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This thesis explores the nature of communication in television documentary, based on an investigation of production, reception and their interrelationship. It assumes that social context is fundamental to an understanding of mass communication. Doise's (1986) levels of analysis (intrapersonal; interpersonal/situational; positional; cultural/ideological) provide the framework for conceptualizing social context. Audience reception research, which appreciates viewers' active role in reception and influence on production, inspires the qualitative approach. Whilst these premises challenge a traditional transmission approach to mass communication, the thesis argues against simultaneously rejecting the concept of information transmission. The thesis is located within a ritual approach to communication (Carey, 1989), exploring the potential for information transmission by extending this approach to situational and positional levels. As a distinctive information genre, the television documentary is perfect for investigating transmission. In this endeavour, the thesis explores the assumptions of both broadcasters and audiences concerning the function, structure and content of documentary communication. The methodological structure comprises three qualitative studies - production context, reception context and a case study. The production study involves twenty one interviews with television documentary broadcasters and establishes two intersecting dimensions embracing their perspectives. The reception study includes eight focus group discussions, and finds documentary expectations differing by socio-economic status and gender. These studies provide the context for analysing the nature of communication in one documentary programme, "Parental Choice", comparing a producer interview with four audience focus group discussions. The results highlight a lack of awareness amongst broadcasters of the varying genre-specific criteria used by documentary audiences in programme interpretation. Information transmission is possible if viewers accept a documentary's credibility. However, perceptions of credibility vary at the situational and positional levels, thus transmission is limited and ritually-based. The emerging nature of documentary communication contributes to academic debate on mass communication, audience research and the television documentary genre.

The purpose of this bachelor thesis is to examine upper secondary students’ attitudes towards historical feature films and documentaries as teaching materials in history education. A survey was cunducted with 133 students. The students were asked for advantages and disadvantages with films and documentaries, what knowledge they might gain from watching, and the films trustworthiness as a teaching aid. The result shows that the students generally are positive towards the usage of film in history education and consider films to be a good complement to other teaching methods, especially documentaries. They are considered more trustworthy than feature films, despite being regarded as a more tedious genre. On the other hand, both feature films and documentaries are said to increase an interest in history. The knowledge mentioned by the students are primarely factual knowledge. However, a few answers indicate that film also can help develop students historical literacy, visualise historical events, and time periods. Students’ trust for the feature films’ nar-rative and the documentaries’ objectivity are quite high. Paradoxically, the majority of the stu-dents claim to question whether the films’ content is historically correct or not.

Muay Thai (Thai Boxing) is a kind of self-defense with its own forms of fighting which are different from the self-defense styles of other countries, whether it is in a form of wrestling, Karate, Taekon-do, etc.. Muay Thai is not only fighting for self-defense but also an art and science demonstrated by using various parts of body and movement resulting into forms of offense and defense. This documentary film was made for educational purpose and to spread the art of Thai Boxing to foreigners. VHS video tape was used as a medium to present this documentary. There are two segments in this Muay Thai Documentary. The first segment presents the history, circumstances, and general techniques of Muay Thai. The second segment shows the everyday life of ordinary boxers by using a Thai child named Noppadol as an representative for other fighters.

Zugl.: Marburg, Univ., Diss., 2008

abstract: Cultivation theory states that consuming television cultivates a social reality in the real world which aligns with the reality present in television. When the television show CSI was released, researchers studied a form of cultivation stemming from the show titled the "CSI Effect." One of the components of the CSI Effect is the tendency of those who watch CSI to be more likely to overestimate the presence of forensic evidence present in a trial and place more trust in such evidence. In recent years, several true crime documentaries that examined controversial cases have been released. In a similar vein of research conducted on CSI, the current study examines true crime documentaries and their possible impacts on viewers’ judgments and beliefs about the criminal justice system. In the current study, participants were provided with a mock case and asked about their perceptions of the case along with their viewership habits. While overall true crime documentary viewership did not influence judgments of evidence manipulation or perceptions of police, findings point to viewership of the targeted documentaries being associated with feelings of mistrust towards the criminal justice system overall, while the lesser-viewed documentaries correlated with judgments of strength and responsibility of the defendant in the case. One possible explanation is that individual characteristics may serve as the driving factor in how individuals choose what to watch when the popularity of the show is not as well-known. / Dissertation/Thesis / Masters Thesis Psychology 2018

This is a reflexive documentary on the Open School in Los Angeles, an elementary school which is a field research site for Apple Computer, Inc. This videotape explores filmmaker/subject relationships, media perception by children, and issues of representation. An accompanying production book describes the grantwriting process, the pre-production, production, and post-production stages, as well as theoretical implications of the documentary.

The true crime genre was invented by Truman Capote in 1965 with his work In Cold Blood.Since that day, the amount of true crime content and the number of consumers have continuedto grow. This type of content can be found in many different forms such as books, movies,series, TV shows, podcasts and more. However, it sometimes attracts a lot of criticism due totheir sensitive and sometimes even exploitative nature.The purpose of this thesis is to explore how true crime documentary producers operate tomake their content appealing to consumers. Here, we focus on true crime documentariesbroadcast on television, streaming and podcast platforms, all of which are aimed at Frenchconsumers.This thesis is based on an interpretivist philosophical approach and on a qualitative researchmethod. We interviewed French individuals working for production of true crimedocumentaries. Our interview was based on three main themes: production, ethics, andpost-production marketing. The goal is to get their opinions, knowledge and experiencesabout the production but also the promotion of attractive true crime documentaries and howethical aspects are considered. Specifically, we asked them about the techniques and toolsused in the creation and promotion of true crime content while taking into account the ethicalexpectations of consumers.This study contributes to previous studies from a theoretical and practical point of view. Froma theoretical point of view, our results have allowed us to understand the impact of thestrategies used by production teams to attract consumers. From a practical point of view, itcan help to better understand the consumption of these contents and related strategies. It canalso be used by future producers who plan to make a true crime documentary. It can also helpbroadcasters, that is to say television, streaming platforms and podcasts, to better understandthe actions of production teams.

Submitted by ANA CAROLINA RIOS GOMES null (carol.rios@gmail.com) on 2016-05-08T05:31:32Z No. of bitstreams: 1 TESE_FINAL_CAROL RIOS.pdf: 1969050 bytes, checksum: 9ac2bad1c3641fc5b6453eeb159afae1 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-05-10T17:39:13Z (GMT) No. of bitstreams: 1 gomes_acr_dr_rcla.pdf: 1969050 bytes, checksum: 9ac2bad1c3641fc5b6453eeb159afae1 (MD5) / Made available in DSpace on 2016-05-10T17:39:13Z (GMT). No. of bitstreams: 1 gomes_acr_dr_rcla.pdf: 1969050 bytes, checksum: 9ac2bad1c3641fc5b6453eeb159afae1 (MD5) Previous issue date: 2016-03-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / A produção e o uso de imagens sempre estiveram presentes ao longo da história do pensamento geográfico, bem como nos estudos antropológicos. Com o advento de novas tecnologias, a utilização de recursos audiovisuais para a elaboração e difusão de saberes vem se intensificando, muitas vezes como tema central para o desenvolvimento de pesquisas. Ao mesmo tempo, questões relativas à Diversidade e ao Patrimônio Cultural estão em evidência nas políticas culturais e também nos estudos acadêmicos. Diante desse contexto, o objetivo da presente pesquisa é articular essas vertentes, analisando a potencialidade dos registros de práticas culturais a partir das intersecções entre a História Oral e a Linguagem Audiovisual, concretizadas em documentários etnográficos. Além de empoderar comunidades que participam da produção e difusão desses registros audiovisuais, reconhecendo sua importância social e narrando sua própria história, constatamos, por meio de uma ação educativa a partir da recepção de documentários por parte de alunos do ensino superior em Geografia, que o material produzido tem o potencial pedagógico, em sentido lato, de aproximar diferentes contextos culturais e promover relações de identidade e alteridade mediadas pelo audiovisual. A abordagem etnográfica em sala de aula indicou que, por captar atenção e emoção, a linguagem audiovisual é capaz de favorecer a imersão dos espectadores nos modo de vida, na realidade que se registra e se apresenta, trabalhando as geograficidades e historicidades de distintas comunidades para contextualizar as diferenças e conviver com outros modos de ser e estar no mundo, promovendo a diversidade cultural. / The production and use of images have always been present throughout the history of geographical thought and in anthropological studies. With the advent of new technologies, the use of audiovisual resources for the development and dissemination of knowledge has intensified, often as central to the development of research. At the same time, issues relating to diversity and cultural heritage are evident in cultural policies as well as in academic studies. In this context, the aim of this research is to articulate these aspects, analyzing the potential of the records of cultural practices from the intersections between oral history and Audiovisual Language, implemented in ethnographic documentaries. In addition to empowering communities participating in the production and dissemination of these audiovisual records, recognizing their social importance and narrating his own story, found through an educational action from the reception of documentaries by students in higher education in geography, the produced material has the pedagogical potential in the broad sense, to approach different cultural contexts and promote identity and alterity relations mediated by audiovisual. The ethnographic approach in the classroom indicated that, by capturing attention and emotion, audiovisual language is able to favor the immersion of spectators in life so in fact that records and displays, working the geograficidades and historicity of different communities to contextualize the differences and get along with other ways of being in the world, promoting cultural diversity.

Made available in DSpace on 2016-12-08T16:59:56Z (GMT). No. of bitstreams: 1 119028.pdf: 2062674 bytes, checksum: 8704998ad9f90fd9431686429d7b7d2e (MD5) Previous issue date: 2014-03-12 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / From a question present in Brazilian cinema history, about who is the "Brazilian people", the survey identified that the "who" was "where". That is, it needs to think of the space where is the Brazilian who it wants to talk. So, the film expand the territory of his characters. Through the elements of the cinematic image, it creates a space where characters are inserted that answer the question "who" is the Brazilian people. Thus, we approach the documentaries that take place in landfills, namely: Boca de Lixo (1992), Estamira (2005) and Lixo Extraoridinário (2010). They are the "trilogy" in Brazilian cinema about a territory that has its end expected in Brazil. / A partir de uma questão presente na história do cinema brasileiro, sobre quem é o povo brasileiro , a pesquisa identificou que o quem estava onde . Ou seja, é preciso abordar o espaço onde se encontra o brasileiro de quem se quer falar. O cinema, então, territorializa seus personagens. Através dos elementos da imagem cinematográfica, cria-se um espaço onde são inseridos personagens que respondem à questão quem é o povo brasileiro. Assim, abordamos os documentários que se passam nos lixões, a saber: Boca de Lixo (1992), Estamira (2005) e Lixo Extraordinário (2010). São eles que edificam uma trilogia no cinema brasileiro sobre um território que tem sua extinção prevista no Brasil.