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Filmé dans un centre de rééducation pour amputés, La mécanique des corps de Matthieu Chatellier (France, 2016) s’attache à un métier peu représenté au cinéma, celui de prothésiste, médiatisé ici par un regard singulier. Seul et unique technicien du film qu’il est en train de tourner, le réalisateur arpente les couloirs du centre hospitalier «appareillé» de sa caméra, gérant seul l’image et le son. En filmant la pose de prothèses, il entre en relation avec des praticiens et des patients dont la condition résonne avec la sienne. Confrontant analyse de séquences et propos du réalisateur, cet article montre ce que le cinéma direct (ses procédés techniques et cinématographiques) permet de restituer dans la représentation du travail, ainsi que la relation particulière entre le filmeur et le sujet qui s’y découvre. Filmed in a rehabilitation centre for amputees, Matthew Chatellier’s La mécanique des corps (France, 2016) focuses on a rarely represented profession in cinema, that of a prosthetist, mediated here by a unique perspective. As the sole technician of the film he is shooting, the director roams the halls of the hospital equipped with his camera, managing both the image and the sound on his own. By filming the fitting of prosthetics, he enters into a relationship with practitioners and patients whose condition resonates with his own. This article analyses how “direct cinema” (its technical and cinematic processes) can be used to depict work and the particular relationship between the filmmaker and the subject that emerges.

This contribution will examine different communicative and narrative strategies adopted by some documentary productions in order to visualize something invisible, like the virus and its effects. Through the case studies I will take into account, my intent is to reflect upon the pandemic narration, which replaces or alternates the photographic realism of the images of pain and suffering, intended as scientific and incontrovertible proof of the virus manifestation, with a modernist narrative, mixing interviews with infographic material, maps, dashboards, photomicrographs, and computer graphics animations. Despite their profound mediation by software that makes pictures out of numbers, these informatic images, reported daily in news channels and broadcasts as well, besides shaping the relationships between scientific research, documentary, and its explanatory and pedagogical power to narrate, reconfigure the collective imagination of the pandemic in a bioinformation era.

Bu araştırmanın amacı; kapsamlı bir içeriğe sahip olan Batıya Doğru Akan Nehirbelgeselinin Sosyal Bilgiler Öğretim Programında yer alan kazanımlar açısındanincelenerek Sosyal Bilgiler derslerinde kullanılabilirliğini belirlemektir.Araştırma nitel araştırma yöntemlerinden doküman analizi yöntemine göreyapılandırılmıştır. Araştırmanın çalışma grubu Batıya Doğru Akan Nehir belgeselve 2018 tarihli Sosyal Bilgiler Dersi Öğretim Programından oluşmaktadır.Araştırma verilerinin toplanmasında hem araştırma modeli hem de veri toplamaaracı olarak değerlendirilen doküman analizi yöntemi kullanılmış, elde edilenverilerin analizinde betimsel analizden yararlanılmış, belgesel bölümlerindenyapılan doğrudan alıntılar ve ilişkilendirilen kazanımlar şeklinde sunulmuştur.Araştırma sonucunda; belgesel bölümlerinin toplamda 29 farklı kazanımlailişkilendirilebileceği, 49 farklı yerde Kültür ve Miras öğrenme alanıilişkilendirilebileceği ve en fazla ilişkilendirmenin 6. Sınıf Sosyal Bilgiler dersindeolduğu tespit edilmiştir. Belgeselin konu akışı Sosyal Bilgiler ÖğretimProgramında yer alan konularla paralellik gösterdiği için 5, 6. ve 7. sınıfseviyelerinde kullanılabilir olduğu ve Sosyal Bilgiler Ders Kitabı içeriğiyleparalel olduğu görülmüştür., The aim of this research is to determine the usability of the Batıya Doğru AkanNehir documentary, which has a comprehensive content, in Social Studies coursesby examining it from the point of view of the objectives in the Social StudiesCurriculum. The research is structured according to the document analysismethod, which is one of the qualitative research methods. The study group of thestudy consists of a documentary on the Batıya Doğru Akan Nehir and theCurriculum of the Social Studies Course of 2018. Document analysis is used bothas the research model and the data collection tool in this study, where theobtained data was analysed descriptively, and the results were presented in termsof extracts from the documentary with related curriculum objectives. As a resultof the research; documentary sections can be associated with a total of 29different objectives, Cultural and Heritage learning areas can be associated with49 different parts, and the maximum number of associations was found in the 6thgrade Social Studies Course Curriculum. It was determined that the documentarywas usable at the 5th, 6th and 7th grade levels since the content flow is parallel tothe topics in the Social Studies Course Curriculum and the Social Studies Coursebook materials

The impact of human-induced climate change poses a significant danger to both the natural environment and societies worldwide. Despite being widely acknowledged, the situation persists and continues to deteriorate. Communicating this issue beyond the scientific community is a complex and difficult endeavor. Climate change is unfolding on a time scale that is difficult for humans to grasp and comprehend. My Capstone project is an example of using storytelling, rather than scientific results, to create a bridge that connects people to the world of climate change science and those who dedicate themselves to its pursuit. Storytelling has the power to invoke emotions, increase knowledge, and inspire action. It serves as a vital method of passing down wisdom from one generation to the next. By embracing storytelling across generations, we can preserve a baseline of what is considered normal and prevent it from shifting. My short film, "Climate Stories From Generations of Changemakers”, shares the personal stories and emotions of young students and senior professors at the Scripps Institution of Oceanography, whose work is highly impacted by climate change. Through a series of interviews and conversations, the film offers glimpses into the life stories of these changemakers, showcasing their actions and hoping to inspire others to take action as well. Recognizing that motivation and ownership are crucial in engaging the public with science, this project aims to spark a sense of curiosity andempowerment among viewers.Please see the video produced for this project here:https://www.youtube.com/watch?v=a-ls4vTG5d0

Volumetric Video is a novel technology that enables the creation of dynamic 3D models of persons, which can then be integrated in any 3D environment. In contrast to classical character animation, volumetric video is authentic and much more realistic and therefore ideal for the transfer of emotions, facial expressions and gestures, which is highly relevant in the context of preservation of contemporary witnesses and survivors of the Holocaust. Fraunhofer Heinrich-Hertz-Institute (HHI) is working on two projects in this cultural heritage context. In a recent project between UFA and Fraunhofer HHI, a VR documentary about the last German survivor of the Holocaust Ernst Grube has been produced. A second project started in collaboration with the University Munich, faculty of languages and literature and Geschwister-Scholl-institute for political science, creating a concept for a VR experience together with Dr. Eva Umlauf, the youngest Jewish survivor in the concentration camp in Auschwitz. This paper presents key aspects of volumetric video and details about both projects including a discussion about the user perspective in such a VR experience.

Küresel iklim sorunu çağımızın en temel sorunlarından biridir. Her geçen gün farklı bir çevresel felaketle kendisini gösteren bu sorun, geri dönüşü zor etkilere işaret etmekte ve bu durum çağımızı “Antroposen Çağı” olarak nitelemektedir. Antroposen Çağı, yeryüzünü yaşama olanaklı kılan “Holosen” çağının sona erişi anlamına da gelmektedir. Konuya ilişkin kayda değer adımlar atmak bugünün iklim sorunlarını sona erdirmese de geleceği yaşanabilir kılma noktasında son derece önemlidir. Bilgi verme, farkındalık yaratma gibi adımlar gelinen noktada önem taşımakta ve böylece, iletişim araçları ile teknolojik yenilikler aracı rolü üstlenerek konuya dikkat çekmeye çalışmaktadır. Güncel bir teknolojik kavram olan sanal gerçeklik ve bir iletişim aracı olan sinema, iklim sorunlarını aktarmada yeni bir birliktelik yaratmaktadır. Bu doğrultuda çalışmada, iklim değişiminden kaynaklı çevresel felaketlerin 360 derece SG (Sanal Gerçeklik) belgesel yapımlarında kendisine nasıl yer bulduğunu konu edinmektedir. Deneyim odaklı SG teknolojisinin, konuya dair farkındalık kazandırmada ne tür bir rol üstlendiği ve belgesel yapımlarla nasıl bir birliktelik kurduğunu ortaya koymak çalışmanın temel amacıdır. Bu amaç doğrultusunda 360 derece SG tekniğiyle çekilmiş This is Climate Change (Danfung Dennis ve Eric Strauss, 2018) isimli dört belgeselden oluşan seri, betimsel analiz yöntemiyle incelenmektedir. İnceleme sonucunda belgesel film ile sanal gerçeklik teknolojisinin seyircide meydana getirdiği orada olma hissinin, “bedenleşme”, “sarmalanma” ve “tanık olma” etkileri ortaya koyduğu görülmektedir. Seyirci ile film arasındaki mesafenin ortadan kalktığı bu anlatı biçimi, yeni bir dil yaratmakta ve iklim sorunlarından kaynaklı çevresel felaketleri “o an” ve “orada olma” özellikleriyle aktarmaktadır., The global climate problem is one of the most fundamental problems of our age. This problem, which manifests itself with a different environmental disaster every day, points to effects that are difficult to return, and this situation characterizes our age as the “Anthropocene Age”. The Anthropocene Era also means the end of the “Holocene” age, which made the earth possible for life. Although taking significant steps on the subject does not end today's climate problems, it is extremely important in making the future livable. Steps such as providing information and raising awareness are important at this point, and thus, it tries to draw attention to the subject by taking the role of communication tools and technological innovations. Virtual reality, which is a current technological concept, and cinema, which is a communication tool, create a new unity in conveying climate problems. In this direction, the study deals with how environmental disasters caused by climate change find their place in 360 degree VR (Virtual Reality) docu- mentary productions. The main purpose of the study is to reveal what kind of role the expe- rience-oriented VR technology plays in raising awareness on the subject and how it cooperates with documentary productions. For this purpose, the series consisting of four documentaries named This is Climate Change (Danfung Dennis & Eric Strauss, 2018), shot with 360-degree VR technique, is analyzed by descriptive analysis method. As a result of the examination, it is seen that the feeling of being there created by the documentary film and VR technology in the audience has the effects of embodying, embracing and witnessing. This narrative form, in which the distance between the audience and the film disappears, creates a new language and conveys environmental disasters caused by climate problems with the features of “at that moment” and “being there”

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darba „Dokumentālā īsfilma par mīlestību virtuālajā vidē” mērķis ir izveidot dokumentālo īsfilmu, gūstot ieskatu, kas ir mīlestība virtuālajā vidē, kas raksturīgs attiecībām, kuras pamatā ir komunikācija virtuālajā vidē. Pasaulē nav aizritējusi neviena diena, kad cilvēku starpā nenorisinās komunikācija, atšķiras vien komunikācijas veidi, tāpēc tā kļuvusi par ikdienišķu un dabas dotu parādību, ar saviem noteikumiem, paņēmieniem un nozīmi. Par to daudz netiek runāts un domāts, līdz brīdim, kamēr rodas traucējumi un komunikācija apstājas. Dokumentālo īsfilmu, kas kā formāts atbilst mūsdienu multimediālo platformu satura lietojamībai, par sabiedrībā aktuālām tēmām rosina ne tikai skatītājus meklēt kontekstus, iedziļināties tēmā, bet arī veido rezonansi diskusijai. Akadēmiskais darbs sastāv no teorētiskās daļas, radošās koncepcijas, diskusijas un secinājumiem. Darba teorētisko struktūru veido trīs nodaļas, pirmajā nodaļā aplūkota virtuālā pasaule un tās koncepcijas un kiberkultūra jeb interneta kultūra. Otrā nodaļa aplūko virtuālās attiecības, tādējādi izzinot iezīmes, kas raksturīgas digitālajai identitātei un tās reprezentācijas formām. Savukārt, trešā nodaļa ieskatās dokumentālajā, tostarp līdzdalības tipa dokumentālajā kino, kā arī īsmetrāžas filmas kā vēstījuma izklāstā. Radošajā koncepcijā aprakstīti dokumentālās īsfilmas mērķi, tips, forma, vēstījuma uzbūve, dokumentalitātes nodrošināšanas paņēmieni, vēlamā mērķauditorija, filmēšanas paņēmieni, tehnika, kā arī īsfilmas pēcapstrāde. Darba diskusijas daļā salīdzināts teorētiskajā daļā minētais un radošajā koncepcijā ietvertais ar bakalaura darba radošo galaproduktu un tā radīšanas procesa gaitu. Secinājumos apkopoti no darba teorētiskās daļas un radošās koncepcijas izrietošie secinājumi. Radošā darba galaprodukts ir 30 minūšu gara dokumentālā līdzdalības tipa īsfilma „Dokumentālā īsfilma par mīlestību virtuālajā vidē” kura pilnā apmērā tikusi veidota pēc darba autores ieceres un prasmēm. Filmā atspoguļots ieskats vairāku cilvēku pieredzē romantisku mērķu vadītā virtuālajā komunikācijā, īpašu uzmanību pievēršot individuālam gadījumam un piedzīvojumam no a līdz z, kas radusies nepieredzējušas filmu veidotājas pārziņā. The aim of the bachelor thesis "Documentary short film about love in a virtual environment" is to create a documentary short film, gaining insight into what love in a virtual environment is, what is inherent in a relationship based on communication in a virtual environment. Not a day goes by in the world when communication does not take place between people, but only in different ways, so it has become a common and natural phenomenon, with its own rules, techniques and meanings. It is not talked about or thought about much until there is a breakdown and communication stops. Short documentary, which as a format correspond to the usability of the content of today's multimedia platforms, on topics of societal relevance encourage viewers not only to search for contexts, to go deeper into the topic, but also to create a resonance for discussion. The academic work consists of a theoretical part, creative concept, discussion and conclusions. The theoretical structure of the thesis consists of three chapters, the first chapter deals with the virtual world and its concepts and cyberculture or internet culture. The second chapter deals with virtual relations, thus exploring the characteristics of digital identity and its forms of representation. The third chapter looks at documentary, including participatory documentary, as well as the short film as a message. The creative concept describes the aims, type, form, message structure, techniques of documentary, desired audience, filming techniques, techniques and post-production of the short documentary. The discussion part of the thesis compares the theoretical part and the creative concept with the final creative product of the bachelor thesis and the process of its creation. The conclusions summarise the findings of the theoretical part and the creative concept. The final product of the creative work is a 30 minute long documentary short film "Documentary short about love in a virtual environment", which has been produced in its entirety according to the author's intentions and skills. The film presents an insight into several people's experiences of romantic goal-driven virtual communication, focusing on an individual case and experience from a to z, created by an inexperienced filmmaker.

Cet article est le fruit de la réflexion de deux documentaristes face à la fabrication des rushes. De la conception de l’image et de la préparation des entretiens lors du tournage, au choix de l’image et de la sélection des extraits « d’ITV » lors du montage se joue l’existence même des rushes, leur exploitation et leur éventuel devenir au-delà de l’existence du film. À travers trois expériences de réalisation au Pérou, en Bolivie et au Chili, ils racontent leur manière de produire des rushes et leur souci de les conserver bien au-delà du montage final. This article is the reflection of two documentary filmmakers about the production of rushes. From the conception of the image and the preparation of the interviews during the shooting, to the choice of the image and the selection of the “ITV” extracts during the editing, plays out the very existence of the rushes, their use and their eventual becoming beyond the existence of the film. Through three directing experiences in Peru, Bolivia and Chile, they tell about their way of producing rushes and their concern to preserve them well beyond the final cut.

A contribuição do cinema documentário para a compreensão de fatos históricos e pautas contemporâneas tem se confirmado nos últimos anos com uma produção significativa de filmes, sobre temas variados. Este artigo aborda a obra do cineasta baiano Antonio Olavo, realizador de cinco filmes documentários de longa metragem, uma série para TV e diversos curtas e médias-metragens sobre a história social e, particularmente, a memória negra no Brasil. Buscamos compreender a trajetória profissional do cineasta entrelaçada com sua história de vida, as concepções sobre o fazer cinematográfico e as esferas de influências incorporadas em sua obra. Para isso apresentamos seus principais filmes, destacando a série documental Travessias Negras (2017) sobre trajetórias particulares de estudantes universitários cotistas, buscando referências nas narrativas que se articulam em continuidades e rupturas, evidenciando sentidos diante do padrão de discriminação racial que se faz presente na sociedade brasileira. Privilegiamos o entendimento sobre cinema e narratividades a partir de autores como Xavier (2003), Bernadet (2017), Benjamin (1994), Matos (2001), entre outros, e utilizamos entrevistas com o cineasta colocando em perspectiva suas percepções acerca das lutas históricas de resistência, sobre preconceito, racismo, políticas afirmativas e cinema negro. The contribution of documentary film to the understanding of historical facts and contemporary causes has been confirmed in recent years with a significant production of films, on various themes. This article covers the work of Antonio Olavo, a filmmaker from the State of Bahia in Brazil, and director of five feature-length documentary films, a TV docuseries, and several short and medium-length films on social history and, in particular, content honoring the memory of the Black culture and history of Brazil. We seek to understand the professional trajectory of the filmmaker intertwined with his life story, the conceptions about cinematographic making, and the spheres of influences that are incorporated in his work. For this, we present his main films, highlighting the documentary series Travessias Negras (2017) which report on unique trajectories of students accepted in universities through affirmative action policies (know as "cotistas"), seeking references in narratives that are articulated in continuities and ruptures, showing meanings in face of the racial discrimination pattern that is present in the Brazilian society. We privilege the understanding of cinema and narrativity from authors such as Xavier (2003), Bernadet (2017), Benjamin (1994), Matos (2001), among others, and we used interviews with the filmmaker putting in perspective his perceptions about the historical resistance struggles, about discrimination, racism, affirmative policies, and Black cinema. La contribución del cine documental a la comprensión de hechos históricos y pautas contemporáneas se ha confirmado en los últimos años con una importante producción de películas, sobre diversos temas. Este artículo trata sobre la obra del cineasta bahiano Antonio Olavo, director de cinco largometrajes documentales, una serie de televisión y varios cortometrajes y mediometrajes sobre la historia social y, en particular, la memoria negra en Brasil. Buscamos comprender la trayectoria profesional del cineasta entrelazada con su historia de vida, las concepciones sobre la realización cinematográfica y las esferas de influencias incorporadas en su obra. Para ello, presentamos sus principales películas, destacando la serie documental Travessias Negras (2017) sobre trayectorias únicas de estudiantes universitarios en politicas de acciones afirmativas, buscando referencias en narrativas que se articulan en continuidades y rupturas, mostrando significados frente al patrón de discriminación racial que está presente en la sociedad brasileña. Privilegiamos la comprensión del cine y las narratividades de autores como Xavier (2003), Bernadet (2017), Benjamin (1994), Matos (2001), entre otros, y utilizamos entrevistas con el cineasta poniendo en perspectiva sus percepciones sobre las luchas históricas de resistencia, sobre prejuicios, racismo, política afirmativa y cine negro.

How to address and cope with the complexity of the ecological breakdown as a documentary moving image artist? This text contends that the causes and the consequences of the current ecological situation create some challenges for documentary-orientated artistic practices. These challenges are on the one hand related to the overwhelming complexity of the Anthropocene. On the other hand, as addressed in this text, these challenges are connected to dominant assumptions related to the label ‘documentary’. By revisiting the roots of the documentary this article examines how the documentary mode can be productive for the planet’s present and future challenges. This endeavour will be illustrated by the way Belgian artists Hannes Dereere and Silke Huysmans use and present documentary footage in their documentary-performance Pleasant Island. Their thoughtful use of today’s most omnipresent device, the smartphone, problematizes the traditional responses of the documentary mode on climate emergency, whilst at the same time, their use of moving images and the instrument that produced these images insists to think today’s emergencies together.

International audience; This paper examines the theatricalized depiction of multitude in a series of images from 2015 by Italian photographer Alex Majoli, who was then based in New York, documenting the arrival of migrants in Greece and their journeys through Europe. It argues that Majoli’s black-and-white photographs of crowds and groups of migrants circumvent the opposition between the universal and the specific, fiction and documentary, offering an evocative and debatable portrayal of abstract “masses”. It draws on the analysis of Majoli’s aesthetic strategy, which stages the invisible frontiers constituting the collective category “migrants.” It also explores the photographer’s departure from a quest for singularity, breaking with a pattern found in the work of other documentary photographers who have explored this subject.; Cet article porte sur la représentation théâtralisée de la multitude dans une série d’images prises en 2015 par le photographe italien Alex Majoli, alors basé à New York, documentant l’arrivée de migrants en Grèce et leurs voyages à travers l’Europe. Il démontre comment les photographies en noir et blanc de foules et de groupes de migrants de Majoli contournent l’opposition entre l’universel et le particulier, la fiction et le documentaire, offrant un portrait évocateur et contestable des « masses » abstraites de réfugiés. Il s’appuie sur une analyse de la stratégie esthétique de Majoli, qui met en scène la frontière invisible constituant la catégorie collective des « migrants », et de sa rupture avec la quête de l’individualité, habituellement de mise dans le travail des photographes sur ce sujet.

Toplumlar, geçmişten günümüze kadar ekonomik, siyasi, dini, kültürel ve toplumsal alanda çeşitli gelişmeler yaşamıştır. İnsanlığın ilk dönemlerinden içinde bulunduğumuz çağa kadar olağanüstü değişim ve dönüşümlerin yaşandığı su götürmez bir gerçektir. Yaşanan bu değişim ve dönüşümler, bireyleri etkilemekte ve bireylerin toplumsal hafızalarının oluşmasına katkıda bulunmaktadır. İçinde yaşanılan çağın ruhuna uygun olarak bireyler ve toplumlar, her türlü olay ve olguya ortak veya farklı tepkiler vermekte; gerektiğinde toplumsal dönüşümün sağlanması adına eylemlerde bulunmaktadır. Bu anlamda, toplumları etkileyen ve onların zihinlerinde yer eden olayların birikmesi ile toplumsal bellek oluşmaktadır. Toplumsal belleğin oluşmasında ve sosyal gruplara aktarılması sürecinde ise medya önemli bir araç konumundadır. İletişim teknolojilerinde yaşanan gelişmeler ile 1970’li yıllardan itibaren televizyon, 2000’li yıllardan itibaren ise dijital teknolojiler, toplumsal belleğin konsolide edilmesi ve nesilden nesle aktarılmasında önemli rol oynamıştır. Toplumsal belleğin oluşmasında medyanın rolüne odaklanılan bu çalışmada; Türkiye’nin demokrasi yolculuğunu ve toplumsal gelişmelerini dönemler halinde işleyen 32. Gün Belgeselleri, toplumsal bellek ekseninde içerik analizi yöntemiyle incelemeye tabi tutulmuştur. Çalışma neticesinde, 32. Gün Belgeselleri’nin dönemin politikacıları, gazetecileri ve askeri yetkilileri aracılığı ile ürettiği içeriklerle yakın tarihe ışık tuttuğu ve geçmiş dönemlere ait tarihsel olayları aktarırken toplumsal belleğin oluşmasına katkı sağladığı gözlemlenmiştir., Societies have experienced various developments in the economic, political, religious, cultural and social fields from the past to the present. It is an indisputable fact that there are extraordinary changes and transformations from the early days of humanity to the age we are in. These changes and transformations affect individuals and contribute to the collective memory of individuals. In accordance with the spirit of the age, individuals and societies react jointly or differently to all kinds of events and phenomena; takes action to ensure social transformation when necessary. In this sense, collective memory is formed by the accumulation of events that affect societies and take place in their minds. Media is an important tool in the formation of collective memory and transferring it to social groups. With the developments in communication technologies, since 1970’s television and since 2000’s digital technologies has been playing an important role in consolidating collective memory and transferring it from generation to generation. In this study, which focused on the role of media in the formation of collective memory; 32nd Gün Documentaries functioning journey into Turkey's democracy and social developments of the period are subject to review by content analysis in the collective memory axis. As a result of the study, it has been observed that 32nd Gün Documentaries shed light on recent history with the content produced by the politicians, journalists and military officials of the period and contributed to the formation of collective memory while conveying the historical events of the past.

Resumen: Este artículo indaga en las transiciones entre escalas como estrategia artística durante el período dictatorial y postdictatorial en Chile. Se presenta el documental Nostalgia de la luz (2010), de Patricio Guzmán, y el trabajo del Colectivo de Acciones de Arte (1979-1985) como estrategias de replanteamiento tanto de las posibilidades de la imaginación política como de la agencia política del arte a través de los efectos escalares y las bifurcaciones que inscriben en el relato lineal histórico. A partir de esos saltos entre espacios y tiempos, y entre actores humanos y no humanos (abordados desde las consideraciones de Anna McCarthy, Manuel de Landa, Neil Smith y Timothy Clark), argumentaremos que el «desmayo de la representación» efectuado por la dictadura (rastreado por Alberto Moreiras, Nelly Richard y Willy Thayer) resuena en esos experimentos escalares que, en una trama más amplia, llegan hasta el reciente estallido social en Chile y el plebiscito de 2020. Abstract: This article inquiries into the transitions between scales as an artistic approach during dictatorial and post-dictatorial Chile. Patricio Guzmán’s documentary Nostalgia de la luz ;Nostalgia for the Light; (2010), and the work of Colectivo Acciones de Arte ;Collective Art Actions; (1979-1985) are presented as strategies to rethinking both the possibilities of political imagination and the political agency of art, through the scalar effects and splits engraved in a linear historical account. based on these leaps between times and spaces, between human and non-human actors (addressed from the considerations of Anna McCarthy, Manuel de Landa, Neil Smith, and Timothy Clark), we will argue that the “fainting of representation” performed by dictatorship (trailed by Alberto Moreiras, Nelly Richard, and Willy Thayer) reverberates in those scalar experiments that, within a broader weave, go up to the recent social outburst in Chile and the national plebiscite of 2020. Resumo: Esse artigo pesquisa as transições entre escalas como estratégia artística durante o período ditatorial e pós-ditatorial em Chile. Apresenta-se o documentário Nostalgia de la luz (2010), de Patricio Guzmán, e o trabalho do Coletivo Ações de Arte (1979- 1985), como estratégias de revisão tanto das possibilidades de imaginação politica quanto de agenciamento politico da arte, através dos efeitos escalares e as bifurcações que se inscrevem no relato lineal histórico. A partir dessas mudanças entre espaços e tempos, e entre atores humanos e não - humanos (tratados desde as considerações de Anna McCarthy, Manuel de Landa, Neil Smith e Timothy Clark), argumentamos que o “desmaio da representação” ocasionado pela ditadura (pesquisado por Alberto Moreiras, Nelly Richard e Willy Thayer) ecoa nesses experimentos escalares que, em um argumento mais extenso, chegam até a recente manifestação social e o plebiscito de 2020.

I argue that virtual reality (VR) documentaries mandate that users employ a fictional attitude toward their presence in a virtual environment (VE) for the purpose of engaging with nonfictional content. The most salient feature of VR is that VR users typically feel as though their bodies were present in a VE. This paper explores presence in VR as a perceptual illusion facilitated by certain technological features. Drawing on Kendall Walton’s concept of fiction, I argue that the illusion of presence in VR also requires a fictional attitude that VR users employ when imagining themselves in a VE. In the case of VR documentaries, while users’ attitude in regards to the feeling of presence is best characterized as make-belief, they nevertheless employ an attitude of belief in regards to the content of the documentary and accept this content as nonfictional. Publisher PDF

While war films contribute to the construction of collective memory, few of them address the changes implied by drone warfare. Drone operators work from remote places and share only one space: the screen that conveys drone images. The possibilities for dramatic actions are too few for a spectacular mise-en-scene: Eye in the Sky (Gavin Hood, 2016) and The Good Kill (Andrew Niccol, 2014) slow down the pace of the narrative to focus on the drones’ power of surveillance. The duration of observation sequences creates spaces for reflection and ethical debates about the military strategy of drone strikes. Such reflection pervades National Bird (Sonya Kennebeck, 2016) and Drone (Tonje Hessen Schei, 2014), two documentaries built from the testimonies of drone operators. This article explores the questions posed in theses fiction and non-fiction films through referring to growing drone literature developed in response to the political arguments in favor of drone warfare. Bien que les films de guerre participent à la construction de la mémoire collective, peu d’entre eux abordent les changements qu’implique la guerre des drones. Les opérateurs de drones travaillent depuis des lieux éloignés et ne partagent qu’un seul espace : l’écran qui relaie les images filmées par des drones. Les possibilités d’inclure des scènes d’action sont trop limitées pour une mise en scène spectaculaire : Eye in the Sky (Gavin Hood, 2016) et The Good Kill (Andrew Niccol, 2014) ralentissent le rythme du récit en focalisant sur le pouvoir de surveillance des drones. La durée des séquences d’observation crée des espaces de réflexion pour des débats éthiques sur la stratégie militaire des frappes de drones. Des réflexions comparables sont abordées dans National Bird (Sonya Kennebeck, 2016) et Drone (Tonje Hessen Schei, 2014), deux documentaires construits à partir des témoignages d’opérateurs de drones. Cet article explore les questions posées dans ces films de fiction et de non-fiction en se référant à la littérature croissante sur les drones, développée en réponse aux arguments politiques en faveur de la guerre des drones.

Dans un geste éthique et polémique, Godard remploie la photographie documentaire ou de reportage dans ses films. Il modifie la réalité matérielle et l’énonciation immatérielle du document pour en ouvrir le réseau de significations et dénoncer les crimes de guerre. À travers trois « dispositifs » photographiques, nous analyserons les enjeux de la relation entre document et fiction dont le cinéaste restaure l’alliance originelle par une poétique de transfiguration des traces du réel à Sarajevo. As an ethical and polemical act, Godard reuses documentary and reportage photography in his films. The filmmaker edits the material reality and intangible expressions found in such documents to open a network of meanings and to denounce war crimes. Through three photographic "devices", the article analyses the issues of the relationship between document and fiction. The filmmaker restores this original alliance by a transfiguring imprint of traces of reality in Sarajevo.

Cet article se concentre sur le travail photographique de Stan Douglas, en particulier sur la série Crowds and Riots (2008) où l’artiste reconstitue des événements historiques survenus dans sa ville natale, Vancouver. Les quatre images de grand format qui composent cette série créent une narration complexe à plusieurs niveaux, où les faits et la fiction s’entrelacent : chaque image fonctionne comme une « hétérochronie » où la temporalité des événements historiques se fond avec la temporalité technique du montage et de la post-production. This paper focuses on the photographic work of Stan Douglas and in particular on the series Crowds and Riots (2008), where the artist re-enacts specific historical events that occurred in his hometown, Vancouver. The four large-scale pictures that compose the series create a complex multi-layered narration, where facts and fiction are intertwined: each image works as a “heterochrony”, where the temporality of historical events combines with the technical temporality of montage and post-production.

En se fondant sur la description de quelques Prises de vue latentes d'Aurélie Pétrel qui permettent d'analyser ses photographies dans leur état premier, avant qu'elles ne soient activées par l'artiste, cet article vise à montrer comment, à partir d'une pratique documentaire, peut s'instaurer un sentiment d'arrangement du réel qui « fictionnalise » le document. La mise en suspens singulière des espaces, des gestes et des corps contribue à produire une œuvre non plus « Near Documentary » selon l’expression de Jeff Wall, mais « Near Fiction ». Based on the description of some of Aurélie Pétrel's latent photo shoots that enable us to analyze her photographs in their initial state, before they are activated by the artist, this article aims to show how, starting from a documentary practice, a sense of arrangement of the real can be established that "fictionalizes" the document. The singular suspension of spaces, gestures and bodies contributes to produce a work that is no longer « Near Documentary » in the words of Jeff Wall, but « Near Fiction ».

L’Illusion nationale. Deux ans d’enquête dans les villes du FN et Les Racines de la colère. Deux ans d’enquête dans une France qui n’est pas en marche sont deux albums à vocation documentaire réalisés par Vincent Jarousseau en 2017 et en 2019, à partir d’enquêtes de longue haleine. Ces productions se situent pour ainsi dire à la confluence de la création et des sciences humaines et sociales. Il s’agira ici de s’interroger sur les tenants et les aboutissants de l’exploitation par leur auteur de la forme du roman-photo. National illusion. Two years of research into towns run by the National Front and The roots of anger. Two years of research in a France which is not (moving on) on the move, are two documentary albums released by Vincent Jarousseau in 2017 and 2019, based on long term investigations. These productions lie at the confluence of creation and Human and Social Sciences. Here we look at the reasons and causes behind the author’s adoption of the photo-story format.

Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger’s Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries. KEYWORDS documentary, voice, narrative style, sound

Pierwszą dekadę rozwoju polskiej kinematografii po odzyskaniu niepodległości cechują intensywne dyskusje na temat funkcji kina i jego roli w odrodzonym państwie. W refleksjach filmoznawczych podejmowanych przez intelektualistów i badaczy z różnych dziedzin (filozofia, polonistyka) oraz krytyków filmowych przewija się wątek dokumentalistycznej roli filmu oraz jego związku z rzeczywistością. Uwagom teoretycznym towarzyszą głosy o praktyce filmowej, której stawia się konkretne zadania utylitarne - obrazowanie kraju i dokumentowanie jego historii, tradycji oraz rozwoju. Prześledzenie tych wątków pozwala odtworzyć sposób myślenia o kinie jako medium dostarczającym "dokumentów obrazowych", mogącym pełnić różnorodne funkcje: poznawczą, edukacyjną, propagandową. Rok 1927 niemal zamyka pierwszą dekadę niepodległości i zachodzące wówczas procesy, a równocześnie oznacza kres kina niemego, z jego poetyką i sposobami obrazowania oraz relacją między obrazami filmowymi a rzeczywistością. The first decade of the Polish cinema following the country's regaining of independence in 1918 is marked by intensive discussions about the roles and functions of the national film industry. Many academics (from Polish studies, philosophy) and film critics addressed the issue of documentary filmmaking and the relation between the film image and reality. Theoretical reflections were accompanied by practical comments and pieces of advice on how to use documentaries for the purposes of political propaganda, education, popularization of Polish history, heritage and present development. Tracing these motifs in the writings on films of that time makes it possible to reconstruct a way of thinking aboutthe medium as providing "visual documents" performing cognitive, educational, or propaganda functions. The year 1927 seems to be significant for two reasons; as the end of the decade of independent Poland and as the time when the sound era of cinema was aboutto start, and the silent film poetics of representation was going to change.

Hardly known that Pier Paolo Pasolini has created a landscape trilogy through the location-hunting documentaries in his oeuvre. The first of these works is also the one that comprises the spine of this essay, Sopraluoghi in Palestina (Locations in Palestine, 1963), the second one is Appunti per un film sull'India (Notes for a Film on India, 1968), and finally, in Per un'orestiade africana (Notes for an African Oresteia, 1969/70). The use of historically and culturally layered landscapes from varying perspectives makes his documentaries a ”territorial assemblage” in which any number of things or pieces of things has gathered. Following the footprints of Pier Paolo Pasolini, this study aims to explore the film, namely Sopraluoghi in Palestina (Locations in Palestine, 1963) and to present different articulation of space, landscape, territory and place. Particularly, the narrative information, pure observation and his self-experience of landscape are spliced together in mythical as well as historical shots which have been incandescently defined by his poetic realism. Film, indeed, not only does enable to mediate some Deleuzoguattarian concepts penetrating from philosophy to cinema, but also does open new paths for ”thinking differently” on the complexity of space. This article, by delving into the real-time shots of the film will problematize the spatial-temporal dimensions are involved in the cartography formed by heterogeneous forces or/and multiplicities defined by ”zones of indiscernibility” in the landscape. In this way, I target to reveal its diagrammatic formation which provide the viewer thinking through words and images, nature and culture, faces and surfaces.

Resumen: Este artículo se propone trabajar sobre el problema de la hibridación en el cine documental. Habitualmente considerado un rasgo del cine contemporáneo, el objetivo es efectuar un repaso de corte diacrónico para revisar esta hipótesis; para ello se hará foco en el intercambio del género policial con el documental en dos momentos distintos de la filmografía argentina: la década del cincuenta, con el ciclo ficcional de policiales llamadas “semidocumentales”, y dos documentales contemporáneos que dialogan con el estilo del film noir. Para el análisis se repasan conceptos como híbrido y género, y se consideran las particularidades del estilo documental en ambos períodos, donde se puede observar el paso de un estilo impersonal a los relatos en primera persona. Abstract: This article aims to work on the problem of hybridization in documentary film. Usually considered a feature of contemporary cinema, the objective is to carry out a diachronic review to revise this hypothesis; to do so, the focus will be on the exchange between the police genre and the documentary in two different moments of Argentine filmography: the fifties, with the fictional cycle of police officers called "semidocumentaries", and two contemporary documentaries that dialogue with the style of film noir. For the analysis, concepts such as hybrid and genre are reviewed, and the particularities of the documentary style in both periods are considered, where the passage from an impersonal style to first-person accounts can be observed.

Punktem wyjścia refleksji nad filmami Joshui Oppenheimera jest koncepcja performansu w ujęciu Rebeki Schneider - zwłaszcza jej uwagi na temat historycznych rekonstrukcji - oraz teoria afektów w ujęciu Jill Bennett (ponieważ rzeczywistym skutkiem praktyk performatywnych jest "afektywne poruszenie"). W proponowanym przez autora odczytaniu Sceny zbrodni (2012) i Sceny ciszy (2014) to właśnie zarejestrowane przez reżysera historyczne performanse wraz z ich zdolnością oddziaływania na emocje, czyli wywoływania określonych reakcji afektywnych (wstręt, obrzydzenie, współczucie, fascynacja), są metodą, za pomocą której można mówić o ludobójstwie w nowy sposób. Wychodząc od analizy filmów Oppenheimera, autor zastanawia się nad tym, w jaki sposób jest konstruowana i rekonstruowana pamięć o wydarzeniach historycznych, do jakiego stopnia przeszłość wpływa na teraźniejszość, a wreszcie, czy możliwe jest obserwowanie siebie niejako "z zewnątrz", by zmierzyć się z własnymi afektami. The starting point for the reflection on Joshua Oppenheimer's films is the concept of performance by Rebecca Schneider - especially her remarks on historical reconstructions - and the theory of affects by Jill Bennett (because the actual effect of performative practices is being "affectively moved"). In the author's reading of The Act of Killing (2012) and The Look of Silence (2014), these historical performances registered by the director, with their ability to affect emotions, i.e. to provoke specific affective reactions (disgust, repulsion, sympathy, fascination), offer a new way in which genocide can be talked about. Starting from the analysis of Oppenheimer's films, the author wonders how the memory of historical events is constructed and reconstructed, to what extent the past exerts influence on the present, and, finally, whether it is possible to observe yourself "from the outside" to face your own affections.

This chapter examines the documentary film Sayōnara CP (1972, dir: Hara Kazuo) in order to understand visual representations of the dis/abled intent on challenging the medicalization and social devaluing of their lives. The film follows the lives of individuals with cerebral palsy who were affiliated with Aoi shiba no kai, the organization that launched the Japanese Dis/ability Rights Movement during the late 1940s. The film was a collaboration by the director and Aoi shiba no kai, yet the director represented his subjects in questionable and ableist terms. Despite its limitations, the film provided a vehicle for the protagonists to fashion self-representations that repudiated Japanese ableism and illumined the inaccessibility of the built environment. The chapter also furthers intersectional analysis by looking at the film's representation of women.

Cet article s’intéresse au portrait de la ville de Madrid brossé par les œuvres cinématographiques et audiovisuelles issues du mouvement du 15-M. Il analyse tout d’abord les œuvres des collectifs artistiques qui ont émergé en réponse aux premières manifestations des indignés, puis, dans un deuxième temps, il s’intéresse aux œuvres de cinéastes établis ayant abordé ce thème. Enfin, il explore l’évolution esthétique et thématique des œuvres suivantes de ces créateurs. Notre hypothèse centrale est que ces films tentent d’interpréter l’histoire récente –en particulier la Transition– et la ville de Madrid non pas comme un espace neutre ou pacifique, mais comme un espace de conflit et de lutte. Les cinéastes dont nous analysons les œuvres ont tenté de s’opposer à l’interprétation habituelle de l’histoire et de la ville. Este artículo investiga acerca del retrato que el cine y el audiovisual surgido en torno al movimiento 15-M hicieron de la ciudad de Madrid. Por un lado, se analizan las obras de los colectivos artísticos que nacieron como respuesta ante las primeras manifestaciones de los indignados, después se aborda las obras de los cineastas consagrados que se acercaron a esta temática y, por último, se indaga en el devenir estético y temático de las siguientes piezas de estos creadores. La hipótesis central es que estas películas intentan interpretar la historia reciente –en especial la Transición– y la ciudad de Madrid no como lugares neutrales o apacibles, sino como espacios de conflicto y de lucha. Los cineastas analizados filman para tajar o cortar con la interpretación habitual de la historia y la ciudad. This article examines the portrayal of the city of Madrid through the films and audiovisual productions that emerged as a result of the 15-M movement. An analysis is made of the productions by the artistic collectives that emerged as a response to the first demonstrations by the protesters, followed by an overview of the works of established filmmakers who approached this topic and, finally, the aesthetic and thematic evolution of the subsequent films by these creators is explored. The main hypothesis is that these films attempt to interpret recent history –especially the Spanish Transition– and the city of Madrid not as a neutral or peaceful place, but as a space where conflict and struggle take place. The filmmakers analyzed film in order to sever or break away from traditional interpretations of history and the city.

Journalism about West Papua is in many ways an act of translation. It involves not only translating between languages, but also disciplines, audiences and knowledges. This article examines how interdisciplinary research—such as anthropology and history— might intersect with journalism as a means to understand and challenge existing gaps in translation, or ‘silences’ about West Papua in the past and present. It also reflects on how audio documentaries carry out such translation work on misunderstood and underreported issues. To illustrate this, the author reflects on the process of making the audio documentary #Illridewithyou, West Papua for ABC Radio National’s Earshot documentary programme as well as a companion long-form article for the ABC’s website.

Even as his films are, perhaps, less frequently discussed than was once the case, Werner Herzog’s place in the general cultural consciousness seems as secure as ever. This is true whether one is thinking of “popular”, “mainstream”, “low” culture or of “serious”, “high” art. (These scare quotes are intended to acknowledge the enormously problematic nature of any of these labels as much as the difficulty—perhaps the impossibility—of doing without some such distinction.) At one end of the scale, if it is a scale, Herzog has recently been much discussed on social media as a result of his appearance as an actor in Disney’s Star Wars spinoff series The Mandalorian (2019–), and his fondness for its “heartbreakingly beautiful” baby Yoda (Gemmill). And at the other, Fitzcarraldo Editions, a small London-based arthouse publisher of novels and essays—that now boasts two Nobel laureates on its roster, Svetlana Alexievich and Olga Tokarczuk—takes its name from what is still one of Herzog’s most notoriously heroic, or hubristic, endeavours, namely the hauling of a steamship over an Amazonian hill. What links both these phenomena is their interest in Herzog, the personality and the heroic filmmaker, over and above any specific qualities his films themselves may possess.

Resumo De um universo de mais de 74 realizadoras identificadas em mapeamento da produção de documentários no Sul do Brasil, entre os anos de 1995 e 2010, foram selecionadas sete para que, a partir de entrevistas semiestruturadas, pudéssemos compreender quem são e o que pensam essas mulheres sobre a produção, distribuição e exibição do documentário no Brasil. Os resultados parciais apresentados integram uma pesquisa mais ampla que teve como objetivo caracterizar a produção documentária contemporânea do Sul do Brasil, procurando compreender onde, o que, como e quem produz na região e onde e de que forma esses filmes são exibidos. A maioria das cineastas entrevistadas tem formação em cursos de Comunicação Social, nos quais conheceram e se envolveram com o cinema e o audiovisual. É consenso entre as realizadoras que a principal dificuldade em se produzir na região está atrelada à dependência financeira, mas reconhecem que, sem o aporte público, o cenário do documentário teria sido diferente no período estudado. Sobre os temas dos filmes, apenas duas delas assumem uma busca por personagens e assuntos femininos, as demais apostam no olhar particularizado da cineasta, em que seus pontos de vistas são marcados pela experiência de ser mulher. Resumen De un universo de más de 74 realizadoras identificadas en mapeamiento de la producción de documentales en el Sur de Brasil, entre los años 1995 y 2010, fueron seleccionadas siete para que, a partir de entrevistas semiestructuradas, pudiéramos comprender quiénes son y qué piensan estas mujeres sobre la producción, distribución y exhibición del documental en Brasil. Los resultados parciales presentados son parte de una investigación más amplia que tuvo como objetivo caracterizar la producción documental contemporánea en el sur de Brasil, buscando comprender dónde, qué, cómo y quién produce en la región y dónde y cómo se muestran estas películas. La mayoría de las cineastas entrevistadas tienen formación en cursos de comunicación social, donde se conocieron y se involucraron con el cine y el audiovisual. Es consenso entre las realizadoras que la principal dificultad en producirse en la región está ligada a la dependencia financiera, pero reconocen que sin el aporte público el escenario del documental habría sido diferente en el período estudiado. En los temas de las películas, sólo dos de ellas asumen una búsqueda por personajes y asuntos femeninos, las demás apuestan en la mirada particularizada de la cineasta, en que sus puntos de vista están marcados por la experiencia de ser mujer. Abstract From a universe of more than 74 women documentarians which were identified by document production mapping, in southern Brazil, during the years 1995 to 2010, we selected seven female directors so that, from semi-structured interviews, we would know who these women are and how they think about the production, distribution and exhibition of the film documentary in Brazil. The partial results presented are part of broader research that aimed to characterize contemporary documentary production in southern Brazil, seeking to understand where, what, how and who produces in the region and where and how these films are shown. Most of the female filmmakers interviewed have a degree in Social Communication, where they often got exposed to and involved with cinema and the audiovisual field. It is a consensus among these filmmakers that the main difficulty in producing in the region is linked to financial dependence, but they recognize that without public contribution the history of the documentary would have been different in this period. Thematically only two of these filmmakers focus on women characters and women’s issues, the rest bet on the singular view of the female filmmaker, where their views are marked by the experience of being a woman.

This paper focuses on the phenomenon of the indirect translation in the field of audiovisual translation. After completing the analysis of the problems of translation in the Polish-English-Catalan chain of subtitling of the documentary movie Komeda. A soundtrack for a life, it makes evident that, contrarily to what one might expect, some of the inaccuracies present in the bridge text are not transmitted into the ultimate target text., El presente trabajo centra su atención en el fenómeno de la traducción indirecta en el ámbito de la traducción audiovisual. Tras un análisis pormenorizado de los problemas de traducción detectados en la cadena de subtitulación polaco-inglés-catalán de la película documental Komeda. A soundtrack for a life, se evidencia como, contraria-mente a lo que se podría esperar, algunas de las inexactitudes presentes en la traducción puente no se arrastran a la traducción de llegada.

Multimediju komunikācija Informācijas un komunikācijas zinātnes Multimedia Communication Information and Communication Sciences Bakalaura darba – Radošais darbs: Dokumentālā īsfilma “Studenta dzīve Covid-19 laikā” -mērķis ir izveidot dokumentālo īsfilmu, ar autoetnogrāfijas un skaidrojošās dokumentālās filmas iezīmēm par personīgu studenta dzīves atspoguļojumu Covid-19 laikā. Atainojot pandēmijas un ierobežojumu ietekmi uz studenta ikdienu, viņu pašu, kā arī studiju procesu un tā nozīmi. Atklāt iespējamās problēmas, kas skar studentus, kā arī sniegt ieskatu topošajiem studentiem. Dokumentālā īsfilma “Studenta dzīve Covid-19 laikā ”, ir darba autores personīgs stāsts, kas veidots balstoties uz personīgā arhīva materiālu izmantojumu. Īsfilma sniedz ieskatu studentes ikdienas dzīvē attālināto studiju laikā ko izraisīja Covid-19 pandēmijas izplatība. Veicot gan teorijas aprakstu, gan koncepcijas daļas izstrādi darba autore uzsvēra, ka dokumentālās īsfilmas izveide ir populārs formāts, lai parādītu personīgu realitātes stāstījumu. Dokumentālajā īsfilmā ir iespēja pievērst lielāku uzmanību tieši studenta tēlam un ar to saistītajām darbībām, kā arī par galvenās varones viena dzīves posma personīgo pieredzi. Darba teorētiskajā daļā ir aprakstīta dokumentālā īsfilma un tās izveides process, kas iekļauj dokumentālās īsfilmas veidus citējot Bila Nikolsa pamatprincipus. Lai raksturotu filmas laiku, veikts teorijas aprakts par Covid-19 vīrusa izplatību, kura rezultātā tika ieviestas pārmaiņas visās jomās. Koncepcijas daļa sniedz informāciju par radošās daļas izveidi no idejas līdz dokumentālās īsfilmas publikācijai. Īsfilma ir publicēta sociālajos medijos, kā, piemēram Facebook un Youtube, kas ir pieejama auditorijai. Studenta loma ir tikai sākums tālākam dzīves posmam, kuru mēs paši ietekmējam ar savām izvēlēm. Dokumentālās īsfilmas autore vēlas parādīt sabiedrībai studenta ikdienas dzīvi, kad visa galvenā saskarsme un svarīgākie notikumi ir atkarīgi no tehnoloģijām un laba interneta savienojuma. Filma ļauj skatītājam ienākt darba autores kā filmas subjekta personīgajā telpā un ielūkoties dziļāk. Īsfilmas apjoms ir 13 minūtes un 29 sekundes. Bakalaura darba kopējais apjoms ir 40 lappuses. The aim of the bachelor’s thesis – Creative work: Documentary short film “Student’s life during Covid-19” – is to create a documentary short film with the features of autoethnography and an expository documentary about personal reflection of a student’s life during Covid-19. Representing the impact of pandemics and restrictions on the student’s daily life, their own feelings and the study process and it’s importance. Discover potential issues that affects students and provide insight into those who have never start studies in university yet. The documentary short film “Student’s life during Covid-19” is the author’s personal story based on the personal archive material use. The short film shows the student’s daily life during distance learning caused by the spread of the Covid-19 pandemic. In the theoretical part and concepts part, the author concludes that the creation of the documentary short film is the most popular format to show the narrative of reality. In the short documentary, there is an opportunity to pay more attention to the student’s image and related activities, as well as to the personal experiece of the main character as a student. The theoretical part of the work describes the documentary short film and the process of its creation, which includes the different types of a documentary short films by Bill Nichols and theories explanation about the autoethnography mode in documentaries. To describe the main changes in studies and the time that is represented, a theoretical description of the spread of the Covid-19 was included. The concept part provides information on the creation of the creative part from idea to the publication of the documentary short film. The short film has been published on social media such as Facebook and Youtube, which is available to audience. The role of the student is only the beginning of a later stage in life, which we influence with our own choices. The author of the short documentary wants to show to the public the daily life of a student, when all the main communication and the most important events depend on technology use and a good internet connection. The film allows the viewer to enter the personal space of the author as the subject of the film and look deeper. The lenght of the short film is 13 minutes and 29 seconds Bachelor’s work is written on 40 pages.

Norma Foster (born Vorster) produced and presented a 26-part series, "Wildlife in Crisis", which covered many of the most significant wildlife areas and problems in Southern Africa. The series, though produced for Viacom for American television, was the first wildlife documentary series shown on South African television when the service started in 1976 and it arguably influenced many important later practitioners. The article covers Foster's background as a beauty queen and actress, and it examines the role of the Department of Information in facilitating the series. It also examines ways in which the National Parks Board sought to highlight their role as pioneering and cutting-edge wildlife scientists by allowing Foster access to game capture, veterinary treatments and discussions with scientists. It argues, finally, that the privileged role the National Parks Board gave Foster may have limited their coverage by more important and influential American wildlife programmes such as "Mutual of Omaha's Wild Kingdom".

Se trata de un documental centrado en el consumo de cannabis. Compuesto por 5 capítulos de entre 18 y 41 minutos de duración en el que se aborda el consumo del cannabis, ahondando en su consumo, arraigo cultural, percepción social y situación legal. Realizado a partir de las entrevistas a Juan Carlos Usó Arnal, Antonio Moreno Fernández, Daniel Lloret Irles, Iñaki Botella Paena y Pau Ruiz López. Y hay una memoria donde se explica el proceso de realización. This work shows the investigation of a documentary focused on a fact, the consumption of cannabis. A documentary focused mostly on interviews, rather than the event itself, monologs in which a certain person speaks openly about a certain topic. More than an interview, I would like to define it as a talk where total importance is given to the interviewee and what they have to say according to their experience. I consider it an anthropological documentary, where the person interviewed is of total importance.

El propòsit d'aquest projecte és el de recopilar, ordenar i divulgar informació sobre una fita històrica dins de l'àmbit de l'oftalmologia: el desenvolupament d'una revolucionària tècnica quirúrgica per l'extracció de la cataracta, a començaments del segle XX, per part de l'oftalmòleg Ignasi Barraquer. Per complir l'objectiu s'ha realitzat un documental que aborda els següents punts: Breu història de la cataracta, la figura d'Ignasi Barraquer, la tècnica quirúrgica i aspectes relacionats a la filmació, i per últim, l'entrevista a un oftalmòleg el qual ens aportarà aspectes més tècnics. El producte final combina la narració d'una veu en off i de tota mena de documents gràfics, alguns ja existents i d'altres generats específicament pel projecte: imatges, clips de vídeo, animacions 2D per ajudar a comprendre aspectes relacionats amb l'ull i l'oftalmologia en general i animacions 3D per recrear el nou procediment quirúrgic. Amb aquest projecte s'ha pretès crear un producte atractiu per a qualsevol mena de públic amb unes mínimes inquietuds culturals, i a la vegada reconèixer la tasca d'Ignasi Barraquer com a cirurgià i inventor, i fer extensiu aquest reconeixement a tots els metges i investigadors que amb les seves aportacions ajuden a fer que la medicina avanci. The purpose of this project is to collect, sort and disseminate information on a historical milestone in the field of ophthalmology: the development of a revolutionary surgical technique for the extraction of cataracts, in the early twentieth century, by ophthalmologist Ignasi Barraquer. To meet the goal, a documentary has been made that addresses the following points: Brief history of cataracts, the figure of Ignasi Barraquer, surgical technique and aspects related to filming, and finally, the interview with an ophthalmologist which will provide us with more technical aspects. The final product combines the narration of a voiceover and all kinds of graphic documents, some already existing and others generated specifically by the project: images, video clips, 2D animations to help understand aspects related to the eye and general ophthalmology and 3D animations to recreate the new surgical procedure. The aim of this project is to create an attractive product for any type of public with minimal cultural concerns, and at the same time to recognize the work of Ignasi Barraquer as a surgeon and inventor, and to extend this recognition to all doctors and researchers. which with their contributions help to make medicine advance. El propósito de este proyecto es el de recopilar, ordenar y divulgar información sobre un hito histórico dentro del ámbito de la oftalmología: el desarrollo de una revolucionaria técnica quirúrgica por la extracción de la catarata, a comienzos del siglo XX, por parte del oftalmólogo Ignasi Barraquer. Para cumplir el objetivo se ha realizado un documental que aborda los siguientes puntos: Breve historia de la catarata, la figura de Ignasi Barraquer, la técnica quirúrgica y aspectos relacionados a la filmación, y por último, la entrevista a un oftalmólogo el cual nos aportará aspectos más técnicos. El producto final combina la narración de una voz en off y de todo tipo de documentos gráficos, algunos ya existentes y otros generados específicamente por el proyecto: imágenes, clips de video, animaciones 2D para ayudar a comprender aspectos relacionados con el ojo y la oftalmología en general y animaciones 3D para recrear el nuevo procedimiento quirúrgico. Con este proyecto se ha pretendido crear un producto atractivo para cualquier tipo de público con unas mínimas inquietudes culturales, y a la vegada reconocer la tarea de Ignasi Barraquer como cirujano e inventor, y hacer extensivo este reconocimiento a todos los médicos e investigadores que con sus aportaciones ayudan a hacer que la medicina avance.

This research explains how the documentary programming of Televisión Española, in its two channels, was structured in the period from 1958 to 1975, with the advent of democracy. The main objective is to understand what this non-fiction genre meant in the TVE programming and what place it occupied in the television programming and in the History of Spanish Television. It has been analyzed all the preserved documentary contents -own and foreign production- are reviewed, series or film format, as well as their distribution by time slots and days of the week, and other variables that appear on the TVE grid in the period of this investigation. The analysis is carried out through an exploratory and descriptive study of the documentary genre for which a database has been prepared that includes the total of 6,835 documentary broadcasts. It is concluded that the existence of these slots responds to first and second grade documentaries that are distributed on the programming with importance on the television grid, or just in order to fill spaces in programming regardless of the origin or thematic of the documentary. This differentiation is marked in advance by the TV network, in what has been called, within this research, broadcast formats. Esta investigación explica cómo se estructuró la programación documental de Televisión Española en sus dos cadenas desde 1958 hasta 1975. El objetivo principal es entender qué significó este género de no ficción dentro de la programación de TVE y qué lugar ocupó en las parrillas televisivas y en la Historia de la Televisión en España. Se han analizado todos los contenidos documentales conservados de producción propia y ajena, en formato serie o película, así como su distribución por franjas horarias, días de la semana y otras variables que aparece en la parrilla de TVE en el periodo de esta investigación. El análisis se realiza a través de un estudio exploratorio y descriptivo del género documental para el que se ha elaborado una base de datos que incluye el total de 6.835 emisiones documentales. Se constata la existencia de un reparto de estos espacios en dos tipos de documentales en la parrilla. Por un lado, contenidos considerados de primera categoría con importancia en la parrilla televisiva y, por otro lado, aquellos destinados a rellenar espacios en la programación sin importar la procedencia o temática del documental. Dicha diferenciación viene marcada de antemano por parte de la cadena, en lo que se ha denominado, dentro de esta investigación, los formatos de emisión.

The article addresses the theme of memory through oral testimony and the documentary constructed on the basis of these testimonies, focusing on the documentary work of two filmmakers who, despite the distances, share certain common concerns: the Japanese Shohei Imamura and the Brazilian/Mozambican Licinio Azevedo. Both are concerned with intrahistory and giving a voice back to those who have been silenced by mainstream history. And both share concerns about the boundaries and hybridisations between fiction and documentary. In this way, the analysis reflects on the contamination of reality and fiction, film as testimony and as an element of vindication and social, political and ideological agitation. And also on the honesty of the gaze linked to aesthetic and narrative decisions, inseparable from each other. El artículo aborda el tema de la memoria a través del testimonio oral y el documental construido en base a estos testimonios, centrándose en la labor documental de dos cineastas que, a pesar de las distancias, comparten ciertas preocupaciones comunes: el japones Shohei Imamura y el Brasileño/ mozambiqueño Licinio Azevedo. Ambos están preocupados por la intrahistoria y devolver la voz a aquellos que han sido silenciados por la gran Historia. Y ambos comparten preocupaciones por las fronteras e hibridaciones entre ficción y documental. De esta forma, el análisis reflexiona sobre la contaminación de la realidad y la ficción, el cine como testimonio y como elemento de reivindicación y agitación social, político e ideológico. Y también sobre la honestidad de la mirada unida a decisiones estéticas y narrativas, indisociables unas de otras.

In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).

Resumo São aqui relatadas duas intervenções participadas - a realização do documentário “Artigo 65” e de um processo de photovoice com crianças apresentado na exposição “Vozes do Direito à Cidade” -, implementadas no Bairro da Torre, bairro autoproduzido da Área Metropolitana de Lisboa, Portugal. Através da análise destes processos, procura-se refletir sobre o exercício criativo da produção de imagens como ferramenta que atua em direção à emancipação dos intervenientes e sobre a sua contribuição para a produção de um conhecimento crítico de visões estereotipadas sobre os subúrbios autoproduzidos, visando “(re)pensá-los” de forma a ser possível contribuir para novas abordagens de intervenção. Os desafios da cidade contemporânea apontam para a necessidade da valorização e da inclusão dos conhecimentos locais e das energias e poderes criativos de crianças, indivíduos, grupos e comunidades que moram em contextos vulneráveis para a transformação da sociedade e da cidade. Abstract Two participatory interventions are presented here - the making of the documentary “Article 65” and of the process of photovoice with children which resulted in the exhibition “Voices of the Right to the City” -, implemented in Bairro da Torre, a self-produced neighborhood in Greater Lisbon, Portugal. Through the analysis of these processes, we seek to reflect on the creative exercise of image production as a tool that acts towards the emancipation of those involved, and on its contribution to the production of a critical knowledge about stereotyped visions of self-produced suburbs, aiming at “rethinking” them to be able to contribute to new approaches of intervention. The challenges of the contemporary city point to the need for the valorization and inclusion of local knowledge and the energies and creative powers of children, individuals, groups and communities living in vulnerable contexts for the transformation of the society and the city.

Autorka porównuje wybrane aspekty twórczości dwóch reżyserów, których dzieli spory dystans czasowy: Roberta Flaherty'ego i Wojciecha Staronia. Amerykański klasyk przybywał z kamerą w odległe miejsca, by odnaleźć Innego, by uchronić od zapomnienia i promować wartości, których ów Inny był nośnikiem. Filmowiec współczesny coraz częściej wyprawia się w odległe rejony, aby uchronić i odnaleźć na nowo samego siebie. Obaj autorzy odwołują się do utopii miejsca. Niczym w utopii "edukacyjnej", najważniejszym celem pobytu poza własnym kręgiem cywilizacyjnym wydaje się w obu przypadkach właśnie edukacja bądź reedukacja. Zwłaszcza Argentyńska lekcja Staronia inspiruje do refleksji nad edukacyjnym aspektem filmów i takim wymiarem dokumentów obu reżyserów, który odsyła do poszukiwania autentyczności - dążenia obecnego w kulturze zachodniej od czasów Oświecenia. The author compares selected aspects of the work of two directors who are separated by a considerable time distance: Robert Flaherty and Wojciech Staroń. The American classic travelled with the camera to distant places to find the Other, to save from oblivion and to promote the values that the Other was carrier of. Contemporary film-makers are increasingly travelling to distans areas to protect themselves and to find themselves again. Both authors refer to the utopia of the place. Like in an "educational" utopia, the most important goal of staying outside one's own civilization circle seems to be education or re-education. Especially Staroń's Argentinian Lesson inspires reflection on the educational aspect and dimension of films and documentaries of both directors, which refer to the search for the authenticity, an aspiration present in Western culture since Enlightenment.

espanolEste articulo toma como punto de partida la nocion de Laura Rascaroli de “epistolaridad como argumentacion” para analizar como los cineastas del norte de Africa Habiba Djahnine, Drifa Mezenner y Jawad Rhalib utilizan la carta en sus documentales como una estrategia para afrontar la alienacion personal en un momento especifico de sus historias nacionales. En Lettre a ma sœur (2006), J’ai habite l’absence deux fois (2011) y Le Chant des tortues, une revolution marocaine (2013), trabajando segun los modos reflexivos y performativos del documental, los cineastas se convierten en protagonistas de sus proyectos y encuentran su propia voz tras anos de represion o exilio. De este modo, finalmente conectan su voz con otras del pais como estrategia de reconciliacion. El articulo sostiene que estos documentales en primera persona instrumentalizan el dispositivo epistolar para permitir a los cineastas redescubrir sus propias voces y situarlas en sus respectivas historias nacionales de Argelia y Marruecos. EnglishThis essay takes as its starting point Laura Rascaroli’s notion of “epistolarity as argumentation” to probe how North African filmmakers Habiba Djahnine, Drifa Mezenner, and Jawad Rhalib deploy the letter in their documentary films as a strategy to come to terms with personal alienation at a specific point in their national histories. In Letter to my Sister (2006), I Lived in the Absence Twice (2011) and The Turtles’ Song: a Moroccan Revolution (2013), working within reflexive and performative modes of documentary, the filmmakers become protagonists of their own projects and find their personal voice after years of repression or exile. Thus, they ultimately connect their voice with others of the nation as strategy of reconciliation. The essay argues that these first-person documentaries use the epistolary device to allow the filmmakers to rediscover their own voices and place within their own national histories of Algeria and Morocco. francaisCet essai s’inspire de la notion d’« epistolarite comme argumentation» developpee par Laura Rascaroli pour examiner comment les cineastes nord-africaines Habiba Djahnine, Drifa Mezenner et Jawad Rhalib utilisent la lettre dans leurs films documentaires comme strategie permettant de faire face a une alienation personnelle a un point specifique dans leurs histoires nationales. Dans Lettre a ma sœur (2006), J’ai habite l’absence deux fois (2011) et Le Chant des tortues, une revolution marocaine (2013), en travaillant selon des modes documentaires reflechis et performatifs, les cineastes deviennent protagonistes de leurs propres projets et trouvent leur voix personnelle apres des annees de repression ou d’exil. Ainsi, ils relient finalement leur voix a d’autres du pays en tant que strategie de reconciliation. L'essai soutient que ces documentaires a la premiere personne utilisent le dispositif epistolaire pour permettre aux cineastes de redecouvrir leurs propres voix et de se situer dans leurs propres histoires nationales d'Algerie et du Maroc.

Author(s): Torralba, Stefan | Abstract: A review of the 2019 documentary, Aswang, directed by Alyx Ayn Arumpac.

Orientador: Rogério Adolfo de Moura Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Resumo: Esta dissertação de mestrado é fruto de processos criativos realizados junto a professores de diversas áreas, em duas experiências: uma realizada no ano de 2011 com o corpo docente de uma escola, nas dependências da escola, na cidade de Campinas - SP. Outra na cidade de São Paulo - SP, no ano de 2012, com professores de diversas instituições escolares, nas dependências de um espaço cultural público. Ambas experiências consistiram em processos de criação na perspectiva do teatro - documentário, partindo de elementos das histórias de vida dos professores como disparadores para a ação criativa. Nesse sentido, esta pesquisa procurou identificar categorias de análise na medida em que um processo de criação é, em si, um processo de pesquisa qualitativa. A partir dessas categorias, aponta-se para um caminho de formação de professores por suas histórias de vida e autobiografias, tendo a Performance como um intercampo para produção de conhecimento. Abstract: This Master thesis is the result of creative processes, along with teachers from different areas, in two experiments: one conducted in 2011 with teachers of a school, on the school dependencies, in the city of Campinas - SP. Another in the city of São Paulo - SP, in 2012, with teachers from various educational institutions, in a public cultural space. Both experiments consisted in creative processes from the perspective of the documentary theater, from elements of the teacher's lives as triggers for creative action. In this sense, this research identify categories of analysis, once a creation process is, itself, a process of qualitative research. From these categories, this work points to a path of teacher training from their life histories and autobiographies, with Performance as an interfield for knowledge production. Mestrado Educação, Conhecimento, Linguagem e Arte Mestre em Educação

Orientador: Adilson Jose Ruiz Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Esta tese analisa a violência urbana em quatro documentários brasileiros lançados no período de 1999 a 2003: Notícias de uma guerra particular (1999), O rap do pequeno príncipe contra as almas sebosas (2000), Ônibus 174 (2002) e O prisioneiro da grade de ferro (2003). Como um painel sobre a contemporaneidade, estes filmes conformam uma certa etnografia audiovisual da violência urbana brasileira, vista como um campo complexo de relações articuladas a esse contexto histórico específico. Tais relações apontam para o rompimento da invisibilidade dos setores sociais que vivem nos espaços de exclusão brasileiros; e sua presença na mídia, especialmente no cinema, forma, então, um conjunto significante acerca do momento histórico vivenciado no Brasil no início do século XXI, e permite identificar diferentes estratégias utilizadas para o filme representar, ou representificar essa realidade histórica. Neste sentido, quatro modos se destacam: (1) as relações com o contexto histórico, que evidenciam a violência urbana brasileira no período; (2) o tipo de negociações entre os "sujeitos" documentaristas e documentados, suas implicações e determinações, o discurso construído e sua articulação na estrutura da narrativa; (3) as passagens entre imagens que permitem níveis diferenciados de recepção do tema e remetem às relações midiáticas inseridas no imaginário contemporâneo; e (4) a superação de modelos e a renovação na linguagem, que manifestam fragmentação, hibridismo e reflexividade, marcas do cinema contemporâneo. Tendo por base a trajetória do filme documentário até a contemporaneidade, suas diversas definições e categorizações; este trabalho situa seus principais marcos e discussões, levando em conta, ainda, a contribuição da antropologia e das pesquisas e críticas sobre a imagem e o filme documentário, além da tematização da violência pelo cinema brasileiro. Abstract: This thesis analyses urban violence represented in four Brazilian documentaries that were released between 1999 and 2003: News of a private war (1999), Little Prince's Rap against nasty souls (2000), Bus 174 (2002), and The prisoner of the iron bars (2003). As an overall view of contemporary times, these films present an audiovisual ethnography of Brazilian urban violence, seen as a complex field of relationships that are articulated in this specific historical context. Such relationships point to the end of the invisibility of social sectors that have lived in spaces of exclusion in Brazil; and the presence of such a subject in the midia, especially in the movies, forms, therefore, a significant set about the historical moment lived in Brazil at the beginning of the XXI century, and it allows identifying different strategies used by the movie to represent or re-represent this historic reality. In this sense, four strategic ways are highlighted: (1) the relationships with the historical context that show Brazilian urban violence in that period; (2) the type of negotiation between the "subjects" who made the documentaries and the ones represented in the documentaries, their implications and determinations, the discourse that was built and its articulation in the structure of the narrative; (3) the passages between images that allow different levels of perception of the theme and that lead to the media relationships involved in contemporary thinking; and (4) the overcoming of models and the renovation in language that show fragmentation, hybridism and reflection, trademarks of contemporary cinema. Taking the history of the documentary film up to contemporary times as a base, with its diverse definitions and categories, this work presents its main achievements and discussions, even taking into consideration the contribution of anthropology, research, and critique of the image and of the documentary film, going beyond the theme of violence represented by the Brazilian cinema. Doutorado Multimeios Doutor em Multimeios

Orientador: Fernão Pessoa Ramos Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Essa pesquisa buscou investigar o processo de roteirização do documentário entendido como modo de organização da produção e do discurso do filme. Se no filme de ficção a escrita do roteiro ocorre integralmente no período da pré-produção, no documentário essa escrita muitas vezes se manifesta de maneira diferente; trata-se de uma escrita em aberto, que se estende por todo o processo de realização do filme. Foi com base nessa constatação que foi pensada a estrutura dessa tese, que inclui, em suas quatro partes, considerações sobre as três etapas de uma produção cinematográfica: pré-produção, filmagem e pós-produção. A possibilidade de se trabalhar com um roteiro em aberto faz com que funções técnicas, como direção de fotografia e montagem, adquiram maior participação criativa no filme chegando, em alguns casos, a dividir os créditos de autoria Abstract: This research has investigated the process of construction of the documentary¿s screenplay thought as the mode of organization of the production and the discourse of the film. If in the fiction film the development of the screenplay occurs integrally in a period before preproduction in the documentary film this development occurs in a different way: its about an open development that¿s stretch out to all the process of filmmaking. The structure of this research was based upon this very notion. Its included, in its four parts, considerations about the three periods of film production: preproduction, production, and postproduction. The possibility to work with an open screenplay allows technical functions like direction of photography and edition to gains more participation in the creativity process of the film Doutorado Doutor em Multimeios

Orientador: Regina Aparecida Polo Muller Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O objetivo deste trabalho foi a produção de um documentário de curta metragem sobre o ritual de iniciação Xavante realizado entre maio e agosto de 2005, na Terra Indígena de Sangradouro localizada no Estado do Mato Grosso. Primeiramente apresenta-se uma breve introdução sobre aspectos importantes da estrutura social Xavante necessários à compreensão do ritual de iniciação, e, a seguir, a partir da pesquisa de campo foi feita uma descrição detalhada do referido ritual. Posteriormente, descreve-se o processo de criação do vídeo. Para tanto, foi adotado, como referência básica da pesquisa, o documentário Wapté M¿nhõnõ: a iniciação do jovem Xavante, realizado por uma equipe de quatro Xavante e um índio Suyá durante as oficinas de formação de cinegrafistas da ONG ¿Vídeo nas Aldeias¿. Em seguida, os resultados obtidos na pesquisa de campo, pesquisa bibliográfica e filmografia foram aplicados à apresentação e discussão da decupagem, organização do material bruto, estrutura narrativa e roteiro de montagem do documentário aqui realizado. Finalmente, o conceito de voz no cinema documentário é apresentado para uma reflexão sobre a linguagem do filme aqui proposto Abstract: The purpose of this work was the production of a short documentary film about the Shavante¿s initiation ritual realized in 2005 between May and August in indian village called Sangradouro located in State of Mato Grosso. A brief introduction on important aspects of Shavante social structure is initially presented to permit understanding of the initiation ritual followed by a detailed description of its ritual based on the field research. In follow, the process of the video creation was described. For this, the documentary film Wapté M¿nhõnõ: a iniciação do jovem Xavante produced by a team of four Shavante indian and a Suyá indian during workshops of ONG ¿Video nas Aldeias¿ for formation of camera man was taken as a basic reference of research. Then, the field and bibliographic research and cinematographic results were applied on the presentation and discussion of selection and organization of rude material organization, of narrative structure and of assembly script for the documentary film here related. Finally, the voice concept in documentary film is presented for a reflection about the language of the short film produced. Mestrado Mestre em Artes

Orientador: Fernão Pessoa Ramos Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: 20 anos após o lançamento, o filme Cabra Marcado Para Morrer, de Eduardo Coutinho levantou e continua levantando uma série de questões ligadas à cinematografia brasileira contemporânea, em termos de linguagem, história do cinema, história do país, e ainda à própria obra do cineasta que é hoje um dos mais representativos do Brasil. Por ter atuado ao longo dos mais de 30 anos (de 1964 até os dias atuais) com uma obra ficcional e documentária de valor reconhecido, autores continuam se debruçando sobre seus filmes, em atividades de análise e pesquisa histórica. Mesmo que 20 anos tenham se passado desde o lançamento do filme Cabra Marcado Para Morrer, este continua um marco qualitativo da cinematografia brasileira (vide as últimas enquetes de ¿melhores filmes¿) e uma referência em termos de inovação estilística no documentário.Quando Eduardo Coutinho decide retomar, em 1981, o projeto do filme que contava a vida e a morte do líder camponês João Pedro Teixeira, e que fora interrompido pelo golpe militar de 1964, suas intenções, segundo ele próprio, são de apurar a história da luta camponesa, a experiência da filmagem interrompida em 1964, a história real da vida de João Pedro e, claro, a trajetória de cada um dos participantes até aquele momento presente. Como documentário, Cabra Marcado Para Morrer é um relato de como a vida de todas as pessoas envolvidas e, sua confecção foi profundamente marcada pelo momento histórico do país. O Cabra de 84 representa um emaranhado de relações e de indicadores do modo como a História age no filme (do momento de sua concepção pelo CPC até o de sua retomada pelo cineasta apenas) e na esfera privada. Em contrapartida, tem-se ainda a atuação do filme sobre a História (como forma de reelaboração e de revisão do fatos, e até mesmo da construção de discurso) e sobre a vida particular dos camponeses retratados por Coutinho. A grande transformação de Cabra Marcado Para Morrer em relação ao docudrama que deu-lhe origem está justamente no fato do cineasta ter incorporado ao filme terminado todos os percalços do seu início, as transformações na história do país e, principalmente, a nova ética prescrita ao documentário, a partir da ética presente no cinema verdade e da própria experiência de Coutinho, adquirida em seus anos de trabalho na televisão, no programa Globo Repórter Abstract Mestrado Mestre em Multimeios

Orientador: Wenceslao Machado de Oliveira Junior Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação Resumo: Essa pesquisa se propõe a pensar as relações entre espaço, cinema e educação, a partir da produção de um filme documentário de curta metragem realizado em uma escola pública do município de Indaiatuba (SP). O documentário Cartografia dos encontros na escola foi criado com a participação de alguns alunos, professores, funcionários e pais, que, através de oficinas de roteiro e filmagem, foram convidados a vivenciar conosco a construção de um processo de aprendizagem em aberto, cujos percursos foram traçados no calor dos encontros, em que negociamos coletivamente os caminhos que gestaram o que, como e onde filmar. Com base nos conceitos de encontro, devir e cartografia, oriundos da filosofia de Gilles Deleuze e Félix Guattari, buscamos compreender esse processo como cartográfico, na perspectiva em que mergulhamos naquela realidade para acompanhar os movimentos que dispararam outros devires espaciais e, por conseguinte, novos modos de sentir, pensar e habitar aquele lugar-escola. Lugar que, à luz do que nos propõe a geógrafa inglesa Doreen Massey, é visto como a co-presença de múltiplas trajetórias, humanas e não-humanas, em permanente reconfiguração. Por essa ótica, lugares não pré-existem, mas se fazem no aqui-agora dos encontros. Assim, a experimentação desses conceitos a partir da realização de um documentário, se insere no contexto de investigações entre cinema e escola que buscam analisar as potencialidades das experiências de produção de imagens em gestar novas percepções acerca das espacialidades tecidas no cotidiano escolar. Nos alinhamos às pesquisas que defendem o cinema como prática de alteridade, como uma ferramenta que provoca mudanças nas formas de perceber e inventar um lugar. Nesse cenário, nos guiamos pelos processos criativos dos documentaristas contemporâneos, que partem de um roteiro mínimo e apostam sobremaneira nos encontros entre filmadores e filmados diante da câmera. Eduardo Coutinho foi nossa principal inspiração no sentido em que estabelece limitantes espaço-temporais (filmar personagens de um prédio, favela ou teatro em um determinado intervalo de tempo), procurando transformar o set de filmagem em lugar de negociação de uma realidade que se atualiza em um estar com. Buscamos criar um lugar-escola que provocasse abalos, mesmo que pontuais, nas concepções de espaço predominantes nos contextos escolares. A cartografia dos encontros entre cinema e escola, nessa pesquisa, apostou na interface entre cartografia e fazer documental defendendo a concepção de documentarista-cartógrafo como aquele que acompanha um processo de filmagem-aprendizagem, por meio do imbricamento das dimensões de aprendizagem, de pesquisa e de cinema presentes numa produção fílmica. Frente ao movimento de acompanhar processos, tivemos como premissa problematizar a condição do espaço como somente extensivo, e do documentário como mera representação da realidade Abstract: This research intends to think the relations between space, cinema and education, from the production of a short documentary realized inside a public school on the county of Indaiatuba (SP). The documentary Cartografia dos encontros na escola (Cartography of the encounter in the Scool) was created with the participation of some students, teachers, employees e parents, who, through workshops of screenplay e filming, were invited to experience with us the construction of an open learning process, whose ways were traced by the heat of the encounters, in which we negotiated collectively the means that gestated the what, how and where to film. Based on the concepts of encounter, becoming and cartography, originally from the philosophy of Gilles Deleuze and Félix Guattari, we look to comprehend this process as cartographic, in the perspective that we dive in that reality to follow the movements that discharge another spatial becoming¿s and, therefore, new ways of feeling, thinking e dwell that school-place. Place that, by the light of what proposes the english geographer Doreen Massey, it¿s seen as a co-presence of multiple trajectories, human and non-human, in permanent reconfiguration. Through this optics, places that pre-exist, but make themselves on the here-now of the encounters. Therefore, the experimentation of these concepts from the realization of a documentary, inserts itself in the context of investigations between cinema and school that looks to analyze the potentialities of experiences of image production in what concerns gestate new perceptions about the spatiality woven in the scholar daily schedule. We are align to the researches that defend the Cinema as a practice of alterity, as a tool that provokes changes in the forms of perceive and invent a place. On this canary, we are guided by the creative process of contemporary documentarists, which starts from a minimal plot before the camera. Eduardo Coutinho was our main inspiration in the sense that establishes spatial-temporal limitations (filming characters of a building, shanty towns or theaters in a certain hiatus in time). Looking to transform the set in a place of negotiation of a reality that actualizes itself in being with. We looked to create a school-place that would provoke shakes, even if punctual, in the predominant conceptions of space in scholar contexts. The cartography of the encounters between cinema and school, on this research, bet on the interface among cartography and documental making, defending the conception of documentarists-cartographer as the one who follows a learning-filming process, by the means of imbricating the dimensions of learning, researching and cinema resident in a filming production. In front of the movement of following process, we had as premise the intention of problematize the condition of space as only extensive, and the documentary as mere representation of the reality Doutorado Educação, Conhecimento, Linguagem e Arte Doutor em Educação FAPESP 2013/04159-4 CAPES BEX 12262/13-7

Orientador: Fernão Vitor Pessoa de Almeida Ramos Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Foi investigada a transformação de pessoas comuns em personagens do documentário de Eduardo Coutinho, a partir dos dispositivos de filmagem e de montagem dos filmes do diretor. A hipótese trabalhada é a de que Coutinho formatou um estilo de fazer e pensar cinema documental, criando uma personagem peculiar para o seu cinema, semelhante ao performer da arte performática. A tese classifica a obra do cineasta em três fases - Experimentação, Gestação de um Estilo e Documentário de Personagem - e tem como foco seis trabalhos da última fase: Santo Forte (1999), Babilônia 2000 (2001), Peões (2002), Edifício Máster (2003), O Fim e o Princípio (2005) e Jogo de Cena (2007). A partir do desempenho dos performers-personagens diante das câmeras, atuando em interlocução aberta com o diretor, e da montagem em corte seco (enfatizando a expressão oral e gestual sem adicionar qualquer outro elemento narrativo exterior à filmagem), a tese propõe a existência de nove modos de as personagens coutinianas marcarem uma presença no mundo: divertida, melodramática, xamanística, educativa, provocadora, musical, exibicionista, esotérica e indecisa. Abstract: This research investigated the transformation of common people in characters in documentaries made by the Brazilian film director Eduardo Coutinho, from the devices of filming and montage in his movies. The worked hypothesis is that Coutinho formatted a style of making and conceiving documentary cinema, creating a particular character similar to the performer in performance art. The dissertation classifies Coutinho's entire work in three phases - Experimentation, Gestation of a Style, and Character Documentary. It focuses six works of the last phase: Santo Forte (1999), Babilônia 2000 (2001), Peões (2002), Edifício Máster (2003), O Fim e o Princípio (2005) e Jogo de Cena (2007). From the performance of the individuals in front of the camera, acting in open interlocution with the director, and of the montage in dry cut (emphasizing the verbal and gestural expression, without adding any another exterior narrative element to the filming), the dissertation considers the existence of nine ways of the Coutinho's characters to mark a presence in the world: Divertida (Funny), Melodramática (Melodramatic), Xamanística (Xamanistic), Educativa (Educational), Provocadora (Provoking), Musical (Musical), Exibicionista (Exhibitionistic), Esotérica (Esoteric) and Indecisa (Undecided). Doutorado Doutor em Multimeios

Orientadores: Laurent Véray, Marcius Cesar Soares Freire Université Sorbonne Nouvelle, Paris 3 en cotutelle avec Universidade Estadual de Campinas, Instituto de Artes Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes, Université Sorbonne Nouvelle, Paris III Resumo: Esta pesquisa propõe uma análise do conjunto de documentários de longa-metragem realizados pelo cineasta brasileiro Eduardo Coutinho. Nosso objetivo é entender a forma com que o cineasta se apropria do conceito de "documentário", adaptando-o a cada "dispositivo" colocado em prática em seus filmes. Notaremos que a "ficção" e o "documentário" não são dois conceitos paradoxais em seu cinema. Pelo contrário, esses conceitos possuem uma relação de proximidade bastante peculiar em seus documentários. Durante as nossas análises, iremos situar os "personagens" que proferem seus discursos ao longo dos filmes em "espaços de comunicação" precisos, segundo a semio-pragmática proposta por Roger Odin. Esperamos assim poder determniar quais são as questões históricas e culturais que se encontram na base dos seus discursos. A hipótese que pretendemos verificar ao longo da nossa pesquisa se concentra sobre a possibilidade de que as palavras e gestos que integram os documentários d¿Eduardo Coutinho constituam uma noção de identidade que ultrapassa todo tipo de estereótipo midiático Abstract: This thesis purposes an analysis of all documentaries directed by the Brazilian film-maker Eduardo Coutinho. Our intention is to understand how the director uses the concept of "documentary" and makes an adaption of it according to each "dispositive" used in each one of his films. We will see that "fiction" and "documentary" aren¿t two paradoxical concepts for him. On the contrary, their nearness is something really particular in his cinema. In order to demonstrate this idea, we will place the "characters" that discuss in his films in specific "communication spaces", according to the "sémio-pragmatique" purposed by Roger Odin. We hope to be able to know the cultural and historic issues that are in the basis of their speech. The hypothesis that we will try to verify during this research is based on the possibility that the gestures and speeches of his documentaries illustrate a notion of identity that goes beyond all kinds of media stereotype Doutorado Artes Visuais Doutor em Artes

Life, Animated (2016), directed by Roger Ross Williams is a documentary that centres around the life of Owen Suskind; an autistic person. In recent decades, the media has become a powerful tool that has been used to typify and inform public opinion surrounding autism. This article analyses the portrayal of autism in Life, Animated and draws out important learning points for clinicians, families, service users and the public.