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Relationships between documentary-makers and their subjects are a core concern of the scholarship, typically analysed in relation to issues of power and exploitation. This article instead considers documentary relationships as a form of work, examining what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. Relationship-building is an intrinsic part of the filmmaker's job, but takes place around its margins: often unpaid and unacknowledged by the media industries. A consequence of this lack of status and recognition is that an appropriate professional framework has yet to be developed, with worrying implications for training, regulation and duty of care. Drawing upon in-depth interviews conducted over a period of 4 years, this article conceptualises the work of documentary relationships as a practice of creative labour, by considering how they function interpersonally, procedurally and organisationally. Through a discussion of emotional labour, I will explore how the permeability between work life and intimacy impacts both filmmakers and contributors alike, considering the various ways their experiences take shape within the structural context of contemporary media production. [ABSTRACT FROM AUTHOR]

Current discourse on the representation of genocide claims that we are currently experiencing 'the shift from the era of the witness to the era of the perpetrator'. This raises ethical concerns over why and how documentaries engage with perpetrators. Based on an assessment of 203 documentaries on seven genocides, my article makes three kinds of contribution in addressing these concerns: (1) It discusses the ethics of representing perpetrators in archival footage, reenactments or interviews in a wider corpus than those covered in recent discussions. (2) It uncovers a broad range of ethical reasons for why documentary filmmakers engage with perpetrators, rather than seeking to establish a singular ethical ground for this engagement. This approach can do better justice to the varying cultural, historical and political contexts of the respective genocides, the different production contexts and target audiences of the documentaries, and the different styles and types of documentaries that inform the ethics of perpetrator representation. (3) It introduces two broad categories of perpetrator representation in documentaries that conceptualize the ethical purposes of this engagement differently. [ABSTRACT FROM AUTHOR]

This essay reflects on the significance of documentary filmmaking in the context of Latin American documentaries, in general, and Chilean films, in particular. It also reflects on how Latinas' diasporic memories of place affect identity and how we think of the past through language and images. Feminist film activism is a way to build an archive of women's lives and voices revealing how gender shapes them. The short documentary La chispa en la pradera (Spark in the Meadow, 2023) displays feminist activism and feminist memories that cut across different generations of women fighting for equality and justice in contemporary Chile. [ABSTRACT FROM AUTHOR]

This article is an audience ethnography, focusing on the documentary The Work (dir Jairus McLeary and Gethin Aldous, US, 2017), which depicts a four-day therapeutic programme involving men from the community and men from a high security prison. The film was screened to audiences of people who live and work in an English prison-based therapeutic community. Previous prison-based audience studies have highlighted the significance of the media text and the characteristics and experiences of the audience, but have not specifically addressed the salience of the context in which the media is consumed. By conducting the research in an atypical penal environment, the intention is to illuminate how consumption is affected by different penal contexts. The audience offered macro, meso and micro level responses to the documentary. At a macro level, they recognised the reforming intentions of the film, but also revealed the limitations of popular culture, with its emphasis on spectacle. At a meso level, the audience offered a sophisticated and expert analysis of the content and omissions of the film's representation of therapeutic processes and cultures. At a micro level, those serving prison sentences used the content of film as therapeutic material, reflecting on their own emotions and experiences, while the prison staff used the content to explore their professional identities. The audiences viewed the film through a therapeutic habitus, and media consumption was a way of enacting and reinforcing the expectations and practices of therapeutic community life. By highlighting the salience and variability of penal contexts, the study extends prison-based audience scholarship, but also highlights a factor that should be considered in the planning and design of media and arts programmes in prison. [ABSTRACT FROM AUTHOR]

This essay focuses on Leur Algérie, a 2020 documentary about remembering and representing the Algerian experience of immigrating to France's "rural desert"—or to what geographer Roger Béteille calls "la France du vide." The context for this analysis lies in the decline of the aging chibanis (North African "elders" or "grey hair") population in France. While the social issues they face (ranging from lodging, to pension, health, and social benefits) have received media and political attention, questions about their memory and its place in contemporary France point to a "vide mémoriel" (memory void) that has largely been filled by French cultural figures of Maghrebi descent. Thus, with Leur Algérie (2020), filmmaker Lina Soualem delves into the history of her paternal grandparents. Originally from the Laaouamer area in rural Kabylia, they raised their family in France, specifically Thiers, a small French town in the sparsely populated mountains of the Massif Central. This essay examines how Soualem uses scenery and silence to symbolize a memorial void and absence. It relates images of desert-like emptiness and "non-places" in both Thiers and Laaouamer to the gaps in the grandparents' narrative. Ultimately, it explores tensions between the experiences of Algerian immigrants in France and what Soualem identifies as their "invisibilization" in France's memorial space. [ABSTRACT FROM AUTHOR]

This study articulates the motives, craft, practice, and urgent needs of creative independent investigative documentary as a distinct field of practice that utilizes both the subjective expression of artistic cinema with the objectivity-based legacy practices of watchdog journalism. Leveraging community of practice theory, based on in-depth interviews and a two-year investigation of ten of the inaugural films supported by the International Documentary Association (IDA) Enterprise Documentary Fund award—launched in 2016 as the first contemporary institutional recognition of creative investigative documentary as a distinct sub-genre—this study demonstrates how recognizing the unique experiences of this distinct dual journalistic and artistic practice is vital in order for scholars to more widely appreciate the potentiality and significance of this journalistic practice, and to more widely engage with the unique security challenges and needs that it faces, largely overlooked in prevailing conversations in journalism today. [ABSTRACT FROM AUTHOR]

In 2021, three documentary series revitalised the unsolved murder of Sophie Toscan du Plantier in 1996 in West Cork, Ireland, for a global audience of true crime enthusiasts. This article analyses the podcast West Cork (Audible 2018/iTunes 2021) and two streaming series, Murder at the Cottage: The Search for Justice for Sophie (Sky Crime 2021) and Sophie: A Murder in West Cork (Netflix 2021) and argues that they conferred documentary celebrity on their central figures, Sophie Toscan du Plantier and Ian Bailey. The celebritisation of these individuals as victim and villain, was achieved through the development of a convergent narrative across the three series, one salted with the plot twists, end-of-episode cliff hangers, emotional confrontations and supernatural speculation familiar to viewers of true crime, reality television and serial drama. Moreover, the gendered discourse deployed by these documentaries posthumously transformed Sophie Toscan du Plantier into a world-famous victim while providing an opportunity for Ian Bailey, who remains the prime suspect, to self-brand as a Gothic villain. Bailey's 2022 announcement that he would launch a podcast and television series and his self-promotional activity on TikTok confirm the cultural capital associated with documentary celebrity, even, or especially, for the infamous. [ABSTRACT FROM AUTHOR]

Documentaries have frequently captured journeys to places audiences might not have seen before. The first documentary film Nanook of the North (1922), often referred to as a travel film, took viewers to the Canadian Artic for the first time. In 1929, The Man with a Movie Camera revealed the rhythm of the Soviet cities through the Kino-Eye. Now the documentary film genre, the City Film is taking viewers on a virtual tour into new digital synthetic domains as they contain artificially generated images produced by GenAI. In response to this emergence of the ‘AI eye’, a computational vision of the world, the following attributes of AI as an asset, tool and collaborator shape the discussion of novel creative documentary processes that are emerging when Gen AI is integrated into computational non-fiction. This article explores a computational vision of the world in relation to the City Film documentary genre. [ABSTRACT FROM AUTHOR]

Obstinate memory is an insistent resource for communities. Migrant Media advocates the methodology of a "documentary of force" as a research tool for filmmakers and academics. As a U.K.-based collective of filmmaker-activists involved in community struggles, Migrant Media's resistance-based work uses cameras and screens to challenge racism and police violence. Drawing on film documentary history from figures as diverse as Dziga Vertov, Jean-Luc Godard, Black Audio Film Collective, and Third Cinema, the Migrant Media story is revealed through attempts to ban the 2001 film Injustice and a more recent series filmed with nurses during the coronavirus pandemic. We suggest some directions for further research at the end. [ABSTRACT FROM AUTHOR]

If Gaelic has been symbolically appropriated to represent Scotland, then it follows that we need to look more closely at the part played by documentary film both of and from the Scottish Hebrides, in furthering the dissemination of what is an idealised and contested identity. As documentary is a negotiated contract between the producer and those they 'represent', the discussion needs to consider whether the representation of a Hebridean identity, and by extension a mythical Scottish identity, is constructed by the filmmaker, and if so, how filmic constraints and practices inform this representation. Within this framework is an acknowledgement of the extent to which Hebridean identity has been mediated by books, photographs and films for the past 300 years. This article will deliver the findings of a research project undertaken in the in the Outer Hebrides (also known as the Western Isles and Lewis & Harris). The research investigates the extent to which interviewees themselves collude with documentary makers in presenting a view of the Gael that reflects the Gaelic-speaker's own self-assigned role as guardian of the land and traditions. As this research marries practice with research, it will present it in a semi-autobiographical style. [ABSTRACT FROM AUTHOR]

The unremitting phenomena of appropriating Dalit Lives on screen has activated responses among caste-aware directors, which led them to engage in certain ethical commitments in the filmmaking profession. The article interlineates with the recent Netflix documentary film Daughters of Destiny (2017) directed by Venessa Roth which engages with the narratives of post millennial Dalit women and their journeys from passive victimhood to the formation of their agency while confronting casteism and patriarchy simultaneously. The documentary is set in Tamil Nadu in South India and the narratives revolve around post-millennial Dalit women who try to liberate themselves through education. The article attempts to highlight 1) the private philanthropic initiatives to address the question of caste in post-Mandal India 2) analyze the classroom as a space of dissent 3) portray post-millennial Dalit women as glocal subjects in documentary films. [ABSTRACT FROM AUTHOR]

Some Kind of Liberating Effect is a documentary dedicated to research freedom in the academic study of religion in Central and Eastern Europe. This essay examines the techniques used to develop a script and a screenplay. It will show how the documentary integrates screenwriting with the question of freedom of research in this academic field and region. First, the essay presents the raw footage filmed between 2022 and 2023, then the screenwriting techniques used for plotting a story. Finally, it discusses the shift from the history of the academic field to storytelling, particularly with regard to the frame story included in the film. In conclusion, it presents some remarks concerning the interdisciplinary and intersectoral approaches between religious studies and the film industry implemented in the documentary. [ABSTRACT FROM AUTHOR]

In this paper, we discuss how documentaries were used for the promotion of industrial production in socialist Albania and Yugoslavia through a discussion of two short non-fiction films, Në turnet e natës/The Night Shift (1970, Albania) and 25 Godina. Jugoplastika/25th Anniversary of Jugoplastika (1977, Yugoslavia). The discourse of Albanian and Yugoslavian socialist ideologies of modernisation and industrial production, and the notion of everyday socialism are constructed and visible in the films' representational strategies. The analysis of the two previously overlooked archival films along with the press, and non-film materials and documents from film and state archives allow us to compare and contrast the similarities and differences of Albanian and Yugoslav socialist ideologies toward industrial production, labour and gender relations. In doing so, we aim to better understand the complexities of the state socialist discourse vis-à-vis Western capitalism and consumerist ethics during the Cold War period. [ABSTRACT FROM AUTHOR]

This article explores via John L. Austin's speech act theory the poetic manifestations of three Baltic documentary films: Bridges of Time, The Old Man and the Land and Ruhnu. The aim is to illustrate the way in which the Austinian division between the constative and the performative articulates the meaning-making process in these documentaries. This is done on two levels: on a larger scale the analysis looks at how Bridges of Time serves as a single performative speech act, establishing the Baltic New Wave phenomenon through its own aesthetic style; in a more detailed level, the article examines two examples from the aesthetic movement to demonstrate how they avoid reproducing a given reality by creating a semantic shift away from the surface structure in order to connote a rustic pre-occupation sensibility. [ABSTRACT FROM AUTHOR]

In this interview, filmmaker Su Friedrich comments on a wide variety of projects, as well as her labour-intensive work process, the crucial role of feedback from friends and fellow filmmakers, and the importance of being specific. She also describes her experience researching unusual archives, her views on the current media landscape, and the satisfaction of creating Edited By, a website dedicated to honouring the many women who revolutionised film editing, playing a key role in cinema history that has yet to be fully recognised.

VR technologies, which are used in many fields today, have also started to be used in education through the game platforms with the realistic and interactive environments they provide. The 'Following the Traces of Sedad Hakkı Eldem in Istanbul project, developed within the scope of a scientific project jointly carried out by the Architecture and Digital Game Design Departments at the host university, is an architecture-themed documentary game designed for educational purposes. Within the game's scope, three different projects of architect Sedad Hakkı Eldem, whose name is frequently mentioned in the history of the Early Republic period and in the modernization processes, were selected. The game's scenario was developed to perceive these architectural spaces by experience. However, this experience may vary according to the different department users due to their focal points and educational structures. According to this, this study conducted a research with the students at the host university to see how this documentary game was perceived and evaluated by students from two different departments. In order to conduct a comparative research, a questionnaire was directed to the students after their game experience. Especially the results of the third part proved the differences in the students' perceptions of different departments. On the other hand, although students from these two departments revealed some differences in their focus and approach to evaluating the game, the results also showed that the game provided an overall beneficial educational experience.

One of the principles of fair proceedings is the principle of documentary and reasoned judicial decisions. The importance of this principle is so great that its failure to be considered by the judicial authority has been identified as one of the cases of voting violations. Given that the observance of this principle has been emphasized in the constitution, civil and criminal procedure, and even as an accepted principle in quasi-judicial authorities, such as the law on handling administrative violations, the law on handling violations of the armed forces, and the tax law. is, the analysis of the nature of the words documented and substantiated to explain the difference between the two in order to resolve some ambiguities is considered one of the goals of this article. This research, which was carried out with a descriptive-analytical method, shows that the explanation of each of the two words and the purpose of the legislator regarding these words is a legal gap that is considered necessary to be addressed. Therefore, it can be said that created causation, inherent authenticity, objective process, credibility in judicial matters and the judge's responsibility to discover the facts are considered to be documentary features, and in contrast to demonstrative causality, fake authenticity, mental process, credibility in subjective matters. And the claimant's mission in this field are considered to be well-reasoned approaches.

I recut an observational documentary about a woman called Bekti into a more conventional hero's journey for a broadcaster. The hero's journey narrative requires large obstacles to be overcome by the hero in their search for their ego. In this documentary the obstacle is connecting experimental science with communities with the aim to reduce dengue fever, and the hero's 'ego' is to be an effective communicator. Using the hero's journey style of narrative reduced the importance of the domestic aspects of Bekti's life because these scenes did not contribute to overcoming obstacles or finding ego. To explore these changes use feminist critique of the influence of the hero's journey on narrative structure and character creation. Alongside this, I use a decolonising lens to challenge the universality of the monomyth. I then bring into this debate work on value in the economy to explore how the hero's journey used in the recut documentary corresponds to neoliberal values. This critique adds to the current debates around heroic characters and story structures in non-fiction films via rethinking story in practice. [ABSTRACT FROM AUTHOR]

The breadth of Australian-born British-domiciled investigative journalist John Pilger's journalism was staggering. Over five decades, he covered wars and/or social conflicts in Australia (frequently) Burma, Cambodia, Chagos Islands, Chile, China, Czechoslovakia, Iraq, Japan, Mexico, Nicaragua, Okinawa, South Africa, Timor Leste, Vietnam, the UK and the US etc. He produced powerful documentaries about these issues. He was truly a globe-spanning journalist. He died aged 84. [ABSTRACT FROM AUTHOR]

A unique feature of Pacific Journalism Review, compared with many other journalism and media research journals, has been a particular focus on photography and documentary. Contributors have been eclectic and varied, ranging from activist photojournalist John Miller (Ngapuhi), who charted the new wave of Māori assertiveness from the first Nga Tamatoa protest at Waitangi in 1971 and who offered a research portfolio on the Ngatihine Land/Forestry legal dispute in Northland Aotearoa, to Ben Bohane's 'Melanesian mythical places with unreported conflicts', to Kasun Ubayasiri's 'Manus to Meanjin' study of refugee migration, to Filipino Fernando G. Sepe's stunning but shocking portrayal of President Rodrigo Duterte's extrajudicial 'war on drugs' (in reality a 'war on poverty'), through to Todd M. Henry's Tongan 'Gangsters in Paradise' and the realm of kava in New Zealand. At least a dozen portfolios have been published by the journal and this article examines and reflects on some of the highlights. The photoessay is completed with a portfolio of protest photographs from the seven months of Israel's War on Gaza. [ABSTRACT FROM AUTHOR]

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 considers the epistemic value of Iraqi first-person documentaries of family life, or domestic ethnographies, during the Iraq War (2003–2011). The article analyses Life After the Fall (Abid 2008) and Homeland: Iraq Year Zero (Fahdel 2015), two documentaries about the everyday life of the videomakers' family members in the advent of the US-led 2003 invasion and shortly after the occupation. The article examines how Iraqi domestic ethnographies dispute and complement dominant (Western) media, filmic and historical discourses of the conflict. I argue that these videos provide a nuanced understanding of the complex social, cultural and historical dynamics of this period, exceeding essentialisms and hegemonic discourses of violence, terror and victimhood. In addition, I demonstrate how this approach facilitates the participation of historically marginalized voices of young female family members, particularly in the representation of the conflict, and situates otherwise unusual discussions around Iraqi women's rights and gender issues at the core of everyday life in post-invasion Iraq. [ABSTRACT FROM AUTHOR]

America's racial history is largely siloed and compartmentalized, separating minority group experiences as if they were neat rows of isolated, discernable categories. Resisting binary narratives, this article reframes history by focusing on the largely unknown lives of the Chinese immigrants and African American communities in the segregated south. An examination of the intimate histories between the two marginalized groups illuminates how structures of the central white power enforced racial projects that pit Asians and African Americans against each other, laying roots to the tensions we see continuing to play out today. Through my documentary film, Blurring the Color Line, which follows my grandmother's family growing up in a Black neighborhood, I dive into the obscure but illuminating space of in-betweenness to disrupt hegemonic productions of knowledge and to reveal nuanced stories of how cross-pollinating communities moved amongst and against one another in order to survive and thrive. Stories of conformity and co-mingling between two disempowered communities beg us to question how the language of skin informs social placement and how silenced histories speak deeper truths about the processes and consequences of racialization. [ABSTRACT FROM AUTHOR]

The purpose of this study was to examine the role of Romantic notions in understanding contemporary human–animal relations. I examined how three documentaries dealing with the problem of farm-animal exploitation construct the relationship between farmers and meat producers on the one hand and farm animals on the other. Using the method of multimodal critical discourse analysis, I examined audiovisual and linguistic levels of documentaries. I argue that documentary narratives have a dual function in exploring these relationships. First, they produce anthropocentric narratives that focus on the farmer's perspective and their experience of the relationship with farm animals. The anthropocentric narrative legitimizes the notions of traditional forms of sustainable agriculture in which animals graze freely, and a relationship of trust exists between farm animals and farmers. In this narrative, farm animals are portrayed as anthropomorphized and thus equal to humans. Ideologically, it follows the premodern idea of pastoralism. The second narrative is biocentric in that it focuses primarily on animals. This narrative consists of a critique of the exploitation of farm animals in large, industrialized fattening farms and slaughterhouses. I argue that the origins of both narratives lie in Romantic notions about the relationship between humans and animals. Ultimately, both narratives propagate a Romantic return to preindustrial pastoralism, advocating a harmonious coexistence of land, animals, and people, and rejecting industrial, mechanical, and technological forms of farm animal husbandry. I conclude by asking how Romantic ideas contest late capitalist forms of commodification of animals and what the limits of these ideas are in eliminating the exploitation of farm animals. [ABSTRACT FROM AUTHOR]

This practice-based research explores the ways in which science is communicated through documentary practice, drawing an overview of creative strategies, narrative styles and modes of spectatorship that potentially increase the social impact of scientific documentaries. Using an interdisciplinary approach, the aim is to delineate effective ways of communicating scientific knowledge through documentary for broadcast television, increasing audience engagement while promoting awareness of sociocultural and biodiversity issues, specifically in the region of San Carlos, Tamaulipas in Mexico. This research proposes a model for production planning based on the Balance Value Impact Model (BVI) by Tanner, Simon [2020. Delivering Impact With Digital Resources: Planning Your Strategy in the Attention Economy. Facet Publishing]. This research is part of an interdisciplinary project titled Valuation and Resignification of the Cultural and Biocultural Heritage of the Mezcal Region of the Sierra de San Carlos, Tamaulipas, a national project encompassing the work of 29 scientists affiliated to the Universidad Autónoma de Tamaulipas in Mexico. [ABSTRACT FROM AUTHOR]

Clint Eastwood's American Sniper (2014) and Alba Sotorra's Game Over (2015) explore the inculcating pull of pop myths on soldiers. Eastwood's biopic focuses on Chris Kyle, American military history's most lethal sniper. Sotorra's documentary Game Over considers Djalal, an Iranian Catalan youth who moves from being an America-idolizing gamer to a sniper in Afghanistan. Initially, they see themselves as Western cowboys and perfect soldiers. War, however, leaves them disillusioned and traumatized. Via distinct generic formats (documentary v. feature film) and nationally determined political frameworks (US v. Spain), they ask: can mythologies fueling the post-9/11 war machine empty it of its force? Mobilizing postcolonial, disability, and trauma studies, this comparative analysis theorizes how objects of soft power can both harden a soldier's mind and liberate it from the battlefield's thrall. Ultimately, the article reveals contrasting, potentially limited strategies subjects across cultures deploy to break the hold of American visions of power. [ABSTRACT FROM AUTHOR]

The present text establishes a narrative of the filmmaking process by the authors of Facts of life. A film developed with 18 hours of video from Gilles Deleuze's courses at the University of Vincennes (1975-76). A working material taped by Marielle Burkhalter as part of her Master Project "film thoght in its becoming".

In this article, I draw on three documentaries I have made (Growing Up Married [2016], Lifeline [2020], and Left Behind [2023]) on different forms of gendered violence. I use these as examples to discuss ways in which films made within academic contexts can inform and influence policy. While doing so I reflect on how I built a network of policy makers and charities and used film as a potentially useful tool for partnership development. I explore how scholars can consider filmmaking as a form of activism while arguing that strategies developed within the frame of creative practice afford us alternative ways of promoting social, cultural and political change. I examine the relationship between academic research and activism and the specific role that filmmaking can play in enhancing/problematising this relationship, and argue that the cultivation of impact (as activism) goes beyond institutional, and funding imperatives.

Writer and director Elaine McMillion Sheldon begins her latest documentary, King Coal , with a funeral rite. A multigenerational, multiracial procession of people in black clothing walks slowly up a country road. All is quiet except for the sound of insects and a steady drum. Who are these mourners? Sheldon lets the mystery linger. But we learn eventually that the solemn rite is for a king—King Coal—or perhaps for the past he represents. [ABSTRACT FROM AUTHOR]

Abstract Conflict between humans and elephants is one of the more complex examples of human‐wildlife conflict, a key challenge for wildlife conservation. While interventions exist to separate humans from elephants, few exist aimed at bringing the two species closer together. This study assesses if a natural history film, The Elephant Queen (TEQ), makes communities living around elephants more tolerant of conflict with elephants. Questionnaires and interviews were conducted before and after seeing the film screened on a mobile cinema in Southern Kenya. A double robust ordinal regression analysis using 357 matching specifications to measure the effect size of viewing TEQ on the six criteria identified as being drivers of tolerance of a wild animal by the Hazard Acceptance model. This study found that students aged between 16 and 18 gained knowledge (mean effect size = 0.27) and affection (mean effect size = 0.17) towards elephants and felt the benefits of elephants more keenly (mean effect size = 0.26) following viewing TEQ. Community members aged between 16–80 also gained knowledge (mean effect size = 0.21) and saw the benefits of elephants (mean effect size = 0.15) but felt the costs of living with elephants more profoundly after viewing TEQ (mean effect size = −0.11). After 90 days a follow‐up survey also showed a significant increase in community “affection” towards elephants (mean effect size = 0.11), however the costs, benefits and knowledge gained had been reduced to a statistically insignificant level compared to baseline. Our results suggest that natural history films can serve as a valuable tool in inspiring young minds. When shown to an adult audience, changes were more nuanced and some of the changes were short lived (

This article centers on two documentaries about migrant women in their home: At Jolie Coiffure (Chez Jolie Coiffure, 2018) and Delphine’s Prayers (Les Prières de Delphine, 2021), both directed by by Rosine Mbakam. I put in conversation the home as a private space and the home as a national construction which creates categories of exclusion and restrictions. I argue that Rosine Mbakam performs an act of “decolonial framing” by taking an antiethnographic approach and creating documentary events—including the filmmaking process, the film viewing, and real-life interactions centering on the film. This transnational cinema of confrontation creates community for Black, diasporic, and African audiences while reversing the gaze against white audiences. Mbakam films the home to showcase instances of resistance to institutional racism and colonial duress. Showing the home on screen also opens the way to create better homes for all through multiple avenues of participation. First, I analyse Mbakam’s filmmaking process and her own involvement on screen as a co-creative act, I then look at her composition which reflects the complex dwellings of the protagonists and how they are shaped by architecture. Finally, I look at the reception of her films to show how her mobile cinema activities provide the infrastructure for making new home spaces.

As a teenager in the eighties, French filmmaker Sébastien Lifshitz scoured flea markets for amateur photographs. In 2013, he assembled a book titled The Invisibles comprised of snapshots depicting queer lives. He included a pair of Kodachrome images, which replicate a near-identical domestic scene in the 1960s: two aging women in their bourgeois home sit at a table, embracing as they look at the camera. Taking as a point of departure these personal photographs, this article focuses on two documentaries that queer postwar domesticity: Lifshitz’s The Invisibles (2011) and Magnus Gertten’s Nelly and Nadine (2022). In his film, Lifshitz not only includes postwar snapshots and home movies, but also reinvents the amateur dispositif. He interviews queer aging men and women inside their homes, challenging social exclusion and stigma based on gender nonconformity and aging. In Nelly and Nadine, a sexagenarian named Sylvie retrieves home movies from her attic that uncover a lesbian love story between her grandmother Nelly and a fellow survivor of Ravensbrück named Nadine. Decades later, the centrality of the domestic space and the amateur archive in these two documentaries offers a lesson in seeing the home as survival and unlearning the master narratives of the postwar era.

The emergence of virtual reality (VR) humanitarian filmmaking as a genre over the past ten years has generated a large body of critical debate around the efficacy and ethics of VR as a tool for generating empathy towards marginalised communities. Whilst numerous studies have indicated the potential for VR to impact empathy levels of end users, there have been recurrent critiques of the power dynamics of VR production, as well as the value of empathy as a means of producing social change. Lacking in these discussions has been a detailed consideration of VR aesthetics and the extent to which stylistic strategies impact audience positioning. Through the example of the animated VR experience The Key (Celine Tricart, 2019), this article will explore experience design in the context of ethical debates around humanitarian VR. As an interactive, narrative experience that addresses themes of loss and displacement, The Key can be productively analysed in relation to both VR ethics and wider cultural understandings of home and belonging. Responding to ethical debates around proximity within immersive experiences, the article will examine aesthetic strategies within The Key for ensuring what Roger Silverstone has labelled “proper distance” between the user and the virtually represented space. Through its use of visual abstraction and simplification, as well as the limited physical interaction it affords with its virtual world, the virtual home of The Key will be understood as a site of resistance to universalising narratives of home, one which invites critical reflection on the factors that determine our access to shelter.

Although documentary ethics is a fairly well discussed subject, there is a need for discourse on the ethics of working with archives, particularly film-based archives. This paper seeks to encourage discussion as to the ethical ramifications and responsibilities of working with archive material. Arguments on the nature of archive and what archive represents are explored, and the delineation between documentary, journalism, and archive is investigated. Examples of what might be considered ethical and unethical usage of archive material are investigated for insight into what any code of archive ethics might need to consider. The Ethics of Archive in Documentary Filmmaking explores the use of archival materials and the ethical responsibilities inherent in using such a resource, including the challenges posed by the blending of historical truths with artistic representations. It discusses the tension between objectivity and artistic licence, reflecting on the role of documentary as a mediator of reality. By raising these ethical questions and emphasising the importance of understanding the meaning and purpose of an archive, Ethics of Archive in Documentary Filmmaking prompts media practitioners to consider the broader implications of their work in a world where the line between fact and fiction can become blurred. [ABSTRACT FROM AUTHOR]

This article provides a content analysis of 10 interactive Russian-language and English-language projects to isolate documentaries from them and analyze the structure to derive the principles of constructing the narrative of an interactive film. Based on the study, the authors deduce three patterns of regularities of constructing the narrative of an interactive documentary film: a clear project structure with rationally chosen techniques that complement each other as part of the designer; the choice of a story, whose perception should not be linear and can be formed from independent elements; creation of convenient navigation, intuitive for users, as well as the creation of instructions for a complex project form. Interactive documentary films in this article are compared with video games, with which this direction of documentary science is similar to the user as a coauthor, as well as the use of technology. The article discusses the technology of shooting 360 degrees, which allows the user to "look around". Considering the growing popularity of streaming channels, and web projects, interactive film has a future in documentary filmmaking. Creating an interactive film requires not only knowledge of technology and multimedia storytelling techniques, but also a solid foundation in perception psychology, and storytelling theory, as well as the ability to study and reinterpret the experiences of video game creators. [ABSTRACT FROM AUTHOR]

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The article seeks to understand how the application of theoretical approaches in documentary filmmaking improves students’ conceptual and analytical skills. Through the delivery of a theoretically orientated documentary module, the motivation of the study emerges from the authors’ own observations that the integration of practice can support students to better conceptualise theoretical approaches. Notably, the module is delivered at a Sino-British University within the School of International Communications, where most students are of Chinese nationality. The originality of this article arises from inclusion of data encompassing Chinese students’ views enrolled in a theoretical documentary course as part of their communications degree, data that is lacking in current literature. The article contributes to knowledge specific to how higher education instructors delivering a theoretical documentary module can better serve students pedagogically from Mainland China. The significance of these findings should not be underplayed, particularly as higher education students from Mainland China in the fields of the social sciences, humanities and the arts find critical thinking and debating skills demanding. Conclusions reached are strengthened by the employment of deductive thematic analysis to unpack the gathered interview data, which is crystallised by the application of Kolb’s experiential learning model as the theoretical framework. [ABSTRACT FROM AUTHOR]

This study in media practice provides insights on video production for holographic prism projection, which has become more accessible as smart flat screens have become more available. The study reflects on the experiences of producing, installing and viewing a documentary video projected via holographic prism, titled 'FarNearFutureNow.' Engaging the participation of Extinction Rebellion (XR) members, this university-funded production included recording and combining interview footage with energy policy texts in the visual style of the hologram scene from Star Wars, the 1977 science-fiction film. With viewer co-experience, environmental politics and legacies of colonialism in mind, we produced a 5-minute video and prism projection system for public exhibition. FarNearFutureNow was produced through collective processes of gathering, assembling, reviewing, storyboarding, scripting and editing interview footage and other recordings as well as testing and fabricating installation materials. These production processes enabled us to understand the affordances of creative darkness in holographic production for disassociating and recombining visual elements. The hologram's disassociated focus on a single object proved useful in drawing audience attention and for assembling non-fiction elements in sequences referencing popular fiction. It is also useful for showing radically different visual scales in sequence, and for simultaneously juxtaposing audio and visual scales. [ABSTRACT FROM AUTHOR]

A masterclass in Serbia on documentary film debates creativity. Experimental and documentary filmmakers in the region assert the boundaries of documentary in order to transgress them. Creativity offers a means to authenticity, animated through viewers' projection. Approaching authenticity as animated rejects preoccupations with the mechanical indexicality of the camera. Rather than focusing on index as trace, the ambivalence of indexicality productively moves between representation and reality. This highlights two paradoxes of documentary: that fictional techniques create a real world and that individuals animate types. Authenticity is fragile. Documentary creativity celebrates this vulnerability, inviting visual anthropology to experiment, as well. [ABSTRACT FROM AUTHOR]

This article explores how visible constructions and perceptions of sovereignty in the motion pictures of the United States Information Agency (USIA) factored into the dynamics of US Cold War foreign policy amidst the rise of the Non-Aligned Movement. Specifically, it focuses on agency films about and circulating within the Southwest Asian and North African (SWANA) region – such as the locally produced Iraq al-Youm newsreels (c.1956–58). By mapping the different policy contexts of the Eisenhower and Kennedy administrations onto the USIA films' aesthetics and themes, the article illustrates continuities in the United States's attempts to expressively leverage images and evocations of sovereignty to sell and consolidate its policy interests in the region. [ABSTRACT FROM AUTHOR]

The main objective of this study was to explore the benefits of the use of educational audio-visual materials in facilitating learning for students with hearing loss. The study analysed whether students with hearing loss had a visual learning preference when they watched an audio-visual and if the images present contributed to the retention of more information by this group. The study sample was made up of 28 participants, from 7 to 9 years old, of whom 14 had prelingual hearing loss and 14 were age- and sex-matched students without hearing loss. They were all schooled together in general education classrooms in an oral modality. They were asked to watch an educational video and then to describe its contents orally. The results obtained from analysing the references to the video content indicate that, despite the fact that the hard of hearing group made greater reference to video content transmitted from the images than the group without hearing loss, the effect does not achieve statistical significance. The study reinforces the idea that deafness does not determine a specific learning preference. [ABSTRACT FROM AUTHOR]

This article seeks to point out a phenomenon in Israeli cinema: a return to the story of the binding of Isaac [the akedah] in its biblical version. Against the background of the traditional casting of the akedah myth in Israeli art, where the miracle of Isaac’s rescue is replaced by his death, and the ram is missing from the picture, recently Israeli documentary films have appeared that deal with combat stress reaction, which shapes the story of the akedah in a way that is faithful to the biblical story. They reinstate within the plot the story of Isaac’s replacement by a ram and describe life after Isaac saw the knife raised over him, where the traumatic memory of the past upsets the routine of the present. At the same time, the films are informed by the Israeli art tradition, with one film adopting the hegemonic view of Abraham, who raises the knife, while the other adopts the critical view of Sarah, the mother, who identifies with the victim. [ABSTRACT FROM AUTHOR]

This article examines the various forms of reenactment in contemporary Israeli documentary cinema. It argues that current documentary reenactments challenge—along the axes of nationalism, gender, class, and ethnicity—the traditional distinctions between past and present, documentary and fiction, reference and representation. They offer the possibility of bringing the past into the present, and simultaneously awarding a new aesthetic form to the historical event appearing on the screen for the first time. The reenactments give presence to the past, while at the same time showing the impossibility of returning to it in its entirety. They put into question the very borders of documentary cinema as well as raising ethical issues about the ontological status of documentary “truth.” Moreover, through reenactments, contemporary documentaries aspire to retrieve lost voices and bodies, forgotten testimonies and histories of Israeli society’s Others, and to give them new visual form so that they can find new listeners. [ABSTRACT FROM AUTHOR]

The aim of this article is to analyse how the new distribution windows interrupt the distribution of audiovisual content. For this purpose, the case of the production company Infinito+1 is studied when it comes to targeting a specific audience segment: the religious community. The behaviour of this type of niche audience offers a variety of possibilities for content distribution, such as crowdfunding, crowdsourcing or platform on demand. These actions are analysed and studied with the idea of understanding the actuality of the audience and the distribution of the content. The main conclusion is the importance of branding to generate awareness. [ABSTRACT FROM AUTHOR]

News organizations in recent years have embraced documentary film. From streaming ventures to Academy Award nominations, newsrooms are producing documentaries to reach new audiences and maintain their relevance in changing media cultures. This study examines documentary's surging popularity among news outlets and addresses two questions: How does the political economy of media affect filmmakers' editorial decisions and aesthetic choices? And, how do seemingly commonplace audiovisual and production techniques – such as music, lighting, sound design, and directing – complicate journalistic norms? Drawing on in-depth interviews with journalistic filmmakers (n = 24), the study offers three findings: the political economy of digital media is altering the production and distribution models for documentary, creating ethical dilemmas for filmmakers; the relational dynamics among filmmakers, participants, and audiences significantly inform the ethical frameworks that filmmakers use; and the 'emotional truth' of documentary storytelling forces filmmakers to reevaluate their conceptions of objectivity and neutrality. The study illuminates the relationship between documentary and journalism, and details how filmmakers are navigating the increasingly-blurry boundaries between these fields. [ABSTRACT FROM AUTHOR]