The aim of this study is twofold, firstly to explore various media's coverage of missing children to probe whether they currently include the reflections and personal narratives of family members and loved ones and secondly to propose possible strategies for creating space for such content in the media. The much- publicised case of Madeleine McCann going missing in Portugal in 2007, showed how much power the media still yields and how much awareness can be created if the media choose to cast light on a particular case. But this case also stood out for another reason: many interviews conducted with the family after her disappearance didn't merely contain the facts surrounding her disappearance, they were also heartfelt narratives about the pain and horror that the family were going through. The public were not only made aware of their missing daughter but also of the very real and horrific way her disappearance had punctured their suburban life forever. Very few other cases of missing children have garnered the kind of media attention that allows parents of missing children to reflect in such a way. Most newspapers in South Africa at present barely report a child missing; let a lone create a space for parents to reflect on their loss (Drennan, 2012). News is often considered to be centred around the interests of the élite (Herman and Chomsky 1988) and often certain demographics like race, gender and ethnicity can influence how 'newsworthy' certain crimes or stories are considered to be (Pritchard and Hughes 1997, Gruenewald, Pizarro and Chermak 2009). Although social media allows a flow of information that is immediate (So, 2011), the information is still mostly centred around quick mobilisation of the public to find the missing person in the shortest time possible and doesn't allow a space for family members to reflect or share their experiences. Television plays a vital role by entertaining the viewer with facts and events that engage the audience but not much content can be found that allows the family and friends of the missing person to reflect on their sad and often lonely experience of losing a loved one in such a traumatic way. The existing television formats (fiction and non-fiction) are perhaps not ideal for intimate reflection and sharing emotional responses. By using narrative inquiry and action research while producing my own film about a missing person, I was able to test various fiction and non-fiction programming models. Four cycles of action research helped me to understand and determine what form would be best in order to create a space that would allow for intimate reflection from family members of missing persons. Through a process of trial and error, I found that a documentary form that incorporates inspiration from fiction and non-fiction forms was the most fitting platform to create an intimate space for reflection and sharing (Stubbs 2002; Nichols 2001). By combining these various elements I believe that I was able to make a film that is ethical, sensitive and respectful of my subject; to focus renewed attention on a cold case, while creating space for intimate reflection, something no other medium or platform I studied was able to do.

This paper is a complement to the creative audio miniseries, HERE / NOT HERE. Its purpose is to analyse the concept of home from an academic perspective, both as complement and as perspective to the audio series’ autobiographical nature. Through philosophical, reflexive enquiry that analyses home’s connection to place, landscape, memory, senses and the body, this paper answers the question - ‘what does home mean to others’? In conjunction with the audio series, this paper also answers the question - ‘what do we talk about when we talk about home’? The paper starts with an introduction to the idea of home and the project as a whole, before diving into a discussion on podcasting, what it is, how podcasts are produced, and how this project fits into the existing podcasting landscape. After laying that knowledge base, the paper then turns to academic research theory, arguing that this project adds to an academic library of reflexive enquiry and subverted fieldwork. Following that, the paper discusses the academic theory of both of place and home, before deconstructing home and looking at how home interacts with other facets of the human experience, namely - the self, childhood, memory, the senses and the body. Throughout, the paper connects academic theory to the podcast’s creative elements. As such, it provides a context for the podcast’s two series - one of which looks at home through the lens of the senses, the other through the lens of the body, while also discussing other aspects of home. Previous work has failed to look at home from such a comprehensive perspective; this paper aims to tie together those threads, as well as put forth autobiographical self-reflection as fuel for both creative and academic work. In this way, this paper provides an academic backbone to the audio project’s creative enquiry. The paper itself also provides its own findings, the main one being this - when we talk about home, we talk about ourselves.

Thesis (M.A.)--Ohio University, November, 2009. / Title from PDF t.p. Includes bibliographical references.

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This report will summarize the process of developing, producing and finishing the short documentary film THE SHRIMP. Shot on HD video in Savannah, GA during the spring and summer of 2009, the film was produced as my Graduate Thesis Film in the Department of Radio-TV-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

The main subject of this thesis is the exceptions in documentary credits in English law. The exceptions were established during the development of the documentary credits system to solve drawbacks of the payment means caused by its distinctive feature of autonomy. A rationale of the research is the current decline of the market share of documentary credits as a recognized means of settlement in international trade. This thesis aims to explore an appropriate and efficient way to apply certain necessary exceptions in documentary credits system. And hopefully, the current high rate of the rejection of the documents by banks by relying on the strict compliance principle can be decreased by the improving of the application of exceptions in documentary credits. The research centres primary the application of the exceptions in English law. An early study of the original development of the fraud exception will cover both English and American authorities. Because there is no statute law in English law to regulate the exceptions in documentary credits, the thesis will analyse the exceptions mostly through the case law. The main exceptions analysed in the thesis are the fraud rule, the illegality exception and the nullity exception. The application pattern for the three exceptions will be worked out respectively; the specific application of the injunction rules in applying the fraud rule will be concluded during the analysis of the fraud rule; some common features in the application among the exceptions will also be summarized in the thesis. An effort is made to suggest a prospective development of exceptions, which is in consistent with the autonomy principle. And as the necessary exceptions are applied efficiently, the disputes existing in documentary credits system currently may be settled without the appliance of any explanatory rules.

Out of Order is a documentary film that explores the emotional and physical aspects of living with polycystic ovarian syndrome. This reproductive disorder affects between 5 and 10% of all women of reproductive age. This film features an animated, autobiographical look at director Kimberly Davis' personal experience with this condition.

"Project Reformation" presents the process of change Amanda and Robert Bowen went through as they came to recognize Holy Spirit, the part of Trinity that was sent after the death of Jesus (John 15:26). The documentary combines various filming techniques such as observational footage, reenactments, interviews, and CGI to convey the story. This film captures the walk Robert and Amanda took as they re-examine their past, progressing through a series of supernatural encounters into a recognition of purpose and plan behind the events and experiences. While looking back on this journey, the director seeks to reveal the truth that Holy Spirit is in fact "alive and well," and walks with individuals in their daily lives by sharing how the "gifts" of miracles, healing, visions and prophecy are active even in today's age. In addition, the director desires to reveal the specific message this couple has received through this process: Not to only recognize Holy Spirit, but to reveal the "why" He is now making Himself known in these ways when many would say He has been silent for at least a generation: For reconciliation and restoration, leading to Reformation through Spiritual Healing in Family Ties (Reformation.SHIFT).

Thesis (M.S.)--Boston University. PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / Includes bibliographical references. / Cinema verite is distinguished from other genres by its refinement of means to make spontaneous revelations of character and situation. Because cinema verite can reveal extemporaneous behavior more easily and more acutely than other filmmaking techniques, its subjects are inherently more vulnerable to exposure than are subjects in directed or rehearsed films. Consideration of vulnerability as a key element characterizing the form and affecting audience response.to cinema verite opens up criticism of the form in a number of ways: It explains more fully audience discomfort with cinema verite, because it suggests that in cinema verite the audience's affiliations shift between filmmaker and film subject. It underpins discussion of the cinema verite film maker's responsibility to and relationship with the film's subjects. It suggests a perspective from which to examine humor in cinema verite. Finally, it is one explanation of the particular force of this form, a force that can be used or abused. / by Ann Schaetzel. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980.