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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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 Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

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]

This article examines how video journalism produced by the elite press is using forensic techniques and aesthetics as part of the effort to reinvent journalistic authority in a fragmented media and political sphere. I first discuss some earlier moments in which news coverage of events adopted a media-forensic epistemology and style, and then turn to the formation of the New York Times Visual Investigations team, a group at the leading-edge of this type of journalism today. I provide an analysis of one of the team's investigative reports, a 40-minute account of the January 6 Capitol riot assembled from vernacular video, surveillance footage, police bodycam video, and other non-news source materials. In both its formal aspects and its subject matter, the piece represents an important example for understanding an emerging form of forensic journalism. While the January 6 Capitol riot was not the first time news coverage of a violent event adopted a forensic style and epistemology, the forensic-media coverage of the riot represents a unique conjuncture. A new convergence of media-technological developments and journalist practices shaped how the storming of the Capitol was experienced, investigated, and covered as a media event. [ABSTRACT FROM AUTHOR]

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

Copyright of EU-topías: A Journal on Interculturality, Communication & European Studies is the property of Universite de Geneve, Global Studies Intitute 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 Japanese Journal of Image Arts & Sciences / Eizogaku is the property of Japan Society of Image Arts & Sciences 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 Dispositiva is the property of Dispositiva 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.)

Introduction. Documentaries about Ukraine‘s aerospace industry create conditions for the audience to immerse themselves in the world of aviation, to feel the effect of being present during combat missions, to cover military events and military operations, but in the first place, they tell the story of a person or people. Documentary filmmakers touched upon the topic of aviation at the beginning of the Russian-Ukrainian war in 2014 and 2015. After the full-scale invasion, the role of aviation became more important in the war, and a new wave of documentaries about military aviation appeared. The peculiarities of covering the combat missions of Ukrainian aviation during the full-scale invasion of Ukraine by the Russian Federation, the use of the latest methods of recording events, transmitting testimonies, and creating images ofheroes in documentaries are the subject of this study. The purpose of the study is to identify the features of contemporary television documentaries on aviation in the context of the Russian-Ukrainian war. Research methods. The results of the study were obtained using theoretical, descriptive, comparative methods, and systematic monitoring of documentaries about Ukrainian military aviation. The features of these films were identified, in particular, by the following criteria: duration, methods of recording events and facts, peculiarities of presentation, creation of characters, artistic techniques. The documentaries from 2015 and 2023 were compared. Results. We have analysed documentaries about the combat missions of Ukrainian aviation, such as Pilots. Return”, “Masters of the Sky”, “Downed Russian pilots”. The authors of the films use the techniques of video portraits, video interviews, and comments by experts or heads of relevant structures. Testimonies and interpretations of events help the viewer to understand the specifics of aviation. Conclusions. Documentary films enhance the publicistic images of heroes, including pilots and other aviation professionals, Ukrainian defenders, not only by recording facts, documenting events, testimonies, comments and interviews, but also by artistic techniques and editing. [ABSTRACT FROM AUTHOR]

Copyright of Angles: French Perspectives on the Anglophone World is the property of Societe des Anglicistes de l Enseignement Superieur and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present study aims to contextualize Soviet propaganda films from the middle of the 1960’s until the middle of 1980’s, based on evidence retrieved during original archival research at the EYE Filmmuseum in Amsterdam. The undertaken discovery on the Sovexport Collection brings its content to the scholarly attention by revealing a number of paradoxes in the representation of the Soviet utopia. Pursuing an extensive empirical and theoretical study of the documentary film collection with the aim to throw light at their semifictional features, I bring to the fore the visions of space, nature, and technology seen as part of the utopian Communist grand narrative documented in the Sovexport films. The unveiled evidence shows that Soviet ideology is depicted as holding transformative power for the future, as well as serving the goals of Soviet foreign policy. Filling a gap in the study of Soviet cinema, this paper provides a new impetus for making, viewing, and analyzing documentary films in accord with history and its complexities. [ABSTRACT FROM AUTHOR]

This study focuses mainly on the genre of biographical compilation in the context of development of the compilation film form in Slovakia after 1989. The author analyses current creative approaches in creating biographical compilations or compilations with biographical motifs. His main interest is the application of film collage techniques by those documentary directors who work with appropriated audiovisual and archival materials. He explores the crossing of authenticity and fiction based on the case study of the biographical compilation film Countdown - The Last Film of Ivan Palúch (Odpočítavanie - posledný film Ivana Palúcha, dir. Martin Palúch, 2022). This feature film is a unique example of a biopic about the career and life of a film actor. [ABSTRACT FROM AUTHOR]

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

This study aims to reveal the effectiveness of documentary-based augmented reality applications in environmental education compared to the direct instruction method supported by the question and answer technique. The research was designed as mixed-method research, and the study group consisted of 118 tenth grade students. T-tests were used to analyse the quantitative data, and descriptive analyses were used to analyse the qualitative data. In the study, it was found that the first source of information for students about environmental problems is school. The quantitative results of the study showed that documentary-based augmented reality applications in environmental education are more effective in relating learned information to daily life. Qualitative results of the study also revealed that this education is more effective in enabling people to contemplate the behavioural consequences of environmental problems. Moreover, it was observed that the students who received this education explored more reasons in their statements about environmental problems. [ABSTRACT FROM AUTHOR]

This article examines The Boston Document, a documentary photography project that chronicled urban renewal in Boston from 1959–1968. The project was created by a largely unknown yet crucial documenter of Boston, Irene Shwachman (1915–1988). A large portion of the document focuses on the demolition of the West End, a neighborhood home to lower-class and immigrant residents. In the early 1950s, the Boston Redevelopment Authority labeled the neighborhood a slum, and implemented a redevelopment plan. The West End's 'renewal' resulted in the destruction of a vibrant, diverse neighborhood and the displacement of thousands of residents. This article argues that Shwachman reinterprets a documentary photography methodology to incorporate the perspectives and histories of city citizens in her chronicle of urban change. Through this approach, I argue that Shwachman's photographs present a subjective, personal investigation into Boston, centering the perspectives of city residents and underscoring how people shape and activate their urban landscape. In examining The Boston Document in this renewed context, this article reclaims histories and perspectives removed from Boston's landscape through redevelopment. [ABSTRACT FROM AUTHOR]

This review essay discusses the function of documentary in the field of hazard exposure and health effect by closely examining Kazuo Hara's two films: Sennan Asbestos Disaster and Minamata Mandala. The author first historicizes the ways environmental hazards, such as radioactive pollutants, have been documented on film from both fictional and non-fictional perspectives in Japan. Realizing the limitations of science for establishing causal relations between hazard exposure and disease, efforts to visualize harm are therefore important in these sites to conduct previously "undone science." The author particularly focuses on the concept of "environmental publics" as the infrastructure of such cross-disciplinary works. In the second part of the essay, the author examines in detail the style and production of Kazuo Hara's documentaries, arguing about the active role the director's camera plays in facilitating the act of speaking by his interviewees, indirectly enabling their witness to the atrocious exposure that was causing their poor health. [ABSTRACT FROM AUTHOR]

In this personal account, an intensive care unit nurse reflects on his experience working at a South Carolina hospital during the COVID-19 pandemic and his endeavor to document its impact through photography. Despite initial challenges, the nurse's proposal for a "Public Service Project" was approved by the hospital administration. The project gained national attention through media coverage, highlighting the toll of the virus on patients and health-care professionals. The author aims to break the privacy barrier, shedding light on the realities of COVID-19 and inspiring understanding in the public. [ABSTRACT FROM AUTHOR]

The article offers a rereading of Scorsese's "No Direction Home" (2005, 2016,). The film replaces D. A. Pennebaker's famous cinema verité, observational documentary "Don't Look Back" (1967) about Dylan's 1965 tour in Great Britain, which has proved, as years have passed, to be insufficient to convey the full story of Dylan's personality behind his artistry. The article's purpose, however, is not to cross-analyze the latter two documentaries. Instead, it provides a closer analysis of "No Direction Home" and explains how and why Dylan appears more appropriately different in this 2005 to 2016 production, while revealing the Scorsese-Dylan connection and commenting on the film in two interrelated fields: cinematic and documentary. The focus is not on Dylan, but on Scorsese. Therefore, the article puts the spotlight back to the original source of the Dylan-Scorsese union in "No Direction Home" (2005, 2016) and on Scorsese's signature documentary and the re-authoring practices first conceived in Woodstock (1970), "The Last Waltz" (1978), and "The Blues" (2003). [ABSTRACT FROM AUTHOR]

Despite the increasing documentary filmmakers' on-screen presence in their own films, the analysis of their corporeal presence and performance in the documentary genre hasn't been fully explored yet. Following Plantinga's (2018) discussion on characterization and character in documentary film, the present article proposes to examine documentary filmmakers' on-screen presence and performance, making three central assumptions. First, documentary filmmakers' on-screen presence is a cinematic representation constructed in similar ways to that of other characters/subjects participating in the film. Second, documentary filmmakers' characters are generally shaped and constructed throughout the filmmakers' careers, much like fiction film stars. Third and last, the salience of filmmakers as characters should be understood as the outcome of major cultural, technological, and economic shifts shaping and affecting the documentary film production patterns and stylistic devices. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu University 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 Turkish Journal of Film Studies / Türkiye Film Araştırmaları Derneği is the property of Turkish Journal of Film Studies / Turkiye Film Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This 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]

Documentaries are a medium for capturing the reality of people by constructing their everyday life. They are narratives told using sound and moving pictures that highlight the world's wonder, complexity, and contradictions. These moving photographs visually express the life of people, the hardships and the events revolving around them. Non-fiction films dramatise factual information to the readers instead of presenting creatively, and are compelling, informative and appreciated as they represent the events without moulding them. Documentaries attempt to enlighten, educate, and raise awareness by utilising interviews, archive material, reenactments, and narration. They also present a non-fictional perspective that frequently challenges and broadens viewers' perception of the world. The documentaries epitomise the social, cultural and economic facets by portraying the lives of people living in different parts of the world. The present paper studies how cities are represented through documentaries and analyses non-fiction films as a platform for encapsulating the authenticity of the select cities. The analysis includes documentaries Calcutta (1969) by Louis Malle, Bombay Our City by Anand Patwardhan and Dilli by Rintu Thomas and Sushmit Ghosh. The study attempts to understand the economic disparity, social problems and other struggles in the lives of people living in cities through documentaries made on Indian metropolitan cities. [ABSTRACT FROM AUTHOR]

In this article I will refer to a one-time performance piece called 'Remember by Erasure' (Lesmes 2020), which explores the relationship between photographs, memories, and the act of narrating the stories behind those memories and photographs. I put this in dialogue with Sarah Polley's documentary 'Stories We Tell' (2012), which follows the filmmaker as she tries to piece together who her late mother was, through the stories and testimonies of her family members. The performance centered on how the act of telling a story, describing a memory, brings it back to life, while the film follows a cacophony of voices to reconstruct the character of Polley's mother mixed with different techniques (interviews, archive material, staging) to illustrate memory and how this affects the way in which audiences connect to the film. I understand memory as an embodied experience in a relational and affective contact with the world, one that is constantly being reinterpreted and transformed. Relying on the notion of heterochronicity (Karlholm 2017, Moxey 2018) and the Bergsonian understanding of time, I explore how, in both the film and the performance, memories – or the lack of them – time, and narrative interact with each other. I propose the concept of a negative specter of memory, which refers to the things we can only recognize by their absence, the knowledge of the missing part, only possible because it is gone. A void. My goal is to explore how these ideas can have an impact on the possibilities that film and arts offer as ways to explore the relationship between memories, narratives, time, and their voids. [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]

Scholars of French cinema have paid little attention to early non-fiction films, particularly those shot in colonised spaces. Yet cameramen sponsored by major French cinema companies appeared in North Africa in the last years of the nineteenth century and south of the Sahara as early as 1906, eager to record images of newly conquered lands. This essay examines the first French films shot in West and Central Africa, from panoramas and views to travel to hunting narratives, with a particular focus on the career of self-proclaimed chasseur d'images ['image-hunter'] Alfred Machin. Early cinema advertised France's colonies to the metropole as, within a decade, sensationalised ethnography became tightly bound to propaganda for empire. [ABSTRACT FROM AUTHOR]

Premiered in 2020, and although representing a grim story to narrate the Khashoggi story – a Saudi prominent journalist – who was ambushed, killed, and his body dismembered in his own country's consulate, The Dissident is more than simply a documentary. It is arguably a narration of the need for freedom of expression and political reform in the Arab world generally and Saudi Arabia in particular. This paper highlights the struggle to disseminate The Dissident documentary publicly as none of the major media corporation streamers (HBO, Netflix, Amazon, and Apple) offered to carry it. The way giant media corporations treat the information in this case not only as a commodity but as a means to avoid political tensions affecting their revenues in the markets. The article addresses this case study from a freedom of expression and the right to communicate perspective arguing for the need of an actual media reform within the middle east media system so journalists, like Khashoggi. [ABSTRACT FROM AUTHOR]

Homosexuality was both silenced and persecuted during Mussolini's regime. The multifaceted silencing of homosexuality has contributed to the ongoing difficulty of gathering and preserving testimonies which remember this persecution. This article explores two contemporary semi-fictional testimonial works which grapple with this silencing and remember queer people in Fascist Italy: the graphic novel In Italia sono tutti maschi by Luca de Santis and Sara Colaone (2008), and the short film The Red Tree (2018) by Paul Rowley and De Santis. These works rely on elements of survivors' testimonies but simultaneously refer to cross-cultural and trans-historical events, including the AIDS crisis and gun violence. Spurred by queer and anti-canonical methodologies, I tease out the layers of memory that these works bring forth. Whilst they may draw criticism for their 'relativisation' of the Holocaust, these works implicate the twenty-first-century reader in remembrance. [ABSTRACT FROM AUTHOR]

This article seeks to renegotiate the relationship between reenactment, truth, history, and the archive in documentaries on genocide. It moves away from the common binaries surrounding the supposed creativity and fictionality of reenactments as opposed to the evidentiary and static archive, and instead reads reenactments as facilitating access to truth. Through four case studies of Claude Lanzmann's Shoah (1985), Laurence Rees's Auschwitz: The Nazis and the 'Final Solution' (2005), Rithy Panh's The Missing Picture (2013), and Joshua Oppenheimer's The Act of Killing (2012), it contends that reenactments in documentaries on genocide problematize the associations of an image's supposed indexical link to a past event with truth. Instead, reenactments confront us with the constructed nature of historical narrative and enable us to see affective, factual, and ethical truths of the past unavailable through the archive. [ABSTRACT FROM AUTHOR]

Documentary filmmakers are gradually embracing immersive media to create novel Virtual Reality Nonfiction (VRNF) content. Over the past twenty years initial experimentation in this new medium has brought forward numerous linearly structured 360° documentaries that maintain a close link to traditional documentary modes. More recently, we have observed a shift from the relatively passive 360° cinema towards more open-world, non-linear, game-like interactive experiences that challenge traditional definitions of the documentary genre. Volumetric world-building techniques provide nonfiction creators with additional tools that afford 'viewer-users' spatial and interactive agency, leading to a heightened autopoietic realisation of the storyworld. VRNF creators have the potential to allow their viewer-users enhanced control over framing, temporal ordering of the plot and spatial unfolding of the diegetic world, thus inviting them to become actual co-creators of a deeply personal and personalized experience. This article addresses how VRNF may go beyond the mere 'documentation' of people, places or past events that existed in a pre-filmic reality and provide viewer-users through augmented agency a unique present-tense autopoietic experience that pushes the boundaries of traditional 2D documentary. [ABSTRACT FROM AUTHOR]

Seeing documentary film as an object for remembering and resurrecting the past is a complex issue touching upon questions pertaining to the ontology of photographic capturing, its ways of becoming an index, means of reinventing/fabricating the past through narrative and how such shared, cultural conventions impinge on the personal sphere, i.e. the singularity and authenticity of the experience preserved. While some past and present key media theorists regard such cinematization of memory as either a reduced or falsified form of pastness, I argue, employing Edward S. Casey's influential phenomenological study of mnemonic modes and taking Aslaug Holm's (auto)biographical documentary Brothers (Brødre, 2015) as an outstanding example, that documentary as an object perceived by a specific (not abstracted) consciousness is multiple and functions as a virtual reservoir for potential complex acts of memory to occur – it enlivens, not reduces one's engagement with the past. Brothers is seen as both a form of reminiscence vehicle and commemoration vehicle. I furthermore identify a new mode of memory manifest in the film, not discussed by Casey, and its related object – anterior reminding and memento mori – which preserves the past and alludes to the future, this way determining what that past shall have been. [ABSTRACT FROM AUTHOR]

This article employs a practice-led methodology to offer a creative examination of the digital trends, online practices, and shifting aesthetics of political documentary as it migrates in the interstices of social media. At the centre of this research is the production and circulation of Facebook-native microdocumentaries, labelled under the rubric of compact cinematics and radical videos. As a networked platform, Facebook affords opportunities for media experimentation and allows filmmakers to innovate political and sociable contents. I argue that documentaries circulated on Facebook, particularly those with social change outreach, need to undergo an aesthetic adjustment to respond to ongoing ruptures in traditional storytelling and to address the shifting consumption modes of audiences online. [ABSTRACT FROM AUTHOR]

The article aims to deepen the knowledge of contemporary Bulgarian memoirs. In its theoretical terms, this literature is examined in view of its different genre definitions, narrative features and movement between documentary and fictional. Special attention is paid to the problem of subjectivism and its extreme manifestations leading to false statements. Exploring the history of literature, the paper focuses on the memories of the “anti-fascist struggles” and, above all, the partisan movement in Bulgaria, where the ideological tendenciousness of the narrative and the moral aspects of fiction and editorial processing are analyzed. The memoirs, which went out of print after the fall of the totalitarian regime, are presented in a big touch in view of the main thematic circles, ideological directions and author's presences. [ABSTRACT FROM AUTHOR]

Through the lens of cinema, this article focuses on the subject of football as a powerful medium of political expression. It is the first comprehensive analysis of the 1989 DEFA film … und freitags in die “Grüne Hölle” by Ernst Cantzler and it reads the documentary in close relation to the historic developments during the late years of the GDR. Viewing the football stadium as a symbolic stand-in for East Germany, this article understands Cantzler’s work as a well-crafted montage that–metaphorically–lays out two possible scenarios for the end of German division: a peaceful revolution and a violent uprising. [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.

This article merges discursive-based scholarship with a phenomenological approach to analyze the media convergence in Melisa Liebenthal’s Las lindas (2016), a personal documentary which explores thresholds of femininity through liminal life stages of girlhood, adolescence, and womanhood. Lo-fi aesthetics and post-production techniques reduce the primacy of the visual logic of feminine allure, highlighting the physical exchange of media and heightening audience awareness of cultural practices that reinforce standards of femininity. The film thus filters the reality of femininity in such a way as to make it unsteady, incomplete, and never quite in focus, forestalling any notion of its completion or attainability.

Objective: After the Chaldaran war, the Safavid government accepted the treaty (Amasiyah, 962 AH) with the Ottomans, in which the details of the boundaries and gaps were not accepted by the parties, and this became the basis of many future conflicts. In the agreement between Safavid Shah Abbas and Ottoman Sultan Murad III, the basis for the formation of documents called Senornameh, which was a kind of agreement on borders, was formed. The purpose of this research is the structural analysis and content analysis of this type of documents. Methodology: This research deals with the structure of senornamehs with a descriptive and analytical method based on the available senornamehs documents and the text of some manuscripts and library sources. Findings: The senornamehs state what historical awareness there was of the regional conflicts of the ruling families and the tribes living in these western borders, and also more and more concrete details of the borders. They present the territory of Iran and Ottoman. These border treaties were greatly expanded in terms of their terms, provisions and functions. Based on the findings of this study, the Senornamehs gradually changed from a border security agreement to an open compromise. The border maps depict the history of the formation of the border and its developments - especially in the western borders of Iran - as well as the role and presence of the border tribes in these border treaties. Conclusion: Documentary studies of senornamehs is a two-way contribution to the history of Iran's border conflicts in order to open a new window of sources and references for future research and a contribution to the science of document recognition in order to make the historical data of documents more tangible. And it is considered desirable and functional to present them. The wars between Iran and Ottoman countries and the nationwide campaigns and hostilities of these two governments did not only create and continue the use of such treaties and regulations, but with the importance of finding these agreements, the regulations in the period Later, it was proposed as an open-minded compromise and as a regulator of communications in the borders and became an official supervisor of the communications of the border tribes, which helps to facilitate trade and commerce regulations in the region. Such demarcation gradually created a new kind of political affiliation and identity by locating the territory of the government and the domination of the ruling systems. Finally, the Senornamehs, which were initially created for the role of political and security separation, took on the role of unifying the culture and identity of the ethnic groups, and later became a kind of political and cultural homogenizer of individuals.