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Despite the massive scale of the Great Southern Reef, which hugs the coastline from New South Wales to Western Australia, many residents are unaware of its existence. Even fewer residents understand the large amount of biodiversity found in this interconnected temperate system characterized by kelp forests and rocky reefs. Efforts to publicize the area and gain traction for funding and conservation are in their infancy. Conservation funding remains disproportionately low compared to the Great Southern Reef’s counterpart, the Great Barrier Reef. Visibility is a tool that can be used to generate greater awareness, and by extension, balance funding and protection for the Great Southern Reef. To raise awareness, this project uses science communication tools and engages with local communities across the Great Southern Reef. By utilizing illustrative storytelling through film, this project looks through SeadragonSearch, a specific community that has come together to protect the endemic seadragon through photography. The goal in documenting this community is to enhance understanding of the Great Southern Reef while also encouraging the public to find their own community science action that can spark a movement of change.

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

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

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

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

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

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

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

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

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

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

The 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

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

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

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

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

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

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

I offer a close look at the Cuban film El matadero, which premiered virtually in December 2021 from Havana via the 2nd annual streaming INSTAR Cuban Film Festival. In this documentary, independent Cuban director Fraguela Fosado combines a pastiche of digital modes to tell the personal story of two friends: one on the island - the filmmaker himself - and one off. I argue that the film’s uniqueness is in its use of digital and geographic spaces to capture Ana López’s concept of a “Greater Cuba.” I examine how the on-island filmmaker co-creates a platform with his off-island interlocutor enabling collaborative authorship through the use of the digital platform WhatsApp. In doing so, the film explores the friendship between the two young men through memory, archives, memes, and a particularly Cuban sense of humor. The result is a film that achieves a personal narrative of contemporary Cubanness across a digital diaspora both in the making of, the plot, and its subsequent distribution trajectory.

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This article explores the first-time choreographic collaboration between Eiko Otake, a renowned Japanese dance artist, and Wen Hui, a celebrated Chinese choreographer and filmmaker, which took place in mainland China in January of 2020. The outbreak of the coronavirus in Wuhan compelled Otake to return to the US prematurely, and the subsequent global pandemic led the two artists to continue working together through the computer screen. Constructed from daily footage of Wen and Otake moving together, conversing about their personal histories and choreographic works, and visiting the Nanjing Massacre Memorial, the resulting documentary film No Rule Is Our Rule (2023, 74 min) offers a poignant portrayal of their creative process, which places utmost importance on honesty and openness. Through an in-depth analysis of their artistic exploration presented through the film, the article examines how their collaborative endeavor which prioritizes corporeal interaction and unfiltered dialogues can be conceived as a form of mediated social choreography. I argue that their embodied methodology, grounded in the interweaving of personal and social memories, points to the potential for collective healing from the tension and trauma in Sino-Japanese history and promotes collective imagining through intercultural dialogues. [ABSTRACT FROM AUTHOR]

This article focuses on the use of virtual reality (VR) in the context of “impact campaigns.” Distinct in many ways from publishing a project on a digital storefront, im- pact campaigns assume a more carefully designed experi- ence, starting with the exhibit itself. Rather than considering VR as an end in itself, my goal is to situate this unique type of mediated experience within a larger network of social activism. Key to this project is an understanding of the role documentary films have played within societal movements. By learning from the larger history of impact production, this article seeks to highlight some of the shortcomings with VR as it has been used until now in socially minded projects. By extension, my goal is also to emphasize the things VR creators can learn from impact producers to make sure their projects reach the right audiences and affect them accordingly.

When the actor Phillip Baker Hall was approached by a twenty-two-year-old Paul Thomas Anderson with the script for his first short film, Cigarettes & Coffee (1993), he claims to have wondered to himself, “Who was the first actor in the seventeenth century to see a Shakespeare script, and did he know what he was reading? I certainly knew what I had in my hand” (qtd. in Warren 3). As Anderson is known for having a deep self-certainty about exactly what he was capable of, and moreover, a keen self-awareness too of how he is placed as an auteur figure within the arena of post-New Hollywood cinema, it can be very hard to divorce his work from his personality. This popular imagination of Anderson and his oeuvre, which I in no way wish to suggest is inherently misleading or facetious, is extensively considered by film critic Ethan Warren through a critical reading of not just his films, but also the discourse surrounding Anderson as well. Through a theory of an American apocrypha in Anderson’s work, Warren finds a fascinating way to not just think through Anderson’s own dynamicity as a filmmaker, but also to provide us with an intellectual manoeuvre that makes the reader ask what an auteur even means within commercial Hollywood today, a question we must approach within the terms of commerce.

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

Obituary: The breadth of Australian-born British-domiciled investigative journalist John Pilger’s journalism was staggering. Over five decades, he covered wars and/or social conflicts in Australia (frequently) Burma, Cambodia, Chagos Islands, Chile, China, Czechoslovakia, Iraq, Japan, Mexico, Nicaragua, Okinawa, South Africa, Timor Leste, Vietnam, the UK and the US etc. He produced powerful documentaries about these issues. He was truly a globe-spanning journalist, and as he described himself a 'maverick' who gave a voice to those who did not have a voice. He died aged 84.

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

In this videographic essay, I juxtapose two feminist responses to patriarchal violence and highlight their similarities by drawing from the insights of Argentine anthropologist Rita Segato. I compare the performance “A rapist in your path” (2019) by the Chilean feminist collective Las Tesis with the documentary The People vs Patriarchy (2018) by South African filmmaker Lebogang Rasethaba and producer Jasmyn Asvat. Both works emerged within the context of the global #MeToo movement and attest to the ubiquity of gender inequality, rape culture and the creative outrage fueling societal transformation. The form of the video essay uses visible grid lines and text on screen to denormalize structures of patriarchal power and prompt viewers to critically think about the intersections of oppression and resistance. I take cues from Barbara Zecchi’s audiovisual language of the multiscreen that keeps audiences alert to challenge the naturalized mechanisms concealed by dominant patriarchal cinematic language.

Despite animation techniques being highly material, the environmental impact of animation is understudied. This essay starts bridging the gap by investigating the making of digital animated documentaries through the lens of ecomaterialism. In particular, it brings to light how the quest for realism that prompts the production choices of creators of such works often comes at a significant cost to the environment. Indeed, many present-day digital animated documentaries prove unsustainable, because multi-layered, wasteful, and excess-informed modes of production that foresee a squandering of resources tend to be adopted when making them. In so doing, the need for animation-focused green protocols is made apparent, especially since, paradoxically, due to animation being a craft-oriented medium, such non-environmentally friendly approaches tend to be encouraged within the industry.

Mauricio Nilo’s master thesis project employs the medium of short documentary filmmaking to critically reflect on the participatory design process of the Maestranza UKAMAU neighborhood. Through interviews and an open narrative, the project delves into the potentials and constraints of participation within a neoliberal context.

If it can be said for certain that dramatization is intimately part of Araki Nobuyoshi's works, then how the use of this detachment from objectivity - believed to be inextricably bound up with the photography as a media - becomes a component of an aesthetic language in itself? The sprawling work Tokyo Lucky Hole shows, with a bold brightness that recalls Walker Evans' "documentary style", much more than a mere immersion in Tokyo Kabukichō's clubs and peepshows. Accordingly, the nude body - feminine, even masculine - seizes the main place of Araki's work through his models' acting. By means of three different analysis lines, we will discuss in this essay the importance of bodies position (clothed, then naked) in this unusual work, whether this position is internal or external to the image. Bodies positioning seems to convey a major meaning through their juxtaposition or repetitions, which could ultimately be understood firstly as the medium of the language of pseudo-objectivity, and secondly as the indicator of some social criticism. [ABSTRACT FROM AUTHOR]

Most of the current video production practices are focusing on filming, editing, storytelling or special effects, and the articles on video production also put the emphasis on tourism, business or natural scenery. There are not many video production practices on topics such as hospice, because this topic involves death, illness, patients and their families and other factors, and most of these film subjects are not willing to be shot. This research aims to explore the impact of filming practices on sensitive topics on the producers and the filmed subjects. By selecting the hospice care documentaries produced by Zhejiang Communication University as a case study, this study interviews 8 documentary producers and 8 filmed subjects and researchs the whole filming process through method of participatory observation. This research demonstrates that for hospice documentary filmmakers, going through such a filmmaking journey can be helpful in increasing their level of identification with hospice care, increasing their emotional experience and documentary production skills, and most importantly for their future documentary filmmaking, as they feel the power of humanity. For the subjects, i.e. patients, families, doctors and nurses, end-of-life care documentaries have expanded the dissemination of knowledge to a certain extent, but the impact on the behavioural choices of patients at the moment of death has not been significant, and these behavioural choices are more influenced by non-medical factors which the filmmakers are clearly aware of it. Instead, these filming activities were somewhat of an optional burden on filmed subjects. [ABSTRACT FROM AUTHOR]

Guided by the qualitative approach of film analysis, this article examines the discursive strategies used in the films Cowspiracy: The Sustainability Secret and Seaspiracy, while identifying contrasts with the rhetoric of other pro-vegan and environmentalist documentaries. The analysis of both films together serves to highlight: a) the prominence they give to environmentalist reasons for veganism; b) their different way of portraying violence against animals; c) their use of a detective plotline to articulate the narrative; d) their emotional use of firstperson narration; and e) the emphasis they place on global responsibility for the environmental impact of animal-based food production and their proposal of specific, feasible solutions to reverse the situation. The study finds that Cowspiracy and Seaspiracy stand as evidence of the vegan advocacy documentary’s contributions to the environmentalist non-fiction genre to which it belongs, while highlighting the strategies used in both films (avoiding audience revulsion and promoting positive feelings; integrating fictional elements and fostering identification in order to seduce the audience; appealing to commitment and conveying proactive messages rather than a sense of helplessness) that enable the cognitive and affective dimensions to feed into each other for the purpose of persuading viewers and promoting individual and social change. [ABSTRACT FROM AUTHOR]

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This paper examines how the encounter between the “First World American women” and “Third world Afghan women” is framed to inadvertently enact a form of representational violence in Liz Mermin’s documentary film, The Beauty Academy of Kabul. The paper shows that despite its ostensibly progressive stance of giving space to Afghan women’s voice, the film, serves to validate the new form the colonial self has taken in the globalized world - the humanitarian identity - and reaffirms the American imperial agenda. Employing Judith Butler’s insights in Frames of War, where she points out how the frame delimits the domain of representability and the confines of “reality” itself, the analysis explores how Mermin’s documentary frames the Afghan women as the first world audience is meant to recognize, grieve and intervene for. [ABSTRACT FROM AUTHOR]

The film elements, especially in documentary or essay films, carry the director's point of view more prominently. A Dog Called Money (2019) is a film with essayistic and documentary features by photographer Seamus Murphy about the creation process of English musician PJ Harvey's album, The Hope Six Demolition Project. The film focuses on the artists' journey in Afghanistan, Kosovo, and Washington, DC, and the album's production process, which takes place in a live museum exhibition. Murphy uses visual narrative, while Harvey takes on the textual and auditory narrator role with voice-over, text, and music. Therefore, this study analyses the textual and audio-visual features of the documentary film that reflect the self-representation of both artists. The representation form created by the multiple narrators that the film's narrative varies between the essay and the documentary genre is interpreted in the context of image, sound, and text. [ABSTRACT FROM AUTHOR]

In recent years the Spanish documentary related to the Spanish Civil War and the subsequent Franco dictatorship has experienced a verifiable boom. At the same time that interest in the past grew, it was possible to see, in the words of Enzo Traverso, how the «I» burst into the writing of history. These new discursive practices, described by some authors as hybrids between fiction and history, have also been adopted by some Spanish documentary filmmakers belonging, for the most part, to the so-called «post-memory generation». The objective of this essay is to analyze this trend from a theoretical perspective while focusing attention on three especially relevant documentary films: Mi tío Ramón (Ignacio Lasierra, 2015), Canción a una dama en la sombra (Carolina Astudillo Muñoz, 2021) and Apuntes para una herencia (Federico Robles, 2018). We will analyze the use that these products make of that «I» introduced and conceptualized as a problematic element within the writing of history, and that originates from avant-garde products and related to family cinema and found footage, the case of the film by Astudillo, to others closer to the strategies of autofiction, as is the case of the work of Federico Robles. [ABSTRACT FROM AUTHOR]

En el presente trabajo analizo un corpus de obras de la realizadora argentina Albertina Carri. Propongo poner en diálogo su último largometraje documental Cuatreros (2016) junto a la pieza Punto Impropio (2020) y Restos (2010) con la lectura performática titulada El affaire Velázquez (2013) y la instalación Investigación del cuatrerismo (2015). Estas realizaciones están construidas a partir de documentos tomados de distintos acervos. Pueden entenderse como un diálogo en ausencia que la directora intenta con su padre­madre desaparecidos por la última dictadura cívico-militar. Estas propuestas, además, son un intento de repensar la herencia o legado de sus progenitores partiendo desde los despojos. Allí asoma una forma de montaje desviado sobre los archivos construyendo otro tipo de narrativas intermediales que proponen repensar los vínculos íntimos y familiares. This paper analyses a corpus of works by Argentine filmmaker Albertina Carri. I propose to put into dialogue her latest documentary Cuatreros (2016) together with the piece Punto Impropio (2020) and Restos (2010) using the performative lecture El affaire Velázquez (2013) and the installation Investigación del cuatrerismo (2015). These works are constructed from documents taken from different collections. They can be understood as a dialogue in absence that the director attempts with her parents, who were disappeared during the last civil-military dictatorship in Argentina. These proposals are also attempts to rethink the inheritance or legacy of her parents based on the remains. Somehow, there emerges a form of deflected montage on the archives, constructing another type of intermedial narrative that proposes to rethink intimate and family ties.