.edu/Documents/in/Teacher_Education?f_ri=37443"},{"id":6498,"name":"Radio","url":"https://www.academia.edu/Documents/in/Radio?f_ri=37443"},{"id":25064,"name":"Black Feminist Theory/Thought","url":"https://www.academia.edu/Documents/in/Black_Feminist_Theory_Thought?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":96097,"name":"Motherhood","url":"https://www.academia.edu/Documents/in/Motherhood?f_ri=37443"},{"id":1819395,"name":"#blacklivesmatter","url":"https://www.academia.edu/Documents/in/_blacklivesmatter?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_10595071" data-work_id="10595071" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/10595071/Sc%C3%A9nario_et_Documentaire_Une_relation_paradoxale">Scénario et Documentaire: Une relation paradoxale</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Nous explorons dans ce travail académique la relation paradoxale qui existe entre scénario et documentaire. Si le documentaire est la "saisie du réel" et le scénario se défini comme une structure préexistante pour un tournage, comment ces... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_10595071" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Nous explorons dans ce travail académique la relation paradoxale qui existe entre scénario et documentaire. Si le documentaire est la "saisie du réel" et le scénario se défini comme une structure préexistante pour un tournage, comment ces deux termes se conjuguent-ils? <br />Nous utiliserons des objets d'analyse issus de la narratologie, en même temps que des concepts de théorisation du documentaire proposés par des auteurs tels que Jean-Luc Lioult ou Michael Renov, Bill Nichols et Paul Ward, qui ont défini plusieurs "modes" à travers lesquels se manifeste cette forme filmique. Ces modes documentaires ont en effet un rapport différent et précis avec le scénario, qui peut emprunter alors différentes formes et modes d'emploi.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/10595071" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="d3a6a689b8c8ad26ce7b4e9d6c104dd6" rel="nofollow" data-download="{"attachment_id":36551479,"asset_id":10595071,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/36551479/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12088745" href="https://unil.academia.edu/RodolfoGarc%C3%ADa">Rodolfo García</a><script data-card-contents-for-user="12088745" type="text/json">{"id":12088745,"first_name":"Rodolfo","last_name":"García","domain_name":"unil","page_name":"RodolfoGarcía","display_name":"Rodolfo García","profile_url":"https://unil.academia.edu/RodolfoGarc%C3%ADa?f_ri=37443","photo":"https://0.academia-photos.com/12088745/3470539/11618309/s65_rodolfo.garc_a.jpg"}</script></span></span></li><li class="js-paper-rank-work_10595071 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="10595071"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 10595071, container: ".js-paper-rank-work_10595071", }); 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$(".js-view-count[data-work-id=10595071]").text(description); $(".js-view-count-work_10595071").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_10595071").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="10595071"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">10</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="4334" href="https://www.academia.edu/Documents/in/Scriptwriting">Scriptwriting</a><script data-card-contents-for-ri="4334" type="text/json">{"id":4334,"name":"Scriptwriting","url":"https://www.academia.edu/Documents/in/Scriptwriting?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=10595071]'), work: {"id":10595071,"title":"Scénario et Documentaire: Une relation paradoxale","created_at":"2015-02-07T04:26:40.053-08:00","url":"https://www.academia.edu/10595071/Sc%C3%A9nario_et_Documentaire_Une_relation_paradoxale?f_ri=37443","dom_id":"work_10595071","summary":"Nous explorons dans ce travail académique la relation paradoxale qui existe entre scénario et documentaire. Si le documentaire est la \"saisie du réel\" et le scénario se défini comme une structure préexistante pour un tournage, comment ces deux termes se conjuguent-ils? \r\nNous utiliserons des objets d'analyse issus de la narratologie, en même temps que des concepts de théorisation du documentaire proposés par des auteurs tels que Jean-Luc Lioult ou Michael Renov, Bill Nichols et Paul Ward, qui ont défini plusieurs \"modes\" à travers lesquels se manifeste cette forme filmique. Ces modes documentaires ont en effet un rapport différent et précis avec le scénario, qui peut emprunter alors différentes formes et modes d'emploi. ","downloadable_attachments":[{"id":36551479,"asset_id":10595071,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12088745,"first_name":"Rodolfo","last_name":"García","domain_name":"unil","page_name":"RodolfoGarcía","display_name":"Rodolfo García","profile_url":"https://unil.academia.edu/RodolfoGarc%C3%ADa?f_ri=37443","photo":"https://0.academia-photos.com/12088745/3470539/11618309/s65_rodolfo.garc_a.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":4334,"name":"Scriptwriting","url":"https://www.academia.edu/Documents/in/Scriptwriting?f_ri=37443","nofollow":false},{"id":5513,"name":"Narratology","url":"https://www.academia.edu/Documents/in/Narratology?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":24172,"name":"Theory of Documentary","url":"https://www.academia.edu/Documents/in/Theory_of_Documentary?f_ri=37443"},{"id":32983,"name":"Experimental Film","url":"https://www.academia.edu/Documents/in/Experimental_Film?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_52898748" data-work_id="52898748" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/52898748/Filmmaking_terapeutico_e_Disturbo_dello_Spettro_Autistico_Un_caso_studio_i">Filmmaking terapeutico e Disturbo dello Spettro Autistico. Un caso studio i</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Il filmmaking terapeutico è uno strumento che può essere utilizzato in ambito educativo e terapeutico per implementare e sviluppare le abilità sociali e relazionali di bambini e adolescenti con Disturbo dello Spettro Autistico (ASD).... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_52898748" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Il filmmaking terapeutico è uno strumento che può essere utilizzato in ambito educativo e terapeutico per implementare e sviluppare le abilità sociali e relazionali di bambini e adolescenti con Disturbo dello Spettro Autistico (ASD). Recenti ricerche illustrano l'efficacia degli strumenti audiovisivi e delle arti terapie nella gestione dei comportamenti disfunzionali di questa categoria di persone, soprattutto se coinvolgono coetanei. Il caso discusso in questo articolo è parte di un progetto sperimentale che ha l'obiettivo di promuovere l'uso degli strumenti audiovisivi nel supporto di minori con ASD. Nello specifico sarà illustrato l'utilizzo del filmmaking terapeutico in una coppia di adolescenti con ASD e i principali cambiamenti comportamentali che hanno caratterizzato il loro percorso, con l'obiettivo di promuovere nuove modalità d'intervento non unicamente basate sulla modifica di comportamenti disfunzionali ma che valorizzino lo sviluppo identitario e i punti di forza del minore con ASD, attraverso la creatività e la relazione con i pari.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/52898748" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6c76f29523ba392ff2b04674e05ef5e4" rel="nofollow" data-download="{"attachment_id":69938516,"asset_id":52898748,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/69938516/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42541677" href="https://salerno.academia.edu/AnnaChiaraSabatino">Anna Chiara Sabatino</a><script data-card-contents-for-user="42541677" type="text/json">{"id":42541677,"first_name":"Anna Chiara","last_name":"Sabatino","domain_name":"salerno","page_name":"AnnaChiaraSabatino","display_name":"Anna Chiara Sabatino","profile_url":"https://salerno.academia.edu/AnnaChiaraSabatino?f_ri=37443","photo":"https://0.academia-photos.com/42541677/12668735/14092314/s65_anna_chiara.sabatino.jpg"}</script></span></span></li><li class="js-paper-rank-work_52898748 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="52898748"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 52898748, container: ".js-paper-rank-work_52898748", }); 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$(".js-view-count[data-work-id=52898748]").text(description); $(".js-view-count-work_52898748").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_52898748").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="52898748"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="2131" href="https://www.academia.edu/Documents/in/Participatory_Media">Participatory Media</a>, <script data-card-contents-for-ri="2131" type="text/json">{"id":2131,"name":"Participatory Media","url":"https://www.academia.edu/Documents/in/Participatory_Media?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="42298" href="https://www.academia.edu/Documents/in/Film_and_Media_Studies">Film and Media Studies</a>, <script data-card-contents-for-ri="42298" type="text/json">{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="80099" href="https://www.academia.edu/Documents/in/Dispositive">Dispositive</a><script data-card-contents-for-ri="80099" type="text/json">{"id":80099,"name":"Dispositive","url":"https://www.academia.edu/Documents/in/Dispositive?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=52898748]'), work: {"id":52898748,"title":"Filmmaking terapeutico e Disturbo dello Spettro Autistico. Un caso studio i","created_at":"2021-09-19T15:18:19.768-07:00","url":"https://www.academia.edu/52898748/Filmmaking_terapeutico_e_Disturbo_dello_Spettro_Autistico_Un_caso_studio_i?f_ri=37443","dom_id":"work_52898748","summary":"Il filmmaking terapeutico è uno strumento che può essere utilizzato in ambito educativo e terapeutico per implementare e sviluppare le abilità sociali e relazionali di bambini e adolescenti con Disturbo dello Spettro Autistico (ASD). Recenti ricerche illustrano l'efficacia degli strumenti audiovisivi e delle arti terapie nella gestione dei comportamenti disfunzionali di questa categoria di persone, soprattutto se coinvolgono coetanei. Il caso discusso in questo articolo è parte di un progetto sperimentale che ha l'obiettivo di promuovere l'uso degli strumenti audiovisivi nel supporto di minori con ASD. Nello specifico sarà illustrato l'utilizzo del filmmaking terapeutico in una coppia di adolescenti con ASD e i principali cambiamenti comportamentali che hanno caratterizzato il loro percorso, con l'obiettivo di promuovere nuove modalità d'intervento non unicamente basate sulla modifica di comportamenti disfunzionali ma che valorizzino lo sviluppo identitario e i punti di forza del minore con ASD, attraverso la creatività e la relazione con i pari.","downloadable_attachments":[{"id":69938516,"asset_id":52898748,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":42541677,"first_name":"Anna Chiara","last_name":"Sabatino","domain_name":"salerno","page_name":"AnnaChiaraSabatino","display_name":"Anna Chiara Sabatino","profile_url":"https://salerno.academia.edu/AnnaChiaraSabatino?f_ri=37443","photo":"https://0.academia-photos.com/42541677/12668735/14092314/s65_anna_chiara.sabatino.jpg"}],"research_interests":[{"id":2131,"name":"Participatory Media","url":"https://www.academia.edu/Documents/in/Participatory_Media?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=37443","nofollow":false},{"id":80099,"name":"Dispositive","url":"https://www.academia.edu/Documents/in/Dispositive?f_ri=37443","nofollow":false},{"id":450175,"name":"Self Representation","url":"https://www.academia.edu/Documents/in/Self_Representation?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_7050140" data-work_id="7050140" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/7050140/Documentary_Production_Course_Module">Documentary Production Course Module </a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/7050140" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f6b573b99b29e9072b4bdfc1ae5dd2ef" rel="nofollow" data-download="{"attachment_id":33703562,"asset_id":7050140,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/33703562/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="687468" href="https://aimcbangladesh.academia.edu/RazibulHossain">Razibul Hossain</a><script data-card-contents-for-user="687468" type="text/json">{"id":687468,"first_name":"Razibul","last_name":"Hossain","domain_name":"aimcbangladesh","page_name":"RazibulHossain","display_name":"Razibul Hossain","profile_url":"https://aimcbangladesh.academia.edu/RazibulHossain?f_ri=37443","photo":"https://0.academia-photos.com/687468/237614/35678577/s65_razibul.hossain.jpg"}</script></span></span></li><li class="js-paper-rank-work_7050140 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="7050140"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 7050140, container: ".js-paper-rank-work_7050140", }); 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The review is posted on-line at... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_35647129" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">I've posted this Amazon review because it pertains to post-traumatic "personal myths," which have much in common the post-traumatic religious myths that are the focus of my work. The review is posted on-line at <a href="https://www.amazon.com/gp/customer-reviews/R3FYZ1O8Q28KGT" rel="nofollow">https://www.amazon.com/gp/customer-reviews/R3FYZ1O8Q28KGT</a></div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/35647129" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="9bd31fd86921dabbf6ebe7bf61e9afbe" rel="nofollow" data-download="{"attachment_id":55545673,"asset_id":35647129,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/55545673/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="776359" href="https://independent.academia.edu/BAbelow">Benjamin Abelow</a><script data-card-contents-for-user="776359" type="text/json">{"id":776359,"first_name":"Benjamin","last_name":"Abelow","domain_name":"independent","page_name":"BAbelow","display_name":"Benjamin Abelow","profile_url":"https://independent.academia.edu/BAbelow?f_ri=37443","photo":"https://0.academia-photos.com/776359/262470/18374612/s65_benjamin.abelow.jpg"}</script></span></span></li><li class="js-paper-rank-work_35647129 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="35647129"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 35647129, container: ".js-paper-rank-work_35647129", }); 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$(".js-view-count[data-work-id=35647129]").text(description); $(".js-view-count-work_35647129").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_35647129").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="35647129"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">18</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="123" href="https://www.academia.edu/Documents/in/Mythology_And_Folklore">Mythology And Folklore</a>, <script data-card-contents-for-ri="123" type="text/json">{"id":123,"name":"Mythology And Folklore","url":"https://www.academia.edu/Documents/in/Mythology_And_Folklore?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="244" href="https://www.academia.edu/Documents/in/Psychoanalysis">Psychoanalysis</a>, <script data-card-contents-for-ri="244" type="text/json">{"id":244,"name":"Psychoanalysis","url":"https://www.academia.edu/Documents/in/Psychoanalysis?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="788" href="https://www.academia.edu/Documents/in/Mythology">Mythology</a>, <script data-card-contents-for-ri="788" type="text/json">{"id":788,"name":"Mythology","url":"https://www.academia.edu/Documents/in/Mythology?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a><script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=35647129]'), work: {"id":35647129,"title":"Jerry Garcia's Trauma and Tragedy: A Psychological Review of Long Strange Trip.","created_at":"2018-01-11T23:03:29.338-08:00","url":"https://www.academia.edu/35647129/Jerry_Garcias_Trauma_and_Tragedy_A_Psychological_Review_of_Long_Strange_Trip?f_ri=37443","dom_id":"work_35647129","summary":"I've posted this Amazon review because it pertains to post-traumatic \"personal myths,\" which have much in common the post-traumatic religious myths that are the focus of my work. 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ULUSLARARASI SANAT SEMPOZYUMU 2 nd International Art Symposium</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/24898752" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="6531bbd5ce979deb787fc0980b0b174f" rel="nofollow" data-download="{"attachment_id":45220741,"asset_id":24898752,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/45220741/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="9320200" href="https://odu-tr.academia.edu/sermintag">Şermin Tağ Kalafatoğlu</a><script data-card-contents-for-user="9320200" type="text/json">{"id":9320200,"first_name":"Şermin","last_name":"Tağ Kalafatoğlu","domain_name":"odu-tr","page_name":"sermintag","display_name":"Şermin Tağ Kalafatoğlu","profile_url":"https://odu-tr.academia.edu/sermintag?f_ri=37443","photo":"https://0.academia-photos.com/9320200/3128403/95418604/s65__ermin.ta_kalafato_lu.jpeg"}</script></span></span></li><li class="js-paper-rank-work_24898752 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="24898752"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 24898752, container: ".js-paper-rank-work_24898752", }); 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$(".js-view-count[data-work-id=24898752]").text(description); $(".js-view-count-work_24898752").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_24898752").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="24898752"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">8</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="44811" href="https://www.academia.edu/Documents/in/Documentary">Documentary</a><script data-card-contents-for-ri="44811" type="text/json">{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=24898752]'), work: {"id":24898752,"title":"Belgesel Sinemada Etik Tartışmaları","created_at":"2016-04-30T02:00:57.326-07:00","url":"https://www.academia.edu/24898752/Belgesel_Sinemada_Etik_Tart%C4%B1%C5%9Fmalar%C4%B1?f_ri=37443","dom_id":"work_24898752","summary":"P r o c e e d in g s B o o k V o lu m e 1 2 n d I n t e r n a t i o n a l A r t S y m p o s i u m GAZİ ÜNİVERSİTESİ SANAT ve TASARIM FAKÜLTESİ 2. ULUSLARARASI SANAT SEMPOZYUMU 2 nd International Art Symposium","downloadable_attachments":[{"id":45220741,"asset_id":24898752,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":9320200,"first_name":"Şermin","last_name":"Tağ Kalafatoğlu","domain_name":"odu-tr","page_name":"sermintag","display_name":"Şermin Tağ Kalafatoğlu","profile_url":"https://odu-tr.academia.edu/sermintag?f_ri=37443","photo":"https://0.academia-photos.com/9320200/3128403/95418604/s65__ermin.ta_kalafato_lu.jpeg"}],"research_interests":[{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary 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class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/39095386" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7048a3341f5fb499d3e33e91b1542d45" rel="nofollow" data-download="{"attachment_id":59213480,"asset_id":39095386,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/59213480/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="4479903" href="https://sussex.academia.edu/mediaandfilmpeoplelistperson236827">Alisa Lebow</a><script data-card-contents-for-user="4479903" type="text/json">{"id":4479903,"first_name":"Alisa","last_name":"Lebow","domain_name":"sussex","page_name":"mediaandfilmpeoplelistperson236827","display_name":"Alisa Lebow","profile_url":"https://sussex.academia.edu/mediaandfilmpeoplelistperson236827?f_ri=37443","photo":"https://0.academia-photos.com/4479903/31347270/28814486/s65_alisa.lebow.jpg"}</script></span></span></li><li class="js-paper-rank-work_39095386 InlineList-item InlineList-item--bordered hidden"><span 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class="js-view-count-work_39095386 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="39095386"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 39095386; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=39095386]").text(description); $(".js-view-count-work_39095386").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_39095386").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="39095386"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a>, <script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6492" href="https://www.academia.edu/Documents/in/Storytelling">Storytelling</a>, <script data-card-contents-for-ri="6492" type="text/json">{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="8247" href="https://www.academia.edu/Documents/in/Interactive_Digital_Storytelling">Interactive Digital Storytelling</a>, <script data-card-contents-for-ri="8247" type="text/json">{"id":8247,"name":"Interactive Digital Storytelling","url":"https://www.academia.edu/Documents/in/Interactive_Digital_Storytelling?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22412" href="https://www.academia.edu/Documents/in/Digital_Storytelling">Digital Storytelling</a><script data-card-contents-for-ri="22412" type="text/json">{"id":22412,"name":"Digital Storytelling","url":"https://www.academia.edu/Documents/in/Digital_Storytelling?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=39095386]'), work: {"id":39095386,"title":"Beyond Story: An online, community-based manifesto","created_at":"2019-05-11T08:14:14.724-07:00","url":"https://www.academia.edu/39095386/Beyond_Story_An_online_community_based_manifesto?f_ri=37443","dom_id":"work_39095386","summary":"Read and contribute your thoughts to this online community-based manifesto challenging the hegemony of story in contemporary documentary.\n\nhttps://vols.worldrecordsjournal.org/02/03","downloadable_attachments":[{"id":59213480,"asset_id":39095386,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":4479903,"first_name":"Alisa","last_name":"Lebow","domain_name":"sussex","page_name":"mediaandfilmpeoplelistperson236827","display_name":"Alisa Lebow","profile_url":"https://sussex.academia.edu/mediaandfilmpeoplelistperson236827?f_ri=37443","photo":"https://0.academia-photos.com/4479903/31347270/28814486/s65_alisa.lebow.jpg"}],"research_interests":[{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":6492,"name":"Storytelling","url":"https://www.academia.edu/Documents/in/Storytelling?f_ri=37443","nofollow":false},{"id":8247,"name":"Interactive Digital 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u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_6621475" data-work_id="6621475" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/6621475/A_poetic_approach_to_documentary_discomfort_of_form_rhetorical_strategies_and_aesthetic_experience">A poetic approach to documentary: discomfort of form, rhetorical strategies and aesthetic experience</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_6621475" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality. Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality. Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge. Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/6621475" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="f25522b8d9ce69c604378a1a86a23e3b" rel="nofollow" data-download="{"attachment_id":37228586,"asset_id":6621475,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/37228586/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1814379" href="https://uts.academia.edu/BettinaFrankham">Bettina Frankham</a><script data-card-contents-for-user="1814379" type="text/json">{"id":1814379,"first_name":"Bettina","last_name":"Frankham","domain_name":"uts","page_name":"BettinaFrankham","display_name":"Bettina Frankham","profile_url":"https://uts.academia.edu/BettinaFrankham?f_ri=37443","photo":"/images/s65_no_pic.png"}</script></span></span></li><li class="js-paper-rank-work_6621475 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="6621475"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 6621475, container: ".js-paper-rank-work_6621475", }); 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$(".js-view-count[data-work-id=6621475]").text(description); $(".js-view-count-work_6621475").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_6621475").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="6621475"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">9</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="953" href="https://www.academia.edu/Documents/in/Rhetoric">Rhetoric</a>, <script data-card-contents-for-ri="953" type="text/json">{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="22534" href="https://www.academia.edu/Documents/in/Practice-Based_Research">Practice-Based Research</a>, <script data-card-contents-for-ri="22534" type="text/json">{"id":22534,"name":"Practice-Based Research","url":"https://www.academia.edu/Documents/in/Practice-Based_Research?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a><script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=6621475]'), work: {"id":6621475,"title":"A poetic approach to documentary: discomfort of form, rhetorical strategies and aesthetic experience","created_at":"2014-04-01T16:28:09.714-07:00","url":"https://www.academia.edu/6621475/A_poetic_approach_to_documentary_discomfort_of_form_rhetorical_strategies_and_aesthetic_experience?f_ri=37443","dom_id":"work_6621475","summary":"Working in the borderlands between art and document, a poetic approach to documentary disrupts commonsense understandings of what documentary can be. However, it is frequently viewed as marginal to the main body of documentary practice for its foregrounding of aesthetic choices around form and materiality. Pushing to the extremes of what is recognisable as documentary, a poetic approach to documentary highlights the rhetorical impact of aesthetic choices within the broader field of practice. Experiential ways of knowing are emphasised so that the work is conceived of as an experience in itself rather than a replication of reality. Moving beyond realist representations of evidence, a poetic approach can make use of techniques of defamiliarisation as a strategy to renew perception and enable a reimagining of preconceived connections. In diverging from established pathways unexpected combinations can occur, allowing complex and changeful conceptions to emerge. Utilising a methodology of practice based research to produce a 28 minute single channel documentary and the close examination of pertinent creative works, this thesis argues that a critically engaged poetic approach to documentary can work to encourage thoughtful contemplation as part of an ongoing conversation in the process of knowing.","downloadable_attachments":[{"id":37228586,"asset_id":6621475,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1814379,"first_name":"Bettina","last_name":"Frankham","domain_name":"uts","page_name":"BettinaFrankham","display_name":"Bettina Frankham","profile_url":"https://uts.academia.edu/BettinaFrankham?f_ri=37443","photo":"/images/s65_no_pic.png"}],"research_interests":[{"id":953,"name":"Rhetoric","url":"https://www.academia.edu/Documents/in/Rhetoric?f_ri=37443","nofollow":false},{"id":22534,"name":"Practice-Based Research","url":"https://www.academia.edu/Documents/in/Practice-Based_Research?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":91963,"name":"Aesthetic Experience","url":"https://www.academia.edu/Documents/in/Aesthetic_Experience?f_ri=37443"},{"id":141244,"name":"Creative Practice","url":"https://www.academia.edu/Documents/in/Creative_Practice?f_ri=37443"},{"id":275168,"name":"Practice-led research in creative arts","url":"https://www.academia.edu/Documents/in/Practice-led_research_in_creative_arts?f_ri=37443"},{"id":463425,"name":"Documentary Poetics","url":"https://www.academia.edu/Documents/in/Documentary_Poetics?f_ri=37443"},{"id":1035809,"name":"Screen Aesthetics and Formal Analysis","url":"https://www.academia.edu/Documents/in/Screen_Aesthetics_and_Formal_Analysis?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_4073370" data-work_id="4073370" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/4073370/New_Forms_of_Documentary_Filmmaking_within_New_Media">New Forms of Documentary-Filmmaking within New Media</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">New technologies have always been a great potential for artists, who are seeking “new forms” in art. Today, so called “new media” has a great potential for filmmakers, especially for “non-fiction storytellers,” i.e. documentary... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_4073370" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">New technologies have always been a great potential for artists, who are seeking “new forms” in art. Today, so called “new media” has a great potential for filmmakers, especially for “non-fiction storytellers,” i.e. documentary filmmakers. <br />With the development of new media, new documentary forms emerged on the Internet. These new forms are labeled such as webdocumentary (web-doc), interactive documentary, database-filmmaking, transmedia, non- linear documentary, etc. All of these new documentary forms are done by utilizing not only the computational and telecommunication capacities of the Internet through softwares and apps (applications), but the prevailing use of the Internet as one of the major medium of daily life as well. Today, more and more people are watching and following new forms of documentary on the Internet (especially young generations, who are born into new media). <br />New media documentary, with its distinct features, not only enforce documentary filmmakers to think, imagine, design, and develop documentary projects within new forms, but also enable them to make documentary in different ways. In short, it offers new forms of representation and production for documentary filmmakers. <br />In this paper, I will discuss the distinct features of new media documentary such as its openness to non-linearity in storytelling and interactivity in experience (watching and navigating in a web site); its capacity of a wider distribution; its potential for a more collaborative production. I will elaborate these features in a critical approach to understand what is really ‘new’ in new media documentary.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/4073370" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="7c4587f0ae432ced66f27e7e302d49cb" rel="nofollow" data-download="{"attachment_id":35007779,"asset_id":4073370,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/35007779/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="278216" href="https://tedu.academia.edu/ErsanOcak">Ersan Ocak</a><script data-card-contents-for-user="278216" type="text/json">{"id":278216,"first_name":"Ersan","last_name":"Ocak","domain_name":"tedu","page_name":"ErsanOcak","display_name":"Ersan Ocak","profile_url":"https://tedu.academia.edu/ErsanOcak?f_ri=37443","photo":"https://0.academia-photos.com/278216/57281/3604552/s65_ersan.ocak.jpg"}</script></span></span></li><li class="js-paper-rank-work_4073370 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="4073370"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 4073370, container: ".js-paper-rank-work_4073370", }); });</script></li><li class="js-percentile-work_4073370 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 4073370; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_4073370"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_4073370 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="4073370"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 4073370; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=4073370]").text(description); $(".js-view-count-work_4073370").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_4073370").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="4073370"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">19</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="933" href="https://www.academia.edu/Documents/in/New_Media">New Media</a>, <script data-card-contents-for-ri="933" type="text/json">{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1197" href="https://www.academia.edu/Documents/in/Digital_Humanities">Digital Humanities</a>, <script data-card-contents-for-ri="1197" type="text/json">{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2869" href="https://www.academia.edu/Documents/in/Digital_Media">Digital Media</a><script data-card-contents-for-ri="2869" type="text/json">{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=4073370]'), work: {"id":4073370,"title":"New Forms of Documentary-Filmmaking within New Media","created_at":"2013-07-21T02:27:25.949-07:00","url":"https://www.academia.edu/4073370/New_Forms_of_Documentary_Filmmaking_within_New_Media?f_ri=37443","dom_id":"work_4073370","summary":"New technologies have always been a great potential for artists, who are seeking “new forms” in art. Today, so called “new media” has a great potential for filmmakers, especially for “non-fiction storytellers,” i.e. documentary filmmakers.\r\nWith the development of new media, new documentary forms emerged on the Internet. These new forms are labeled such as webdocumentary (web-doc), interactive documentary, database-filmmaking, transmedia, non- linear documentary, etc. All of these new documentary forms are done by utilizing not only the computational and telecommunication capacities of the Internet through softwares and apps (applications), but the prevailing use of the Internet as one of the major medium of daily life as well. Today, more and more people are watching and following new forms of documentary on the Internet (especially young generations, who are born into new media).\r\nNew media documentary, with its distinct features, not only enforce documentary filmmakers to think, imagine, design, and develop documentary projects within new forms, but also enable them to make documentary in different ways. In short, it offers new forms of representation and production for documentary filmmakers.\r\nIn this paper, I will discuss the distinct features of new media documentary such as its openness to non-linearity in storytelling and interactivity in experience (watching and navigating in a web site); its capacity of a wider distribution; its potential for a more collaborative production. I will elaborate these features in a critical approach to understand what is really ‘new’ in new media documentary.","downloadable_attachments":[{"id":35007779,"asset_id":4073370,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":278216,"first_name":"Ersan","last_name":"Ocak","domain_name":"tedu","page_name":"ErsanOcak","display_name":"Ersan Ocak","profile_url":"https://tedu.academia.edu/ErsanOcak?f_ri=37443","photo":"https://0.academia-photos.com/278216/57281/3604552/s65_ersan.ocak.jpg"}],"research_interests":[{"id":933,"name":"New Media","url":"https://www.academia.edu/Documents/in/New_Media?f_ri=37443","nofollow":false},{"id":1197,"name":"Digital Humanities","url":"https://www.academia.edu/Documents/in/Digital_Humanities?f_ri=37443","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":2869,"name":"Digital Media","url":"https://www.academia.edu/Documents/in/Digital_Media?f_ri=37443","nofollow":false},{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality?f_ri=37443"},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443"},{"id":14070,"name":"Transmedial Storytelling","url":"https://www.academia.edu/Documents/in/Transmedial_Storytelling?f_ri=37443"},{"id":14561,"name":"Intermediality In Cinema","url":"https://www.academia.edu/Documents/in/Intermediality_In_Cinema?f_ri=37443"},{"id":19258,"name":"Cinema","url":"https://www.academia.edu/Documents/in/Cinema?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":27903,"name":"Affect (Cultural Theory)","url":"https://www.academia.edu/Documents/in/Affect_Cultural_Theory_?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":41667,"name":"Transmedia Storytelling","url":"https://www.academia.edu/Documents/in/Transmedia_Storytelling?f_ri=37443"},{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=37443"},{"id":63004,"name":"Interactive Documentary","url":"https://www.academia.edu/Documents/in/Interactive_Documentary?f_ri=37443"},{"id":126976,"name":"i-Docs, social activism, interactive documentaries","url":"https://www.academia.edu/Documents/in/i-Docs_social_activism_interactive_documentaries?f_ri=37443"},{"id":517861,"name":"Database Aesthetics","url":"https://www.academia.edu/Documents/in/Database_Aesthetics?f_ri=37443"},{"id":973422,"name":"I docs","url":"https://www.academia.edu/Documents/in/I_docs?f_ri=37443"},{"id":1591935,"name":"New Media Documentary","url":"https://www.academia.edu/Documents/in/New_Media_Documentary?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_42135571" data-work_id="42135571" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/42135571/Script_as_a_hypothesis_Scriptwriting_for_documentary_film">'Script as a hypothesis: Scriptwriting for documentary film'</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Writing the script for a documentary film can be problematic. According to some documentary filmmakers, it is not possible at all, because one cannot know beforehand what is going to happen. On the other hand, some attempt to produce a... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_42135571" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Writing the script for a documentary film can be problematic. According to some documentary filmmakers, it is not possible at all, because one cannot know beforehand what is going to happen. On the other hand, some attempt to produce a written script is often required to obtain financing for a documentary project. This article deals with different work practices and forms of documentary script. It analyses two case studies: the writer’s own films A Man from the Congo River (2010) and Kusum (2000). The first is the story of an engineer who worked in colonial Congo at the beginning of the twentieth century. It is based on diaries and other historical material, and therefore it was possible to construct a very precise script for the film. Kusum is an observational documentary film following the healing of a young Indian girl. The script was produced prior to production, but during the shooting process many core elements changed, including the main character and storyline. The form and dramaturgy of documentary films are created in the filmmaking process and in dialogue between the film-maker and real people. A documentary script can be considered a hypothesis about the reality that the film-maker will encounter via the process of filmmaking. Instead of ‘a screen idea’ we could speak about ‘a documentary idea’.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/42135571" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a9cbf663e7cde806016814dd7ec78108" rel="nofollow" data-download="{"attachment_id":62272020,"asset_id":42135571,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/62272020/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1810424" href="https://aalto-fi.academia.edu/JoukoAaltonen">Jouko Aaltonen</a><script data-card-contents-for-user="1810424" type="text/json">{"id":1810424,"first_name":"Jouko","last_name":"Aaltonen","domain_name":"aalto-fi","page_name":"JoukoAaltonen","display_name":"Jouko Aaltonen","profile_url":"https://aalto-fi.academia.edu/JoukoAaltonen?f_ri=37443","photo":"https://0.academia-photos.com/1810424/617982/767045/s65_jouko.aaltonen.jpg"}</script></span></span></li><li class="js-paper-rank-work_42135571 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="42135571"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 42135571, container: ".js-paper-rank-work_42135571", }); 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$(".js-view-count[data-work-id=42135571]").text(description); $(".js-view-count-work_42135571").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_42135571").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="42135571"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">3</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="284731" href="https://www.academia.edu/Documents/in/Screenwriting_Studies">Screenwriting Studies</a><script data-card-contents-for-ri="284731" type="text/json">{"id":284731,"name":"Screenwriting Studies","url":"https://www.academia.edu/Documents/in/Screenwriting_Studies?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=42135571]'), work: {"id":42135571,"title":"'Script as a hypothesis: Scriptwriting for documentary film'","created_at":"2020-03-04T04:46:19.699-08:00","url":"https://www.academia.edu/42135571/Script_as_a_hypothesis_Scriptwriting_for_documentary_film?f_ri=37443","dom_id":"work_42135571","summary":"Writing the script for a documentary film can be problematic. According to some documentary filmmakers, it is not possible at all, because one cannot know beforehand what is going to happen. On the other hand, some attempt to produce a written script is often required to obtain financing for a documentary project. This article deals with different work practices and forms of documentary script. It analyses two case studies: the writer’s own films A Man from the Congo River (2010) and Kusum (2000). The first is the story of an engineer who worked in colonial Congo at the beginning of the twentieth century. It is based on diaries and other historical material, and therefore it was possible to construct a very precise script for the film. Kusum is an observational documentary film following the healing of a young Indian girl. The script was produced prior to production, but during the shooting process many core elements changed, including the main character and storyline. The form and dramaturgy of documentary films are created in the filmmaking process and in dialogue between the film-maker and real people. A documentary script can be considered a hypothesis about the reality that the film-maker will encounter via the process of filmmaking. Instead of ‘a screen idea’ we could speak about ‘a documentary idea’. ","downloadable_attachments":[{"id":62272020,"asset_id":42135571,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":1810424,"first_name":"Jouko","last_name":"Aaltonen","domain_name":"aalto-fi","page_name":"JoukoAaltonen","display_name":"Jouko Aaltonen","profile_url":"https://aalto-fi.academia.edu/JoukoAaltonen?f_ri=37443","photo":"https://0.academia-photos.com/1810424/617982/767045/s65_jouko.aaltonen.jpg"}],"research_interests":[{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":284731,"name":"Screenwriting Studies","url":"https://www.academia.edu/Documents/in/Screenwriting_Studies?f_ri=37443","nofollow":false}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_77426088" data-work_id="77426088" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/77426088/Creative_Documentary_Theory_and_Practice">Creative Documentary: Theory and Practice</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Key features: • Five sections covering creativity and creative documentary and the contemporary creative industries: strategies for developing documentary ideas; the art of documentary narrative; digital production methods; new... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_77426088" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Key features: • Five sections covering creativity and creative documentary and the contemporary creative industries: strategies for developing documentary ideas; the art of documentary narrative; digital production methods; new documentary forms; distribution and financing. • Provides a comprehensive overview of critical thought and techniques in digital documentary filmmaking. • Authors and specialist contributors combine the experience, knowledge and skills of academics and media professionals working in the industry. • Practical case studies support analysis and reflection. • Exercises, checklists, interviews with professionals and further reading materials accompany each chapter. • A historical overview of world documentary. Creative Documentary: Theory and Practice is an essential guide for those engaged in the study and practice of documentary theory and making, as well as key reading for those more broadly interested in video, film and media theory and production. What does i...</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/77426088" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="137380e8ebf0592505696797163943d0" rel="nofollow" data-download="{"attachment_id":84778014,"asset_id":77426088,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/84778014/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="50511516" href="https://independent.academia.edu/JerryRothwell">Jerry Rothwell</a><script data-card-contents-for-user="50511516" type="text/json">{"id":50511516,"first_name":"Jerry","last_name":"Rothwell","domain_name":"independent","page_name":"JerryRothwell","display_name":"Jerry Rothwell","profile_url":"https://independent.academia.edu/JerryRothwell?f_ri=37443","photo":"https://0.academia-photos.com/50511516/13320731/14569793/s65_jerry.rothwell.jpg"}</script></span></span></li><li class="js-paper-rank-work_77426088 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="77426088"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 77426088, container: ".js-paper-rank-work_77426088", }); });</script></li><li class="js-percentile-work_77426088 InlineList-item InlineList-item--bordered hidden u-tcGrayDark"><span class="percentile-widget hidden"><span class="u-mr2x percentile-widget" style="display: none">•</span><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 77426088; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-percentile-work_77426088"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></li><li class="js-view-count-work_77426088 InlineList-item InlineList-item--bordered hidden"><div><span><span class="js-view-count view-count u-mr2x" data-work-id="77426088"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 77426088; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=77426088]").text(description); $(".js-view-count-work_77426088").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_77426088").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="77426088"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">5</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="23214" href="https://www.academia.edu/Documents/in/Documentary_Film">Documentary Film</a>, <script data-card-contents-for-ri="23214" type="text/json">{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="37443" href="https://www.academia.edu/Documents/in/Documentary_Filmmaking">Documentary Filmmaking</a>, <script data-card-contents-for-ri="37443" type="text/json">{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="55485" href="https://www.academia.edu/Documents/in/Filmmaking">Filmmaking</a><script data-card-contents-for-ri="55485" type="text/json">{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=77426088]'), work: {"id":77426088,"title":"Creative Documentary: Theory and Practice","created_at":"2022-04-24T01:01:08.594-07:00","url":"https://www.academia.edu/77426088/Creative_Documentary_Theory_and_Practice?f_ri=37443","dom_id":"work_77426088","summary":"Key features: • Five sections covering creativity and creative documentary and the contemporary creative industries: strategies for developing documentary ideas; the art of documentary narrative; digital production methods; new documentary forms; distribution and financing. • Provides a comprehensive overview of critical thought and techniques in digital documentary filmmaking. • Authors and specialist contributors combine the experience, knowledge and skills of academics and media professionals working in the industry. • Practical case studies support analysis and reflection. • Exercises, checklists, interviews with professionals and further reading materials accompany each chapter. • A historical overview of world documentary. Creative Documentary: Theory and Practice is an essential guide for those engaged in the study and practice of documentary theory and making, as well as key reading for those more broadly interested in video, film and media theory and production. What does i...","downloadable_attachments":[{"id":84778014,"asset_id":77426088,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":50511516,"first_name":"Jerry","last_name":"Rothwell","domain_name":"independent","page_name":"JerryRothwell","display_name":"Jerry Rothwell","profile_url":"https://independent.academia.edu/JerryRothwell?f_ri=37443","photo":"https://0.academia-photos.com/50511516/13320731/14569793/s65_jerry.rothwell.jpg"}],"research_interests":[{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443","nofollow":false},{"id":55485,"name":"Filmmaking","url":"https://www.academia.edu/Documents/in/Filmmaking?f_ri=37443","nofollow":false},{"id":58052,"name":"Independent Filmmaking","url":"https://www.academia.edu/Documents/in/Independent_Filmmaking?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_29061605" data-work_id="29061605" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/29061605/_Direct_cinema_is_anything_but_a_fly_on_the_wall_a_conversation_with_Albert_Maysles">"Direct cinema is anything but a fly on the wall": a conversation with Albert Maysles</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Albert Maysles, who with his brother David pioneered techniques in observational documentary in America in the 1960s, offers thoughtful reflections on a lifetime of filmmaking. Ethical concerns in documentary are strongly addressed. He... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_29061605" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Albert Maysles, who with his brother David pioneered techniques in observational documentary in America in the 1960s, offers thoughtful reflections on a lifetime of filmmaking.  Ethical concerns in documentary are strongly addressed.  He focuses on the philosophy that has guided him as a filmmaker as well as the relationship those principles have to the lightweight camera and sync sound technology that allows him to carry out his practice.  He discusses space and distance not in geographical, but interpersonal, terms and emphasizes the ways in which his empathy and humanity allows him to get truly close to his subjects.  He dispels the notion that a direct cinema filmmaker is like a fly on the wall, stressing that “you have to get in there to get what’s really going on.”  The discussion draws upon specific moments within a range of films – from Jackie Kennedy’s hands in Primary (1960) to his painterly camerawork in Gimme Shelter (1970) to a messy bed in Grey Gardens (1975) – to explore how his camera’s tracing of surfaces can, in fact, reveal subjective interiorities.  He also responds to the critical reception of Grey Gardens and expands on Norman Mailer’s high praise for Salesman (1969).</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/29061605" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="79f791ba49205e02fd37bd81b09ab4bf" rel="nofollow" data-download="{"attachment_id":49517352,"asset_id":29061605,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/49517352/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="12897768" href="https://sussex.academia.edu/FrankVerano">Frank Verano</a><script data-card-contents-for-user="12897768" type="text/json">{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=37443","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}</script></span></span></li><li class="js-paper-rank-work_29061605 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="29061605"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 29061605, container: ".js-paper-rank-work_29061605", }); 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$(".js-view-count[data-work-id=29061605]").text(description); $(".js-view-count-work_29061605").attr('title', description).tooltip(); }); });</script></span><script>$(function() { $(".js-view-count-work_29061605").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="29061605"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">20</a>  </div><span class="InlineList-item-text u-textTruncate u-pl10x"><a class="InlineList-item-text" data-has-card-for-ri="390" href="https://www.academia.edu/Documents/in/American_Studies">American Studies</a>, <script data-card-contents-for-ri="390" type="text/json">{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="1555" href="https://www.academia.edu/Documents/in/Film_Studies">Film Studies</a>, <script data-card-contents-for-ri="1555" type="text/json">{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="2601" href="https://www.academia.edu/Documents/in/Film_Music_And_Sound">Film Music And Sound</a>, <script data-card-contents-for-ri="2601" type="text/json">{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="3399" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_">Documentary (Film Studies)</a><script data-card-contents-for-ri="3399" type="text/json">{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=29061605]'), work: {"id":29061605,"title":"\"Direct cinema is anything but a fly on the wall\": a conversation with Albert Maysles","created_at":"2016-10-10T19:30:01.800-07:00","url":"https://www.academia.edu/29061605/_Direct_cinema_is_anything_but_a_fly_on_the_wall_a_conversation_with_Albert_Maysles?f_ri=37443","dom_id":"work_29061605","summary":"Albert Maysles, who with his brother David pioneered techniques in observational documentary in America in the 1960s, offers thoughtful reflections on a lifetime of filmmaking. Ethical concerns in documentary are strongly addressed. He focuses on the philosophy that has guided him as a filmmaker as well as the relationship those principles have to the lightweight camera and sync sound technology that allows him to carry out his practice. He discusses space and distance not in geographical, but interpersonal, terms and emphasizes the ways in which his empathy and humanity allows him to get truly close to his subjects. He dispels the notion that a direct cinema filmmaker is like a fly on the wall, stressing that “you have to get in there to get what’s really going on.” The discussion draws upon specific moments within a range of films – from Jackie Kennedy’s hands in Primary (1960) to his painterly camerawork in Gimme Shelter (1970) to a messy bed in Grey Gardens (1975) – to explore how his camera’s tracing of surfaces can, in fact, reveal subjective interiorities. He also responds to the critical reception of Grey Gardens and expands on Norman Mailer’s high praise for Salesman (1969).","downloadable_attachments":[{"id":49517352,"asset_id":29061605,"asset_type":"Work","always_allow_download":false}],"ordered_authors":[{"id":12897768,"first_name":"Frank","last_name":"Verano","domain_name":"sussex","page_name":"FrankVerano","display_name":"Frank Verano","profile_url":"https://sussex.academia.edu/FrankVerano?f_ri=37443","photo":"https://0.academia-photos.com/12897768/3651702/4282323/s65_frank.verano.jpg"}],"research_interests":[{"id":390,"name":"American Studies","url":"https://www.academia.edu/Documents/in/American_Studies?f_ri=37443","nofollow":false},{"id":1555,"name":"Film Studies","url":"https://www.academia.edu/Documents/in/Film_Studies?f_ri=37443","nofollow":false},{"id":2601,"name":"Film Music And Sound","url":"https://www.academia.edu/Documents/in/Film_Music_And_Sound?f_ri=37443","nofollow":false},{"id":3399,"name":"Documentary (Film Studies)","url":"https://www.academia.edu/Documents/in/Documentary_Film_Studies_?f_ri=37443","nofollow":false},{"id":12519,"name":"The Beatles","url":"https://www.academia.edu/Documents/in/The_Beatles?f_ri=37443"},{"id":20178,"name":"Conceptual Art","url":"https://www.academia.edu/Documents/in/Conceptual_Art?f_ri=37443"},{"id":23214,"name":"Documentary Film","url":"https://www.academia.edu/Documents/in/Documentary_Film?f_ri=37443"},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=37443"},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":44811,"name":"Documentary","url":"https://www.academia.edu/Documents/in/Documentary?f_ri=37443"},{"id":60913,"name":"Commercials","url":"https://www.academia.edu/Documents/in/Commercials?f_ri=37443"},{"id":88308,"name":"Direct Cinema","url":"https://www.academia.edu/Documents/in/Direct_Cinema?f_ri=37443"},{"id":103053,"name":"Norman Mailer","url":"https://www.academia.edu/Documents/in/Norman_Mailer?f_ri=37443"},{"id":301066,"name":"Frederick Wiseman","url":"https://www.academia.edu/Documents/in/Frederick_Wiseman?f_ri=37443"},{"id":397745,"name":"Cinema Verite","url":"https://www.academia.edu/Documents/in/Cinema_Verite?f_ri=37443"},{"id":409053,"name":"Rolling Stones","url":"https://www.academia.edu/Documents/in/Rolling_Stones?f_ri=37443"},{"id":579340,"name":"Yoko Ono","url":"https://www.academia.edu/Documents/in/Yoko_Ono?f_ri=37443"},{"id":613154,"name":"Truman Capote","url":"https://www.academia.edu/Documents/in/Truman_Capote?f_ri=37443"},{"id":833160,"name":"Richard Leacock","url":"https://www.academia.edu/Documents/in/Richard_Leacock?f_ri=37443"},{"id":1415478,"name":"Albert Maysles","url":"https://www.academia.edu/Documents/in/Albert_Maysles?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_14926422" data-work_id="14926422" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/14926422/Cultural_Resistance_through_Film_The_Case_of_Palestinian_Cinema">Cultural Resistance through Film The Case of Palestinian Cinema</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/14926422" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a902cc30f132c96d99652f7cc56363ce" rel="nofollow" data-download="{"attachment_id":38475737,"asset_id":14926422,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/38475737/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="1144156" href="https://soas.academia.edu/HaimBresheeth">Haim Bresheeth</a><script data-card-contents-for-user="1144156" 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}); });</script></span><script>$(function() { $(".js-view-count-work_14926422").removeClass('hidden') })</script></div></li><li class="InlineList-item u-positionRelative" style="max-width: 250px"><div class="u-positionAbsolute" data-has-card-for-ri-list="14926422"><i class="fa fa-tag InlineList-item-icon u-positionRelative"></i>  <a class="InlineList-item-text u-positionRelative">6</a>  </div><span class="InlineList-item-text u-textTruncate u-pl9x"><a class="InlineList-item-text" data-has-card-for-ri="1568" href="https://www.academia.edu/Documents/in/Film_Theory">Film Theory</a>, <script data-card-contents-for-ri="1568" type="text/json">{"id":1568,"name":"Film Theory","url":"https://www.academia.edu/Documents/in/Film_Theory?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="6184" href="https://www.academia.edu/Documents/in/Israel_Palestine">Israel/Palestine</a>, <script data-card-contents-for-ri="6184" type="text/json">{"id":6184,"name":"Israel/Palestine","url":"https://www.academia.edu/Documents/in/Israel_Palestine?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="12444" href="https://www.academia.edu/Documents/in/Film_History">Film History</a>, <script data-card-contents-for-ri="12444" type="text/json">{"id":12444,"name":"Film History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=37443","nofollow":false}</script><a class="InlineList-item-text" data-has-card-for-ri="34632" href="https://www.academia.edu/Documents/in/Film">Film</a><script data-card-contents-for-ri="34632" type="text/json">{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=37443","nofollow":false}</script></span></li><script>(function(){ if (true) { new Aedu.ResearchInterestListCard({ el: $('*[data-has-card-for-ri-list=14926422]'), work: {"id":14926422,"title":"Cultural Resistance through Film The Case of Palestinian 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History","url":"https://www.academia.edu/Documents/in/Film_History?f_ri=37443","nofollow":false},{"id":34632,"name":"Film","url":"https://www.academia.edu/Documents/in/Film?f_ri=37443","nofollow":false},{"id":37443,"name":"Documentary Filmmaking","url":"https://www.academia.edu/Documents/in/Documentary_Filmmaking?f_ri=37443"},{"id":42298,"name":"Film and Media Studies","url":"https://www.academia.edu/Documents/in/Film_and_Media_Studies?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_38657729" data-work_id="38657729" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/38657729/The_Etymology_of_the_Film_Word_Documentary_A_Pre_Griersonian_Use_in_English">The Etymology of the Film Word "Documentary": A Pre-Griersonian Use in English</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest"><div class="summarized">Many scholars believe film pioneer John Grierson "coined the term" documentary when he first used it in a film review for the New York Sun in 1926. This paper provides documentary evidence that another film pioneer - namely, Charles Urban... <a class="more_link u-tcGrayDark u-linkUnstyled" data-container=".work_38657729" data-show=".complete" data-hide=".summarized" data-more-link-behavior="true" href="#">more</a></div><div class="complete hidden">Many scholars believe film pioneer John Grierson "coined the term" documentary when he first used it in a film review for the New York Sun in 1926. This paper provides documentary evidence that another film pioneer - namely, Charles Urban - used the word in film terms and in English in 1907, nearly 20 years before Grierson.</div></div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/38657729" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><div class="download"><a id="a0773b3bf70a742b223ea85ba866b568" rel="nofollow" data-download="{"attachment_id":58737108,"asset_id":38657729,"asset_type":"Work","always_allow_download":false,"track":null,"button_location":"work_strip","source":null,"hide_modal":null}" class="Button Button--sm Button--inverseGreen js-download-button prompt_button doc_download" href="https://www.academia.edu/attachments/58737108/download_file?st=MTczMjQzMDIxNyw4LjIyMi4yMDguMTQ2&s=work_strip"><i class="fa fa-arrow-circle-o-down fa-lg"></i><span class="u-textUppercase u-ml1x" data-content="button_text">Download</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="21208491" href="https://royalsociety.academia.edu/MarkTerryPhD">Mark Terry, PhD</a><script data-card-contents-for-user="21208491" type="text/json">{"id":21208491,"first_name":"Mark","last_name":"Terry, PhD","domain_name":"royalsociety","page_name":"MarkTerryPhD","display_name":"Mark Terry, PhD","profile_url":"https://royalsociety.academia.edu/MarkTerryPhD?f_ri=37443","photo":"https://0.academia-photos.com/21208491/5862587/38813161/s65_mark.terry_phd.jpg"}</script></span></span></li><li class="js-paper-rank-work_38657729 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="38657729"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 38657729, container: ".js-paper-rank-work_38657729", }); 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Linguaggi audiovisivi e percorsi clinici</a></div></div><div class="u-pb4x u-mt3x"><div class="summary u-fs14 u-fw300 u-lineHeight1_5 u-tcGrayDarkest">Cinema terapeutico. Linguaggi audiovisivi e percorsi clinici<br />a cura di Anna Chiara Sabatino, Valeria Saladino, Valeria Verrastro, Carocci, Roma, 2020</div></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" data-academia-share="Work/44815003" data-share-source="work_strip" data-spinner="small_white_hide_contents"><i class="fa fa-plus"></i><span class="work-strip-link-text u-ml1x" data-content="button_text">Bookmark</span></a></div></li><li class="InlineList-item"><ul class="InlineList InlineList--bordered u-ph0x"><li class="InlineList-item InlineList-item--bordered"><span class="InlineList-item-text">by <span itemscope="itemscope" itemprop="author" itemtype="https://schema.org/Person"><a class="u-tcGrayDark u-fw700" data-has-card-for-user="42541677" href="https://salerno.academia.edu/AnnaChiaraSabatino">Anna Chiara Sabatino</a><script data-card-contents-for-user="42541677" type="text/json">{"id":42541677,"first_name":"Anna Chiara","last_name":"Sabatino","domain_name":"salerno","page_name":"AnnaChiaraSabatino","display_name":"Anna Chiara Sabatino","profile_url":"https://salerno.academia.edu/AnnaChiaraSabatino?f_ri=37443","photo":"https://0.academia-photos.com/42541677/12668735/14092314/s65_anna_chiara.sabatino.jpg"}</script></span></span></li><li class="js-paper-rank-work_44815003 InlineList-item InlineList-item--bordered hidden"><span class="js-paper-rank-view hidden u-tcGrayDark" data-paper-rank-work-id="44815003"><i class="u-m1x fa fa-bar-chart"></i><strong class="js-paper-rank"></strong></span><script>$(function() { new Works.PaperRankView({ workId: 44815003, container: ".js-paper-rank-work_44815003", }); 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Filmmaking","url":"https://www.academia.edu/Documents/in/Therapeutic_Filmmaking?f_ri=37443"},{"id":3846274,"name":"Dispositive Theory","url":"https://www.academia.edu/Documents/in/Dispositive_Theory?f_ri=37443"}]}, }) } })();</script></ul></li></ul></div></div><div class="u-borderBottom1 u-borderColorGrayLighter"><div class="clearfix u-pv7x u-mb0x js-work-card work_31665349" data-work_id="31665349" itemscope="itemscope" itemtype="https://schema.org/ScholarlyArticle"><div class="header"><div class="title u-fontSerif u-fs22 u-lineHeight1_3"><a class="u-tcGrayDarkest js-work-link" href="https://www.academia.edu/31665349/An_essay_on_the_short_documentary_Ten_Meter_Tower">An essay on the short documentary Ten Meter Tower</a></div></div><div class="u-pb4x u-mt3x"></div><ul class="InlineList u-ph0x u-fs13"><li class="InlineList-item logged_in_only"><div class="share_on_academia_work_button"><a class="academia_share Button Button--inverseBlue Button--sm js-bookmark-button" 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