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Cet article vise à analyser les points d’inflexion entre le récit de recherche non fictionnel et le récit littéraire dans trois lettres de Rodolfo Walsh : « Carta abierta a la Junta Militar » (« Lettre ouverte à la junte militaire »), « Carta a Vicki » (« Lettre à Vicki ») et « Carta a mis amigos » (« Lettre à mes amis »). Pour cela, nous examinerons les différents procédés narratifs utilisés dans ces textes pour souligner le caractère documentaire des événements et des situations racontées ou bien pour en offrir une vision littéraire. Notre hypothèse est que, grâce à l’imagination critique, l’accumulation de données et de détails factuels permet à l’écrivain d’émettre des hypothèses et des conjectures sur la réalité sans pour autant renoncer à l’imagination. En ce sens, nous tenterons de préciser dans quel sens et avec quels objectifs l’écriture littéraire comble les lacunes, là où les frontières entre les « faits bruts » et les interprétations personnelles commencent à devenir opaques.

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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]

Copyright of Frontières is the property of Universite du Quebec a Montreal, Revue Frontieres 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 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.)

Drawing from Rita Raley’s understanding of tactical media and the writings of scholars such as Arturo Escobar on the pluriverse, this paper broadens discussion of deepfakes to first consider other synthetic media, specifically images produced by GANs, and then use that discussion to bridge into potential positive forms of deepfakes that arise from the foregrounding of deepfakes’ production of digitally manipulated bodies and events. Because deepfakes disrupt traditional links between representation and the “real,” they can be used to imagine and represent knowledge, histories, and future events in the pluriverse that are in opposition to colonial and patriarchal logics. This paper proposes three instances in which deepfakes can be repurposed into tactical media invested in the pluriverse’s alterity: in the anonymizing of footage and/or witness testimony, as in the film Welcome to Chechnya (France 2020); in the generation of documentary re-enactment, in particular for events where there are little to no actual footage of an event; and in the creation of alternate histories and counterfactuals that reveal the narratives and power dynamics within accepted “history.” This paper presents the author’s prototypes of deepfakes variously as documentary re-enactment and alternate histories but, to be clear, the hope is not to promote these prototypes. Rather, this paper is intended to provide groundwork from which other scholars, in particular those from intersectionally disadvantaged populations, can use deepfakes in ways that generate, encourage, and support social justice, equality, and nonhierarchy. S'inspirant de la conception des médias tactiques de Rita Raley et des écrits de chercheurs tels qu'Arturo Escobar sur le plurivers, cet article élargit la discussion sur les hypertrucages pour examiner d'abord d'autres médias synthétiques, en particulier les images produites par les GAN, puis utilise cette discussion pour faire le lien avec les formes positives potentielles de hypertrucages qui découlent de la mise en avant de la production de hypertrucages de corps et d'événements manipulés numériquement. Parce que les deepfakes perturbent les liens traditionnels entre la représentation et le "réel", ils peuvent être utilisés pour imaginer et représenter des connaissances, des histoires et des événements futurs dans le plurivers qui s'opposent aux logiques coloniales et patriarcales. Cet article propose trois exemples dans lesquels les hypertrucages peuvent être réaffectés en médias tactiques investis dans l'altérité du plurivers : dans l'anonymisation des séquences et/ou des témoignages, comme dans le film Welcome to Chechnya (France 2020) ; dans la génération de reconstitutions documentaires, en particulier pour les événements où il y a peu ou pas de séquences réelles d'un événement ; et dans la création d'histoires alternatives et de contrefactuels qui révèlent les récits et les dynamiques de pouvoir au sein de l'"histoire" acceptée. Cet article présente les prototypes de hypertrucages de l'auteur sous différentes formes : reconstitution documentaire et histoires alternatives, mais, pour être clair, l'objectif n'est pas de promouvoir ces prototypes. Il vise plutôt à fournir un travail de base à partir duquel d'autres chercheurs, en particulier ceux issus de populations défavorisées sur le plan intersectionnel, peuvent utiliser les deepfakes de manière à générer, encourager et soutenir la justice sociale, l'égalité et la non-hiérarchie.

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Canadian Journal of Film Studies is the property of University of Toronto Press 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 Canadian Journal of Film Studies is the property of University of Toronto Press 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 Canadian Journal of Film Studies is the property of University of Toronto Press 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]

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.)

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Carnets: Revue Electronique d'Etudes Françaises / Revista Electrónica de Estudos Franceses is the property of Associacao Portuguesa de Estudos Franceses (APEF) 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)

En 2004, Gaby Meik publie un roman témoignage où elle retrace ses premières années de militantisme. Ernesto Ardito et Virna Molina terminent leur documentaire El futuro es nuestro en 2014 où ils reconstruisent les vies de ces adolescents. En 2017, ils réalisent leur film, Sinfonía para Ana, une adaptation du roman de Gaby Meik. Comment ces œuvres retracent-elles à travers différents genres l’histoire de ces jeunes au milieu des années 70 ? Quelles répercussions ont-elles dans la société actuelle argentine ? Quel a été le processus de création des réalisateurs pour Sinfonía para Ana qui, basé sur des faits réels, propose un regard subjectif et poétique sur une époque clé de l’histoire argentine ?

Copyright of Revue Historique (0035-3264) is the property of Presses Universitaires de France 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.)

What can documentary theatre learn from disability studies? This article outlines how documentary theatre's reliance on signifiers of the real and on encounters with marginalized others risks recreating a narrative of innate difference, a narrative that contemporary disability studies seeks to trouble. It argues that postdramatic theatre of the real and other hybrid dramaturgies that blur the lines between real and fictive are better equipped to push the limits of theatre of the real when it comes to interrogating notions of perceived difference. A comparative analysis of RARE and Wildfire, two documentary plays created by Judith Thompson and an ensemble of performers with Down syndrome, illustrates how the hybrid postdramatic dramaturgy of the latter play allows Wildfire to stage a more complex negotiation of identity and proximity that is reflective of current discourse around disability as a fluid group identity. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 journey of Michèle Firk (1937-1968), who was a journalist, film critic and activist engaged during the Algerian war, then in the liberation struggle movements in Latin America, is at the heart of a documentary film project led by two historians. They first come back to their long preparatory investigative work: collecting documents (audio and visual), capturing filmed interviews... Then, they wonder about the issues and difficulties related to the conservation and valuation of the hours of rushes they now have. [ABSTRACT FROM AUTHOR]

La méthode du documentaire en lien avec les interactions possibles entre ses protagonistes (filmeur, filmé et spectateur) va dans un premier temps aider à définir les identités de ces participants à la construction du film documentaire. Puis, ce sont les diverses formes d’identités territoriales qui permettront de mieux cerner l’appréhension des territoires filmés. Ainsi, le lien entre ces protagonistes et le lieu qui se tisse révèlera l’apport du cinéma documentaire pour aider à mieux appréhender un territoire dans un registre plus sensible.

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Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 is an interview with Amina Weira, born in Niger in the second decade after the wave of African independences. It addresses her life and work as a filmmaker. Along with Sani Magori and Aicha Macky, she came to cinema in the dry years of the 2000s yet managed to position herself at the forefront of film production in Niger. For Weira, the documentary form, a much-maligned genre due to its association with mass political manipulation in the 1960s and 1970s, is the tool of choice for artistic creation. The introduction focuses on the images she crafts in La Colère dans le vent expounding a beauty only rivalled by the excruciating pains of men suffering untold diseases, due to their exposure to uranium pollution. The interview explores the making of Anger in the Wind (2016) and reveals an artist with a keen sense of justice, a woman given to moments of nostalgia yet revolted by the unending traumas suffered by the inhabitants of her native town: Arlit. [ABSTRACT FROM AUTHOR]

This introduction to this interview presents Chloé Aïcha Boro, a Burkinabé journalist, writer, filmmaker and screenwriter. Although she started her career as a journalist for La voix du Sahel and Le Marabout in her native Burkina Faso, her love of literature inspired her to write novels and move on to screen writing and directing films. The introduction explores Le Loup d'or de Balolé. The interview focuses on her personal life and the making of her films, notably Farafin Ko and Le Loup d'or de Balolé. She explains the opportunities and challenges she faced during the production of her films, sharing her vision on documentary filmmaking. [ABSTRACT FROM AUTHOR]

The documentary film C'est ma terre by Fabrice Bouckat screened during the 2019 edition of Terrafestival is one of the first large-scale films produced locally on the crisis of the chlordecone molecule. This article will examine from a decolonial perspective, how its director, a Martinican with Gabonese origins who lives and works in Guadeloupe, develops a synthetic and universal vision of environmental crises, and thus demonstrates that destruction of ecosystems crosses time and space, cultures and lands, languages and peoples by bringing ecological crisis in the West Indies closer to the one experienced by the Vietnamese victims of Agent Orange. [ABSTRACT FROM AUTHOR]

Copyright of Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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 Doc On-Line: Revista Digital de Cinema Documentário is the property of Doc On-Line: Revista Digital de Cinema Documentario 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.)