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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.)

Several recently published international relations and criminal justice writings, textbooks, and supplements focus on using science fiction and fantasy texts to teach social science theories. This article investigates how science fiction and fantasy examples affect student learning compared to documentary films. We use mixed methods to conduct two studies on the use of science fiction and fantasy in political science and criminal justice classrooms. In the first study, we divide up a large lecture class, comparing how examples from the HBO series Game of Thrones versus documentary films affect student learning about the United Nations and peacekeeping. Our second study uses a combination of interviews and surveys to assess how students apply various criminological theories to the 1997 film Gattaca versus a documentary. Our research reveals that science fiction and fantasy examples neither help nor harm student learning. However, incorporating examples from fictional worlds may alienate some students, affecting their enjoyment of class and perception of preparedness. Most importantly, we find that the use of fictional examples creates an interpretive barrier in the classroom. Thus, we recommend judicious use of science fiction and fantasy examples. When fictional examples are used, we encourage student preparation and extensive debriefing. [ABSTRACT FROM AUTHOR]

The climate crisis is a debatable issue among academics from various disciplines. The framing strategies of presenting climate change in either beneficial or destructive way play a vital role in forming the opinion of people regarding it. The present study investigates the discursive straregies of climate change framing in the genre of documentary from the perspective of ecolinguistics. For the said purpose, the climate change documentary (A Life on our planet released on 2020) is chosen to analyse the framing techniques employed by the narrator David Attenborough for the portrayal of climate change. In order to analyse frames, the mixed methods approach is used to identify the trigger words used as frames. The findings show that climate change is significantly portrayed in three important eco centric frames: nuclear fatalism as an environmental catastrophe, diversity into decline and nature as a buried treasure. Keywords: climate change, ecolinguistics, framing, documentary, trigger words

The 2000s saw the emergence and evolution of an independent documentary cinema in Turkey that, in its quest for alternative images and voices on political and societal issues, recognizes the margins, brings to the screen the stories of ordinary citizens, challenges patriarchy, hetero-normativity, nationalism, exploitation of labor as well as that of nature, and denounces the resulting violence. Among these documentaries that expose the complex power relations are those that explore the issue of women’s labor. From exploitation to emancipation: women’s labor seen through the prism of documentary cinema in Turkey aims to study the documentaries of three directors, Güliz Sağlam, Feryal Saygılıgil and Emel Çelebi, who devote several films and several years to following women workers who, aware of their condition, decide to speak out and formulate their demands through strikes, demonstrations, and unionization. It aims to identify the modes of representation that reveal to viewers the various facets of the exploitation of women’s labor, while at the same time analyzing the ways in which filmmakers bring to the screen inspiring stories placed under the sign of solidarity and of struggle for women’s emancipation.

Starting from the observation that documentary modalities have been increasingly present in some video games for the past fifteen years, this article looks at the way in which these games attempt to make their players aware of social issues. To do so, it first discusses the general relationship between the documentary form and video games and gives a brief overview of the state of research. Then, the main specificities of a documentary approach in video games are highlighted in relation to similar formats - webdocumentaries and historical fictional games. Finally, the article attempts to analyse some of the main strategies used by some video games to raise awareness of different social themes. The article considers research on documentary and the documentary form in general, approaches from game science and studies on webdocumentary.

This paper analyzes James Agee’s only published novel, A Death in the Family. As an autobiographical novel published posthumously, it is a partially completed project in which Agee planned to insert photographs and to develop a form of writing focused on the factual and the real, with minimal resort to fiction. Eschewing a first-person narrative, he chooses to write using the third person, and to name the main character Rufus (after his own middle name). In studying this “documentary writing of the self,” we shall see how Agee strives to go beyond the limits between referentiality and fiction, and to avoid defining fiction purely as invention or imagination. We shall base our analysis on a comparison of two versions of the novel: the 1957 edition, and the 2007 edition revised and restored by Michael Lofaro, which contains previously unpublished chapters. We will point out the characteristics of this form of writing, from its close links to the visual arts (most notably photography) to the emphasis Agee puts on the depiction of scenes of everyday life. Thus, instead of being considered as a self-portrait of the artist as a young man, A Death in the Family can be read as a portrait of Agee through the eyes of his family.

An examination of how John Grierson’s contribution to the film The Heart of Scotland is reflected in his archive of personal papers, held in the University of Stirling Archives. I consider here also the value, importance, and fragility of personal archives.

The National Center for Children’s Literature (CNLJ) keeps an important collection of the Japanese publisher Fukuinkan shoten, which celebrates in 2022 its 70 years anniversary. This collection was initially acquired from la Joie par les livres and the publisher himself regularly sends some of its collections to the National Library of France. Often compared to L’école des loisirs in France, Fukuinkan shoten is a major publisher in Japan that contributed greatly to the development of children’s literature in the archipelago but also to the recognition of Japanese children’s literature in the world. This article aims to present the publisher and some collections available at the National Library of France and to define some directions for further research.

Based on the family experience of the director María Ruido, this work aims to shed light on the role of her mother, a Spanish immigrant in Germany in the 1960s and 1970s. The film traces a double journey, the one of a wife and mother (worker), in mirror of her daughter’s one (artist and academic). From this material, the director makes, on the model of the “essay film”, an object of reflection on the imprint that this working mother has left on her. From this atypical relationship, challenged by the absence, is born a questioning about the inheritance, from close relatives and from History at the intersection between these two forms of memory.

The citation of constitutional principles in judgments of the courts is one of the issues related to the evidence of the verdict. It is obvious to cite the principles of the constitution in the constitutional courts, but in ordinary courts, i.e. criminal, legal and administrative courts, not all the principles of the constitution can be cited, and only some of the principles can be invoked. The inviolability of a country's constitutional principles in court rulings depends on the type of system of compliance of the statutes of parliament with the constitution, the extent of the constitutional principles, the substantive and formal principles contained in the constitutions, and the training and morale of judges in invoking constitutional principles. Due to the different effects of these factors from one country to another, the amount of citation to the principles of the constitution in the courts of different countries is not the same and is different. In Iran, due to the non-acceptance of judicial supervision in accordance with ordinary laws and the Constitution, most cases of citation to the Constitution in court rulings are related to principles such as Articles 37 and 49 that the Constitution in order to constitutionalize rights and other reasons, accepts citable principles.

Over four decades of making films, director Rithy Panh continues to expand the possibilities of documentary filmmaking. His traumatic experiences of the Khmer Rouge’s dehumanising regime drive the creative impulse that makes him Cambodia’s most famous director. This interdisciplinary collection elaborates upon the global geopolitical concerns such as migration, exile, imperialism, and gender that Panh astutely implicates within the specificities of Cambodian history. Not only does Panh expose the role cinema plays in reifying structures of oppression, he also shows how it might also produce a measure of redemption.

1.5 Stay Alive is a nature film, music video-like documentary that emphasizes the consequences of a 1.5 degree increase in temperature that would negatively impact the Caribbean region (“1.5 Stay Alive: Science Meets Music in the Caribbean”). The film demonstrated the role that developed countries play in advancing and maintaining the climate crisis in the Caribbean. Disaster capitalism describes the exploitation by developed countries when responding to crises, intentionally creating a more unequal and undemocratic society. Using the example of Hurricane Maria, Klein states that Puerto Rico became broken because of deliberate, systematic interferences to power, water, health, communication, and food systems (2018). Alternatively, developed countries may supply the Caribbean with funds to produce and distribute locally grown produce. An example of what may be done with these funds can be seen in Cuba which created a self-sufficient urban agricultural economy. This would strengthen food security and increase the ability and knowledge to build back food systems following the effects of climate change (Quirk 2012). Information omitted includes details on how developed countries contributed to climate change vulnerabilities in the Caribbean. Environmental changes shape Caribbean agricultural trends which are already historically vulnerable owing to the by-products of colonial and plantation economies (Barker 2012, 42). The film advances the understanding of the effects of global warming in the Caribbean by not only showing the scientific perspective, but also the human side. Climate change affects more than just infrastructure, coral reefs, and economies, but it also affects people’s lives.

The educational product presented in this article is an eighteen-minute documentary film addressing the concept and origin of Professional and Technological Education (EPT) in Brazil. The main narrative of the film focuses on seventy years of historical involvement of women in management positions at an institution in the interior of the State of Goiás. The documentary film was created using photographs, documents, and short videos based on research conducted during a master's program. Furthermore, this film was created with a diverse audience in mind, focusing on cross-cutting themes and gender relations that can be discussed in a variety of contexts. The work presented here is structured as an experience report, describing the process of discussion, formulation, application, and validation of the educational product. The product application took place in a virtual environment, linked to a short-duration course offered via the Moodle LMS for a group of students in the Pedagogy undergraduate program at Universidade Aberta do Brasil (UAB). It is believed that after the validation of the educational product, it fulfills its purpose by addressing the concepts of PTE and discussing gender relations based on the history of the Federal Institute Goiano Campus Urutaí. [ABSTRACT FROM AUTHOR]

The main objective of this paper is to analyze the representation of the Andalusian painter and queer activist José Pérez Ocaña in two documentaries, Ocaña, retrato intermitente (Ocaña, retrat intermittent, Ventura Pons, 1978) and Ocaña, la memoria del sol (Juan José Moreno, 2009). Born in a Sevillian town, Ocaña would become popular in Barcelona as a queer performer and as an anarchist icon of resistance to Francoism during the years of the Transition. This paper is based on a analysis of the representation of Ocaña as a character with a dissident male identity in the selected documentaries, applying a methodology of audiovisual textual analysis of the character in which both documentaries are compared (physical, psychological, socioeconomic dimensions, etc.). Although the two discourses analyzed revolve around Ocaña and all the information is consistent with the objective of describing, representing, or evoking him, the focus on him varies, due to the nature of each documentary and its production conditions. It can be concluded that the analysis of the main character of the documentaries reveals a round and complex character, able to add features of his culture of origin, strongly linked to Andalusian folkloric expressions, with the freedom that he found on his arrival in Barcelona. [ABSTRACT FROM AUTHOR]

Assessing women's role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership. [ABSTRACT FROM AUTHOR]

This article focuses on new media technologies and practices that are reshaping how human rights media activism is practiced, disseminated and received. Through an examination of two works by the research agency Forensic Architecture, we examine how these new technologies and practices aim to reframe and deploy forms of raw media evidence in human rights struggles and broader modes of political activism. We also consider how these nascent forms of activist media practice are indebted to the broader legacies of radical documentary practice, particularly through the theoretical lineage of the "camera as weapon." The new technological and aesthetic strategies being developed and utilized by these groups are radically reshaping investigatory methodologies and collaborative practices across contemporary human rights, documentary, and new media practice. Ultimately, within these new ecologies of media practice, raw forms of media evidence are reframed and redeployed; entering into larger assemblages and ecologies to examine – and concomitantly resist – formations of political power and state violence. This is a practice that we term "mediated forensics." [ABSTRACT FROM AUTHOR]

The article is a review of the documentary film "Addicted to Life" directed by Pola Rapaport. It explores the story of Marieke Vervoort, a Belgian athlete with a degenerative spinal disease who has obtained papers for euthanasia. The review delves into the complexities of euthanasia, the value of Vervoort's life, and the themes of dignity and privacy in the film. It raises questions about whose story is prioritized in the context of euthanasia and emphasizes the need for ongoing conversations about death and support for those choosing euthanasia. The text also discusses the cultural and personal implications of euthanasia, including the contributions of friends and family, reflections on life, and preparations for after death. It considers historical and cultural attitudes towards euthanasia and suicide, suggesting that a more accepting attitude towards suicide could lead to greater acceptance of euthanasia. The article concludes by discussing euthanasia as a form of defiance against biopower, a type of power that seeks to control and dominate life. [Extracted from the article]

Copyright of Anales de Historia del Arte is the property of Universidad Complutense de Madrid 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 essay explores forms of feminist screen media that produce political desires about sexual liberation. I focus on key works, especially from the 1970s, that visualize women's pleasure in conversation with the language of documentary, that is, on projects committed to matters of truth, agency, education, autonomy, and self-care—terms that began to shape sexual politics in the context of 1970s feminism. Political claims about sex and pleasure exist in a range of nonfiction films from the period, including experimental and realist documentaries, although there is as much to learn from what is clearly absent from the history of women's documentaries about sexuality. I conclude with rare examples of feminist media projects about sexuality and orgasm that explore the connective tissue between the orgasmically radical as well as the social and the material conditions of women's lives that affect their access to, and even need for, care and pleasure. [ABSTRACT FROM AUTHOR]

This article considers Richard Fung's Orientations (1984) as a work of early pan-Asian community organization and self-recognition for LGBTQ+ Asian North Americans. Located between the founding of the community as a part of the legacy of Third World Liberation Front and AIDS activism starting in the mid-1980s, the video was made at a key juncture when visibility and self-affirmation were the main objectives for Asian North American queer communities. The autoethnographic documentary, which has received less scholarly attention than Fung's video works addressing Asian diasporic sexualities and postcolonial subjectivity, marks an important turning point for the historiography of Asian LGBTQ+ groups in North America and for the understanding of Fung's oeuvre over the past four decades. [ABSTRACT FROM AUTHOR]

This sports media research uses a single case study approach to investigate the effects of the COVID-19 pandemic on the mediatic consumption of sports heroes. The case of airing the "3mm" documentary film about WTA tennis player Simona Halep on Romanian television is being analyzed. The theoretical framework is set around the concept of parasocial interaction specific for the mediated relationships between sports fans and their favorite sports brands. The research question asks about the factors induced by the COVID-19 pandemic that might have influenced the rather low audiences of the broadcasted documentary. Results show that, indeed, the COVID-19 pandemic might have well had a considerable impact upon audience figures, mainly because, due to the pandemic situation, the patterns of parasocial interaction between sports fans and sports brands have been altered. The paper discusses the changes in parasocial interaction which occurred due to the pandemic. [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.)

Copyright of Esferas is the property of Esferas 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 Esferas is the property of Esferas 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 Esferas is the property of Esferas 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 Esferas is the property of Esferas 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.)

Rose Hill Plantation, located in Union South Carolina, along the banks of the Tyger River, and surrounded by Sumter National Forest, originally served as the home of William Henry Gist, a wealthy upstate South Carolinian and the secession Governor. At its peak, the plantation held 150+ enslaved laborers. This work explores the potential for documentary filmmaking to reshape public memory and challenge dominant narratives surrounding American history. Drawing on the example of Restoring Rose Hill, a participatory documentary about the legacy of slavery at this former Confederate plantation, documentary functions as a tool for generating dialogue and communicating alternative histories. Using feminist and participatory video frameworks, the film highlights the complex histories of marginalized groups that have been left out of official memorialization efforts, while also exposing the challenges of negotiating contested and uncomfortable pasts. Ultimately, documentary offers a unique opportunity to address pressing issues of injustice and inequality by using storytelling to create more inclusive visions of collective memory. [ABSTRACT FROM AUTHOR]

This article examines the digital and cinematic mediation of queer memory in four independent Chinese documentaries: Queer China, “Comrade” China (dir. Cui Zi’en 2008), Our Story (dir. Yang Yang, 2011), We Are Here (dir. Shi Tou and Jing Zhao, 2016) and Shanghai Queer (dir. Chen Xiangqi, 2019). All these films have been made by queer identified filmmakers and have used the digital video documentary format as an activist strategy; all have strived to record China’s queer history in the post-Mao era. However, because of the filmmakers’ gender and sexual subjectivities, together with the historical and social contexts in which these films were made, the four documentaries remember China’s queer history in different ways. Together, these documentaries contest a heteronormative and a homonormative narrative of Chinese history by constructing alternative memories; they also insert queer people’s voices and experiences into that history. All these mediations testify to the heterogeneity of queer people’s experience, as well as the overdetermination of queer memory as a result of a contingent assemblage of factors such as time, place, technology and filmmaker’s gender and sexual subjectivities. [ABSTRACT FROM AUTHOR]

Representation of Muslims in media post the Sept 11 attacks in the US largely focused on themes of terrorism and extremism. Such homogenized representation was particularly problematic in non-fiction media such as news and documentaries which use archival footage to create ‘reality’. The consequent circulation of these images across the globe is one of the many examples through which Muslim representation has been constructed through stock footage and sourced media images in media post the 9/11 attacks. In this paper, I examine stock images in documentary films in the form of archives to examine the representation of Muslim identity in the post 9/11 world. Using Malitsky’s framework of entextualization to analyze archival material in post 9/11 documentaries, I argue how stock images create a power differential between the East and the West (Said, 1979) reinstating imperial domination. Therefore, this paper intends to examine the use of archives that have been entextualized and re-present history to shape representation of Muslims across spatial and temporal differences through documentary films. To do so, I critically examine two post 9/11 documentaries – Secret Pakistan (2011) and Turning Point: 9/11 and the War on Terror (2021) – to study how these films position the role of Pakistan as an Islamic nation in the Global War on Terror. [ABSTRACT FROM AUTHOR]

This article proposes a specific category of documentaries that adopt a unique approach to explore the past, and which are referred to here as “microhistorical documentaries.” These films fall within the basic parameters of written microhistory, a historiographical trend that emerged in the 1970s under the broader umbrella of “history from below.” Those parameters include a reduced scale of observation, a central role given to human agency, a conjectural approach to archival research, and a reliance on narrative structures. But microhistorical documentaries also exhibit specific traits of their own, such as underscoring the affective dimension, using autobiographical and essayistic perspectives, drawing on the protagonists’ personal memories to reconstruct the past, and using family archives (mainly snapshots and home movies). Films of this kind therefore differ markedly from the informational/expository model of the conventional historical documentary, sharing features with a certain type of contemporary documentary, with some traits that can be linked to a postmodern sensibility. [ABSTRACT FROM AUTHOR]

Copyright of Sur le Journalisme, About Journalism, Sobre Jornalismo is the property of Sur le journalisme, About journalism, Sobre jornalismo 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.)

Fortunately, for the village and estate Ivoești from Cârligatura County, later Iași, a documentary fund from which we can reconstruct the succession of the ruling boyars from the 17th century to the middle of the 19th century, is still preserved. Donated in 1554, on March 17, by Alexandru Lăpușneanu to the monastery dedicated to the Holy Prophet Ilie from Suceava, the estate and the village come under the rule of the treasurer Gheorghe Roșca, along with a part of Romănești. Later on, they are taken by the former great sword bearers Dediu and Ilie Enache, the last one being one of the founders of the Răchitoasa monastery. From the monastery, the estate and the village return, by exchange, to the lady Anița Palade, from the Cantemirești line, whose descendants will rule until after 1831 -- the vornic Constantin Palade and his sister, Smaranda, the hatman Constantin Palade, Scarlat Palade --, Dimitrie Holban, Neculai Istrate, commander of armies Manolache Codrescu, Leonida Mavrodin, the hatman Neculai Alexandru Mavrocordat. From the latter, the village and the estate return, also by exchange, to Doljești monastery, which was disolved in 1860. [ABSTRACT FROM AUTHOR]

Copyright of Konya Art Journal / Konya Sanat Dergisi is the property of Konya Art Journal 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 Journal of Science & Innovative Technologies is the property of Global Cooperation & Analytical Research Center Public Union 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 Bellas Artes is the property of Universidad de La Laguna 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.)

Nearly 20 years since its release, Alber|na Carri's Los Rubios remains a crucial film for understanding the sequelae of the Argen|ne civic-military dictatorship (1976-1983). This ar|cle examines how Los Rubios renders visible certain processes of consolida|on of memory and mythmaking while simultaneously challenging the discourses that were becoming dominant as Argen|na was making significant headway in its pursuit of truth and jus|ce. The film's iconoclas|c representa|on of the dictatorship, resistance, and their aÖermath brings aäen|on to what dominant discourses of the dictatorship had rendered invisible. Carri rebels against the doxa of documentary filmmaking to more aptly depict the non-linear processes of memory. Considering poli|cal theorist Mihaela Mihai's work on the aesthe|cs of care and engaging in visual analysis, this essay posits that Carri's film undertakes a project of mnemonic care with a clear preoccupa|on for presen|ng a more complex and expansive memory of the dictatorship. Understanding the film as a work of mnemonic care illuminates how Los Rubios intervened in Argen|ne poli|cal memory when it came out as well as the stakes of the controversy that followed. [ABSTRACT FROM AUTHOR]

Copyright of Human Review is the property of Eagora Science 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 essay explores the multimodal translation of Scottish community oral cultures to cinema through a critical reflection upon aspects of the production and post-production of a feature-length documentary film, Mysterious Object. Guided by the work of cultural studies authors such as James Clifford and Stuart Hall, alongside reference to oral cinemas elsewhere in the world (such as the work of Apichatpong Weerasethakul in Thailand, indigenous filmmakers in North America, and the films of Gaston Kaboré and Ousmane Sembene in West Africa) reflection focuses upon some of the ironies, imbalances and contradictions inherent within the imperfect processes of transition when translating orality to screen. Discussion explores in particular the impact of cinematic translation upon changing experiences of time, the authority of the oral storyteller, and the manner in which an oral cinema may serve to articulate the collective imagination of the community. [ABSTRACT FROM AUTHOR]

Early British documentary cinema, pioneered by John Grierson, undeniably had a heavy influence on later wartime-era cinema. One such film is David Lean's beloved Brief Encounter. Lean's utilization of a first-person, omnipresent narrative structure mirrors the philosophy behind these earlier documentary films. By first providing an overview of the history of documentary film, Lean's depiction of the banality of middle England is then re-examined through the lens of Laura and Alec's affair. Particular focus is placed upon his depiction of class, empire, and female voices, which are compared and contrasted to these aforementioned British documentaries. [ABSTRACT FROM AUTHOR]

Copyright of Crítica y Resistencias: Revista de conflictos sociales latinoamericanos is the property of Fundacion El llano - Centro de Estudios Politicos y Sociales de America Latina (CEPSAL) 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.)

Documentary follows the idea of recording facts, and truly shoots the unrepeatable time flow, which has irreplaceable documentary value and practical significance. Because of its special political relationship with the Soviet Union, China had a very close exchange and study with it in politics, economy, and culture and so on for a long period of history. The early Chinese documentaries were greatly influenced by the Soviet Union, which included ideas, structures, aesthetics, functions and other aspects. This influence was of great significance to the future development of Chinese documentaries. But scholars' research on Chinese documentaries mostly concentrated after 1949 (the founding of the People's Republic of China), they paid little attention to documentaries during the Republic of China. In fact, the Republic of China was the initial stage of the development of Chinese documentary. The social environment and political pattern in this period were crucial to the formation and development of Chinese documentary films. This paper will comprehensively sort out the process of Chinese documentary films influenced by the Soviet Union from 1911 to 1966 from two aspects, explain its historical reasons, and analyze its strengths and weaknesses, so that reader can have a clearer, deeper and more comprehensive understanding of this. [ABSTRACT FROM AUTHOR]

When excerpts from documentaries about plastic waste are shared on social media, they can increase problem awareness among millions of users. However, they can also inadvertently discourage plastic avoidance by emphasising the scale of the problem and undesirable social norms. An online experiment was undertaken with 1,001 respondents to test if exposure to social media friendly video clips from documentaries about plastic waste influenced plastic avoidance perceptions and behaviours. While social norm perceptions differed depending on how the issue was presented and who delivered the message, the clips were most effective in sensitising the market by promoting the benefits of avoidance, increasing policy support, and increasing willingness to communicate about the issue. The theoretical and practical implications are discussed. [ABSTRACT FROM AUTHOR]

While Australian cinema is generally defined by the feature filmmaking tradition, at least since the 1970s, 'utilitarian filmmaking' represents a significant but barely visible portion of screen culture in Australia, a portion that has had an emphatic but unexamined influence on the media industries, education systems, industrial relations, research culture and national culture. Recent scholarly work undertaken internationally has shown how this vital strand of cultural and industrial history has often been overlooked; worse, it has often been expunged from cultural memory, either by critical neglect or through the destruction of archives previously deemed worthless by businesses and collecting-agencies. Given the insights and impacts of the latest studies of utilitarian filmmaking in the US and Europe, it is no exaggeration to propose that local, Australian holdings in the genre will come to be understood as a hitherto overlooked skein of 'DNA' in our national media systems. To study this heritage is to deepen our understanding of general/global and local/national characteristics of audiovisual culture and aesthetics as they operate in Australia, as well as to contribute in a major way to the burgeoning scholarship in international media archive research.This Introduction will focus on the manner in which 'utilitarian cinema' operates in relation to conceptions of Australian national cinema as well as to how this term can also contribute to formulations of transnational cinema. It will introduce the findings of this Australian Research Council funded research project being conducted by Ruby Arrowsmith-Todd, Stella Barber, Mick Broderick, Ross Gibson, John Hughes, Grace Russell and Deane Williams as well as introducing the case studies that were undertaken. [ABSTRACT FROM AUTHOR]

This article examines Želimir Žilnik's telefilm Stara mašina/Oldtimer (1989) as an example of the politically engaged use of genre and intertextuality in televisual representation. As a road movie, Oldtimer highlights how the journey trope imbued visual representations of movement with ideological and political meanings. At the same time, the film exposes the nationalist motivations behind the so-called anti-bureaucratic revolution in Serbia in 1988 and emphasizes television news department staff's complicity in concealing them. This article argues that, by incorporating television news into its diegetic universe, the film displaced the content presented as informational into the realm of fiction. In this way, Oldtimer not only exposed this case of misinformation but modeled a critical approach to the consumption of television. The paper shows that Žilnik's work contributed to the broadening of televisual potential for ideological signification, allowing the medium to function not simply as a propaganda instrument but as a space of contestation of different ideological positions. Žilnik's choice to realize this project as a film for television shows the televisual capacity for self-awareness, and Oldtimer points to the medium's potential to address the problems that political pressures create. [ABSTRACT FROM AUTHOR]

Gender inequality persists in the documentary film genre. It is assumed that women in the documentary field face so many obstacles that it contributes to the shortage of female documentary filmmakers. This research aims to examine the potentials of female filmmakers in the TVRI's Pandemic Recording program. This study is qualitative descriptive research. The research subjects were female filmmakers who participated in the TVRI's Pandemic Recording program and selected a purposive sampling technique. The data collection techniques relied on structured interviews. The analysis was carried out through data reduction, data presentation, conclusion, and verification. The findings indicate that the selection of female filmmakers in TVRI's Pandemic Recording Omnibus program reflects the achievements and potentials of female filmmakers, including "multitasking," a more feminist perspective, feeling and instinct, and a connection to the subject at hand.

Plain Language summary Thousands of women and children in Uganda die every year due to problems related to pregnancy and childbirth. About 20% of these deaths are avoidable by better use of contraception. Many women are reluctant to begin contraception because of fears and myths about side-effects, and because they need the agreement of their husbands. The aim of this research was to study whether health education films could address these fears, and to compare a short documentary with a short drama film. We produced two health education films (a documentary and a drama) in two local languages with the involvement of local people. Films aimed to (1) dispel some myths on contraception, (2) encourage men to attend at least one antenatal clinic with their wives, and (3) discuss with a health worker whether they would like a method of family planning after the delivery. We showed these films to focus groups of local women, men and health workers in four contrasting areas of Uganda. The people taking part in the focus groups discussed their reactions to the films, whether they had learned anything from them, whether their attitudes towards family planning had changed as a result, and whether they intended to discuss this with their partner. Viewing a short documentary on the contraceptive implant improved knowledge, and short drama films improved attitudes and intentions to discuss the implant with their partner. The documentary and drama had different advantages, and most participants wanted to see both.