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This article provides an account of an independent filmmaker's work in documenting some of the stories from the global Indian diaspora. Based in Aotearoa New Zealand, with ancestral connections to Fiji, East Africa, UK, US and India, and using documentary making with both its journalistic and artistic purposes, the author firstly refers to the literatures that identifies documentary-making as journalism, diaspora, and the caste system. She then situates herself within the South Pacific Indian diaspora, before describing her experience in the making of the documentary entitled Hidden Apartheid: A Report on Caste Discrimination. The article concludes by reflecting on her role and the role of documenting hidden discrimination where it exists throughout Indian communities of the diaspora. [ABSTRACT FROM AUTHOR]

This article explores cinematic representations of American military interventions in Iraq and Afghanistan, examining documentary and fiction films from American, Iraqi, and Afghan perspectives. The article argues that these films often fail to communicate meaningfully with domestic and international audiences effectively, instead remaining 'asymptotic' or 'uroboric' in their rhetorical and communicative impact. I highlight the ethical challenge faced by filmmakers, whether situated in the West or in the Middle East, of turning the 'traumatic mirror' back on themselves, and the difficulties in achieving successful communication and self-reflexivity. The post-9/11 era is marked by a complex intersection of realpolitik, public performatives, and moral commitments, with long-standing tensions between West and non-West persisting in new forms. Cinematic representations of these interventions serve as a window into the traumatic legacies of these conflicts and the ongoing struggle for ethical representation, as well as a lens on the rhetorics of cinema. [ABSTRACT FROM AUTHOR]

This article analyses the Afghan war in Danish documentaries, fictional films, and television. The Afghan war is a landmark in Danish media and public debate. The first war with Danish forces in direct combat on foreign ground raised a new agenda on national and global dimensions of war. Susanne Bier's Brothers (2004) was the first film to address this theme, followed by Christoffer Guldbrandsen's political documentary The Secret War (2006). Janus Metz's documentary film Armadillo (2010) and Tobias Lindholm's fictional film The War (2015) include the perspective of the soldier, the home front, and the civilians. Two other documentaries, Eva Mulvad's Enemies of Happiness (2006) and Nagieb Khaja's My Afghanistan. Life in the Forbidden Zone (2012), go deep into everyday life in Afghanistan. Together these films ask how we can deal with war and realities in a global world and how films can make us better understand global others. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Española de Documentación Científica is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

• The whole world is plagued by the problem of missing persons. • The recovery of a missing person can benefit from the use of forensic science. • Age progression can help in the search of missing person. • The Italian Missing Children association realizing age progression for Missing Children Organization: the collaboration with Missing Child Kenya. The age progression technique allows to update identification photos of individuals who have been missing for years. This method is based on the study of the facial variation and on the dynamics of facial growth. Knowledge about changes in the distribution of facial fat and the tone of the cartilage allows realistic predictions of the facial appearance after many years. Beside these elements, age progression is also supported by similar characters between family members. This is why photos of the missing and family members are used to create an age progression, making the new identikit accurate. Non-profit associations are crucial for the dissemination of information on the problem of missing persons. In Italy, the Italian Missing Children association provides for free an age progression service with the support of forensic anthropology. With the activation of a protocol, consisting of guidelines, and a form for the request for age progression by family members, the Italian Missing Children has started a collaboration with Missing Child Kenya. It allowed to disseminate up-to-date photos of the presumed current appearance of the missing children in Kenya. Thus, in the present study some cases are reported, in which age progression technique was applied. The photos provided by Italian Missing Children were shown in video documentaries made by Missing Child Kenya, allowing to continue the dissemination of age progression photo during the Covid quarantines and to keep the population active in the search for the missing. [ABSTRACT FROM AUTHOR]

The article details a panel discussion featuring Frank X Walker, Theresa Burriss, Jean Donohue, Fred Johnson, and Crystal Wilkinson, exploring the creation and impact of the documentary "Coal Black Voices." Topics discussed include the influence of Gurney Norman on the Affrilachian poets, the documentary's production process, and the ongoing relevance of Affrilachian literature in academic settings.

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An introduction is presented in which editor discusses various articles within the issue on topics including role of archives in challenging linear temporality; Chilean post-dictatorial period through a reflection on documentary film and analysis of documentary "Bloody Daughter."

This paper draws from the experience of supervising the subtitling of short films for several international film festivals carried out by MA students in Specialised Translation between 2021 and 2022. Starting from some considerations on the effectiveness of using short films in the didactics of translation, it will establish a parallel between the operations of synthesis activated in metaphor to resolve complex conflictual meanings creatively and those involved in short films. The unifying function played by metaphorical structures will be investigated in a selection of case studies, underlining the importance of preserving cultural, cognitive, and textual cohesion in the translation. Considering the inevitable metonymic-metaphoric continuum that characterises audiovisual texts and the need to avoid intersemiotic tension between channels in the subtitling process, the discussion will revolve around examples taken from different subgenres, from documentary to poetry films, aimed to illustrate a spectrum of challenges posed by the translation of metaphors and the strategies used to resolve them while respecting the viewer's space for interpretation and, more generally, the delicate 'ecosystem' of the short film. [ABSTRACT FROM AUTHOR]

This article discusses the early films of Warren Sonbert, including "Amphetamine" and "Where Did Our Love Go?". "Amphetamine" is a 10-minute black-and-white film made in 1966 that depicts a young man using drugs and engaging in intimate activities with another man. The film is emotionally charged and challenges societal norms of the time. Sonbert's films gained recognition in the underground cinema of the 1960s and he continued to develop his unique style throughout his career. [Extracted from the article]

The article examines the use of documentary film as a tool of political intervention that enlists the resources of broadcast journalism and literature in the representation of war. Access to images is a determining factor in the shaping of public opinion and affects citizens' political views about the waging of war. The private files of four freelance cameramen who provide footage for news agencies and television networks and covered the wars in Chechnya are the main sources for Yuri Khashchavatski's documentary Prisoners of the Caucasus (2002). The film traces a connection between this contemporary representation of the war in the Caucasus and Tolstoy's nineteenth-century narratives and denounces both how the war was conducted and the invisibility in the media of the suffering of civilian victims and regular soldiers. Connecting the stringers' files to an earlier literary tradition is a way of claiming the political dimension of memory, a political exercise at the crossroads between the media and the arts. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Imagens da Educação is the property of Universidade Estadual de Maringa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers a critical mapping of Korean feminist documentary practices in the twentyfirst century, with emphasis on films made since the mid-2010s. The study is grounded in a distinction between the documentaries before and after this period in terms of the feminist politics and the social actors that these films address and engage. In so doing, it argues for three implications of twenty-first century Korean feminist documentary cinema as follows: first, rather than remaining with little remarkable change, the activist tradition of Korean independent documentary has been renewed and revamped in its continual intersections with the shifting social movements for women's rights; second, since the mid-2010s, the agendas of feminist documentary have been diversified to the extent that they include not simply the lives and voices of disenfranchised women as a key social subject of traditional activist filmmaking before that period, but also the corporeal and affective dimensions of women's identity, such as abortion and menstruation, and their relation to women's sociality; and finally, in dialogue with this differentiation of feminist issues, the modes and styles of documentary filmmaking have been so varied that they embrace reenactment, urban ethnography, personal documentary, and the filmmaker's presence in the text. This is particularly evident in the corpus of Kangyu Garam, a younger-generation woman documentarian who has prolifically demonstrated her authorship with her middle-length and feature-length documentaries devoted to portraying and recording the space and time of various women. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cauriensia: Revista Anual de Ciencias Eclesiásticas is the property of Instituto Teologico San Pedro de Alcantara de Caceres and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper proposes an investigation of the use of comics and sequential art as a qualitative research method and a tool in a social innovation approach. It presents an exploratory research on the artistic practice of the ArtiViStory Collective, as a group of artists and faculty members from the University of Art and Design in Cluj-Napoca (UAD) working in the field of urban comics that have developed a specific methodology for using comics in research processes by creating specific artworks as part of the data collection process, of the data analysis process and by using curatorial approaches for results' dissemination to different audiences. Starting by inquiring the use of documentary comics and sequential storytelling as an emerging qualitative research method, the article presents the specificity of this case study that renders a new approach in Romania on an urban comics-based research process by focusing on the evolution of the group as a community of practice as well as on the analysis of the specificity of their methodology and working process that act as catalyzers for engaging audiences in urban transitions. [ABSTRACT FROM AUTHOR]

Interest in ecovillages has increased greatly in the last two decades, alongside a growing awareness of the need for more sustainable lifestyles. Once regarded as countercultural, alternative places for alternative people, some ecovillages actively work to gain a more mainstream identity for themselves and sustainable lifestyles. While most research focuses on perspectives within ecovillages, attention to outside representations or discourse is limited. This paper looks to expand knowledge into how ecovillages are represented from the outside through factual media. Analysing printed texts and documentary films, we ask how (rural) sustainable lifestyles are represented through factual media surrounding an ecovillage regarded as Norway's first. Where representations have the power to (re)produce understandings of the world around us, we argue that representations of ecovillages can potentially construct or remove barriers towards engaging with sustainable ways of living. Following the discourse from 2001 to 2019 we find the ecovillage represented as either Idealistic or Entrepreneurial. Processes of Othering juxtapose alternative sustainable lifestyles with an Entrepreneurial sustainable place, creating distance to Idealistic dreams and celebrating commercialism. Additionally, factual media plays a role in constructing understandings of 'rural' and 'urban' through representing a potentially new discourse of Norwegian rurality, an 'eco-idyll' for mainstreaming sustainable lifestyles. • Factual media helped construct & maintain 'us & them' scenarios in the ecovillage discourse • Alternative lifestyles are becoming more mainstream but still being Othered • Sustainable lifestyles are intertwined with discourses of the rural and the urban • Representations of this ecovillage suggest a potential new discourse of Norwegian rurality [ABSTRACT FROM AUTHOR]

The Israeli–Palestinian conflict, which dates back to the first half of the nineteenth century, brought occupation to the Palestinian people and caused oppression and suffering. This study examines the novel Ḥikāyat Ṣābir [Ṣābir's Story] by Maḥmūd Isā (born in 1967) as a sample of contemporary Palestinian prison literature. The novel's social and political resonances pushed Al-Jazeera television to turn it into a documentary film. Because the novel has received no prior scholarly attention, this article relies on the techniques and narrative structure of the novel. This paper examines the documentary values of the novel, its literary contributions, and its narrative manner, styles, and techniques. We use literary narrative analysis methodology, which draws upon Mieke Bal's approach to narratology, as the theoretical basis for this. This article confirms that Ḥikāyat Ṣābir has a unique narrative-structural-fictional overlap; the novel includes a short story within the novel that is narrated by the protagonist, and the narrator is all-knowing, dominant, and omniscient. Furthermore, the novel features multiple narrative techniques and styles that occupy a great deal of space in the novel, rendering it a deeply polyphonic text. [ABSTRACT FROM AUTHOR]

In this study, preservice teachers viewed clips from three documentary films that presented multiple experiences of contemporary immigrants and refugees. Our focus in the study was how preservice teachers analyzed the three films. Specifically, we examined how elementary, middle grades, and secondary preservice teachers analyzed, both from a cognitive and affective stance, clips of documentary films about the difficult topic of contemporary immigration. [ABSTRACT FROM AUTHOR]

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Dixit. Comunicación, Profesión, Conocimiento is the property of Universidad Catolica del Uruguay Damaso Antonio Larranaga and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ámbitos: Revista de Estudios de Ciencias Sociales y Humanidades is the property of Asociacion de Estudios de Ciencias Sociales y Humanidades and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents the discussion on expanding the interest of Italian scholarly research in the ever-growing, transdisciplinary field of Wilde Studies. Topics include international relevance acquired by Oscar Wilde's works and case history throughout the decades; and Wilde's creative or fictive treatments being found in a number of atmospheric graphic novels and comics.

The purpose of this article is to chronicle the life and contributions of Mary Frances Early (b. 1936), the first African American to graduate from the University of Georgia in 1962. After suffering many indignities and being forgotten for more than three decades, Early became one of the University's most celebrated graduates. Teaching music in segregated schools in Atlanta, Mary Frances Early worked tirelessly to provide her students with a high-quality music education, and she developed excellent music programs wherever she went. Throughout her long and distinguished career in the public schools, in higher education, and in service to the profession, Mary Frances Early dedicated her life to music teaching. She believed that all students deserved to have engaging and meaningful music education experiences, that music is an essential component of a well-rounded education, and that music would play a role throughout life. Primary and secondary sources include interviews, Miss Early's personal papers, documentary film footage, and newspaper articles and clippings. [ABSTRACT FROM AUTHOR]

This article argues that new religious movements (NRMs) develop as cultural interlocutors. As emergent social bodies that respond to extant norms, structures, and values, NRMs can deploy cultural products as a shared vocabulary and grammar in their response to surrounding society. To demonstrate this approach's ability to parse NRMs' relations to popular culture while highlighting organizationally distinctive dimensions of such interactions, this article examines Jim Jones's references to visual media shown in Jonestown in 1978. Jones critiqued movies and television as tools of social control, repurposed documentaries and films as evidence to support his proffered doctrine, and creatively presented movies as analogues of the commune's perceived challenges. This threefold hermeneutic shaped the Peoples Temple's beliefs and behavior, as well as its own media productions. [ABSTRACT FROM AUTHOR]

Copyright of Civilisations is the property of Institut de Sociologie - ULB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of REVER: Revista de Estudos da Religião is the property of REVER: Revista de Estudos da Religiao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)