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The emergence of deepfakes is the latest form to prompt anxieties over the wider implications of misinformation. This chapter explores possibilities for how these technologies extend the repertoire of modalities available for documentary makers. While these 'synthetic media' offer a disruption of the documentary genre, they are also a continuation of long-standing trends within software culture and also clearly augment practices which are deeply embedded within the documentary genre. This discussion draws upon Wardle and Derakhshan's 'misinformation' and 'disinformation' framework to highlight the increasing complexity of documentary's forms and the challenges they pose to audiences. The limited experiments in integrating synthetic media into documentary media in a productive way suggest especially the possibilities for using these to develop more openly reflexive content. The proliferation of synthetic media forms prompt a wider need within documentary practitioners for critical data practices, software literacy, and ethical practices embedded within a broader understanding of automated, networked and entangled media systems. And they challenge documentary designers to strategise the nature of their content, and engage more directly with their audiences on questions around evidence, trust, authenticity and the nature of documentary media within an era of misinformation. [ABSTRACT FROM AUTHOR]

This article explores deterritorialisation of the human gaze and negotiations of animal life and environment through nonhuman vision. The article focuses on the aerial view and aesthetics of the wildlife documentary series Earthflight and the nature of the gaze in a more-than-human sense. Wildlife documentaries tend to represent animals in a way that imitates human vision while the anthropocentric gaze produces speciesed animals. However, the series Earthflight produces a perspective of a bird's-eye view through small cameras attached to birds' backs or drones gliding among a flock, providing images of flying in close proximity to birds' movements and bodies. I argue that with the concept of the 'more-than-human gaze,' it is possible to examine a perspective that binds together technology, nonhuman animals, and human viewers. The aerial filming extend a perceived territory towards nonanthropocentric vision. The bird's-eye view as the more-than-human gaze deterritorialises the human ways of looking, while showing that birds are not just objects to be looked at but rather active subjects to gaze with. This kind of assembled gaze produces new unfoldings of the environment, perceived not merely as a distant landscape to be admired but as a lived, material environment shared with other nonhuman animals. [ABSTRACT FROM AUTHOR]

This article focuses on the temporal aspects of documentary media experiences in online environments, drawing attention to their processual nature and their ephemeral quality. While it makes a case for the loosely structured temporality of process, the article also discusses the forms these documentary processes take as well as the kinds of engagement with the world they produce. It treats these processes as distinctive occurrences, as experiences that are qualitatively different from other experiences, looking both at canonical examples of interactive documentary and at the spontaneous formations we associate with contemporary media activism. [ABSTRACT FROM AUTHOR]

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

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This project explores the graphic interface design of interactive documentaries (i-docs) about housing projects between Canada and France. Against the backdrop of the modernist, utopian fantasies that constructed these large-scale housing developments, contemporary documentarians intervene in the social space of the multicultural city via creative interface design. I-docs like Highrise (Cizek, Katerina. 2010. "Out My Window." National Film Board of Canada. http://outmywindow.nfb.ca; Cizek, Katerina. 2011. "One Millionth Tower." NFB Highrise, November 5, 2011. http://highrise.nfb.ca/tag/one-millionth-tower/; Cizek, Katerina. 2015. "The Universe Within: Digital Lives in the Global Highrise." National Film Board of Canada. http://universewithin.nfb.ca/desktop.html#index), (B4-Windows on the Tower, Jean Christophe Ribot, 2012, http://www.francetv.fr/nouvelles-ecritures/banlieue-b4/), and Sarcellopolis (Sébastien Daycard-Heid and Bertrand Dévé, 2015, http://sarcellopolis.com/en/) employ user interfaces that conjure the vertical and horizontal dimensions of social interaction in the urban built environment. They are most successful when they move beyond narrative to mobilize objects and space, thus enacting the 'promiscuous relations' of urban experience and simulating the chance encounters of the urban public sphere. [ABSTRACT FROM AUTHOR]

This article summarizes the major audio-visual works that deal with collective bargaining and evaluates their strengths and weaknesses. A series of films about collective bargaining was produced by the U.S. Department of Labor in 1978. These film series offer an objective treatment of collective bargaining and would be excellent to use in training public sector negotiators or in courses on public sector bargaining. The videotape series entitled The Collective Bargaining Process produced by the Center for Industrial Relations at the University of Toronto uses experienced negotiators and actors reenact the actual negotiations between the management of a manufacturing plant and the union representing its production workers. A major drawback of the film An Inside Look at Collective Bargaining is the rather artificial device of the narrator in the role of a janitor.

The article presents an overview of independent biographical documentaries released in China. These include "Twenty Two" directed by Kuo Ke, "The Verse of Us" directed by Qin Xiaoyu, and "The Last Stickman of Chongqing" directed by He Ku. The documentaries reflect their producers' personal concerns on life and social problems encountered by people in the country.

In this article we consider the growing interest in recent years in the use of documentary strategies in the wold of contemporary art, film and performing arts and explore some of the central epistemological assumptions underpinning the persistent idea that the documentary should be equated with ‘non-fiction’. Following Stella Bruzzi we argue that if documentary theory maintains objectivity as the primary measure of value, it will inevitably and continuously arrive at the conclusion that the documentary genre is fundamentally flawed. Instead, we propose to move beyond the ‘realist epistemology’ of documentary theory and focus on the ‘documentary real’, i.e. the specific performativity of the reality constructed in and by the documentary genre. In the last paragraphs, we introduce the various articles that address the “documentary real” in this special issue. [ABSTRACT FROM AUTHOR]

Purpose - The purpose of this paper is to explore the potential of using digital shorts (Pytash et al., 2017) focusing on social issues in social studies classrooms. Design/methodology/approach - Qualitative case study is used in this study. Findings - Digital shorts focused on important social issues, and included their beliefs and perspectives about their social issue, as well as insights into their developing identities as citizens. The authors' findings demonstrate how this assignment can be the gateway for discussions regarding social issues, how students perceive their identities tied to contemporary social issues, and how they make sense of these issues within multimodal compositions. Research limitations/implications - The findings from this research have implications for researching the effectiveness of digital media production analysis for students' learning of social issues. Practical implications - The findings from this research have implications for exploring how digital media production analysis can be incorporated into social studies courses. Originality/value - Although the push for social studies teachers to provide spaces for students to demonstrate these capacities, few examples exist in the literature. [ABSTRACT FROM AUTHOR]

The provocations that spurred literary engagement (littérature engagée) also motivated documentary journalists, yet their work is defined narrowly as journalism history, instead of engaged literature. Like their literary counterparts, documentarians immersed themselves in research and location, reported comprehensively, and posed existential questions that animated civic action. Long-form documentary journalism is thus analyzed in concert with engagement-meaning political involvement by intellectuals denoting commitment and obligation. Engagement arose after World War I, transformed during the Spanish Civil War, and emerged as a dividend that permeated network documentary journalism after World War II. Historical-critical method establishes foundations and criteria, combs existing scholarship for markers of engaged documentary journalism, and moves exemplars from the corners of journalism history into the spotlight of engagement. [ABSTRACT FROM AUTHOR]

In the past decade, a new generation of filmmakers has committed to establishing a local film market via the film school, Ciné Institute, in Jacmèl, Haiti. Film production in Haiti today, grounded in a virtually non-existent cinema historiography, is particularly challenged by the neocolonial politics following the earthquake in Haiti in 2010 and Hurricane Matthew in 2016. Via lowest-budget productions, Haiti’s filmmakers are not only contributing to new modes of translocal media production but are also attempting to create economically viable exhibition networks and subsequent distribution infrastructures on a transglobal scale. This analysis draws on the local prolificacy and global orientation of Haiti’s emerging film cultures, and demonstrates that both aspects are influenced by and intervene in the broader contexts of geo-political debates in global cinema. Finally, this study considers the extent to which Haiti contributes to new configurations of film and media cultures in the Caribbean. [ABSTRACT FROM AUTHOR]

The poet, artist, and publisher d.a. levy (1942-1968) is a significant figure in the history of the underground press. levy's influence was of particular importance to Cleveland, Ohio, where he lived and worked and was devoted to developing, sustaining, and encouraging alternative publishing. levy's newspaper, The Buddhist Third Class Junkmail Oracle, was an early venue for publishing poetry, art, journalism, and critique. The Oracle also holds a unique genealogical position as Cleveland's first underground newspaper. While the literary and political values of levy's work remain, these have been complemented by archival valuations, as levy has been collected, published, and digitized. [ABSTRACT FROM AUTHOR]

Children are one group of people hardly covered by the media. Thus, in many places children’s issues are never reported. This study concludes that the media do not give a significant attention to children’s issues hence a very low reportage. Considering the agenda-setting potential of the media, this situation means children’s issues are never prioritised in public discourse and, consequently, not on the national agenda of policy-makers. [ABSTRACT FROM PUBLISHER]

Juan Rulfo's photography, specifically the reportage he did in 1956 on Mexico City's railroad neighborhoods, sheds important light on his body of work-both visual and literary-, establishing a direct dialogue with the discourses of Mexican development. These photographs, together with his more well-known series of Polaroids and other "minor" works, his frequent collaborations with the cinematographical industry, his participation in the production of travel guides, his editorial work and his occasional short stories, all serve to contradict the supposed existence of Rulfian silence and establish a dialogue with his better-known works. Mexico City's urban history, Angel Rama's theorizing of transculturation and Mary Louise Pratt's work on "contact zones, " together with Ignacio Sanchez Prado's more specific explorations of how Juan Rulfo's literary generation rearticulated the languages of Mexican modernity, allow me to examine the heterogenous Rulfian "gaze" and draw attention to his sharp critique o f the political imaginarles of the socio-historical context in which he worked. [ABSTRACT FROM AUTHOR]

This essay analyzes two recent interactive documentary projects: Sharon Daniel’sPublic Secrets(2006), an exploration of the prison industrial complex through the testimonies of female inmates in California, and Zohar Kfir’sPoints of View(2014) which “maps” Palestinian video advocacy projects made for and/or disseminated by B’Tselem, a human rights organization working in the occupied territories. I argue that the interactive documentary form, as deployed by Daniel and Kfir, draws on the legacies of radical documentary practice, but offers new possibilities for engagement and intervention. The interactive documentary form functions as a structuring device for a wealth of affectively powerful witnesses, testimonies, and varied forms of evidence. This essay explores how interactive documentaries allow viewers/users a multi-faceted affective encounter with a range of subjects and evidence. This form, in concert with a radical political stance, I argue, is a locus for the representation of and viewer/user critical engagement with broad systemic problems, renders visible hidden structures of violence and power, and engenders an “affective radicality” that moves viewers/users into larger networks of political discourse, militant activism, and practices of resistance. [ABSTRACT FROM PUBLISHER]

The aim of this study was to investigate cultural planning framework at universities using documentary (library) - analytical research method. The study sample consists of all information resources such as books, magazines, articles and International Studies. We faced two research questions titled 1) The investigation of cultural planning framework at universities and 2) Proposed dimensions and components of cultural planning framework which we sought to answer with extensive study. The results of the study indicated that cultural programming for universities is a systematic process which includes specific steps and each of these steps need attention to their overall dimensions. In general, with the overlap between different models of cultural planning in universities, we face steps such as context for planning, developing vision, mission and goals, internal and external assessment organizations, develop and prioritize strategies and evaluation which turn cultural planning into a systematic and hierarchical process. [ABSTRACT FROM AUTHOR]

How might an animator distil and study emotion? Could animation itself be a means to unlock meaning that previous experiments have not been able to access? Animation has the power to both highlight and conceal emotions as expressed through body movement and gesture. When we view live-action (human interview) documentary footage, we are exposed not just to the spoken words but also to the subtle nuances of body movements. How much might be lost when documentary footage is transposed into animation, or, indeed, what might be gained, translated through the personal and artistic view of the animator? Drawing on my own previous experience as a games animator, now using research through practice methodology, this article explores the results of the first of a series of animations created to explore the more subtle nuances of gesture. Through the medium of a documentary-style interview, opposing topics are used to evoke strong emotions - first, of happiness, and then of sadness - with a view to accessing real rather than acted (simulated) emotions and their associated body movements. [ABSTRACT FROM AUTHOR]

For a first-year seminar, Windows on Science, the authors developed a cooperative learning activity around film designed to meet two of the campus-wide Principles of Undergraduate Learning. The teaching method utilizes the power of storytelling by screening narrative and documentary films. In the process, the methodology helps students to realize the contributions of many cultures, specifically African Americans, to our knowledge of science and the advancement of scientific methodology. Additionally, students are exposed to issues that focus on ethical conduct in the sciences and that provide an opportunity to discuss the leadership role that women have played in advancing science and technology. A pedagogical approach using narrative and documentary film in a freshman science course is an effective means for promoting an understanding of the endeavors and contributions of minorities and women in science, and for developing an increased awareness of issues concerning diversity and ethics. [ABSTRACT FROM AUTHOR]

A photo essay which documents documentary work in Tutwiler, Mississippi.