Univ., Habil.-Schr. u.d.T.: Stumberger, Rudolf: Klassen-Bilder - Konstitutionsbedingungen sozialdokumentarischer Fotografie 1900 bis 1945--Frankfurt/Main, 2005. / Literaturverz. S. 280 - 288.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 169-177). Also available on the Internet.

Thesis (M.F.A.)--University of North Texas, May, 2009. / Title from title page display. Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 2001. / Typescript. Vita. Includes bibliographical references (leaves 169-177). Also available on the Internet.

Thesis (D. Jur.)--York University, 2001. Graduate Programme in Law. / Typescript. Includes bibliographical references (leaves 403-466). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ66353.

En los anos recientes se ha visto un incremento de documentales dentro de la produccion cultural hispana, reflejando vi­as alternativas de representar el entorno. Pero en contraste a la entusiasta produccion filmica, no se han hecho estudios concentrados sobre documentales, y menos de aquellos que tratan cuestiones de movilizaciones poblacionales a modo de estudio de espacios fi­sicos e imaginarios, producidos por mujeres. Esta tesis pretende otorgar la merecida atencion academica a los documentales relacionados al mundo hispano y con tematica de la frontera, producidos por mujeres, observando la sinergi­a que genera el enlace de elementos convencionalmente considerados perifericos como el genero documental, el genero femenino, y el espacio liminar de la frontera, tanto geopolítica como sociocultural. Para ello se exploran los rasgos formales y tematicos de seis documentales de mujeres sobre la frontera -tanto en su sentido simbolico como concreto. Tres de ellos surgen de la frontera geopoli­tica de EEUU y Mexico, y la otra mitad se enfoca en la representacion de las fronteras virtuales o socioculturales que plasman la Espana en la era de la globalizacion: Que suene la calle (2005) de Itzel Marti­nez, Cowboy del amor (2005) de Michele Ohayon y Maquilapolis (2006) de Vicky Funary y Sergio de la Torre, Extranjeras (2003) de Helena Taberna, El tren de la memoria (2005) de Marta Arribas y Ana Perez y Aguaviva (2006) de Adriadna Pujol. El analisis parte de la idea de conjugar la interseccion de tres li­neas divisorias o fronteras: la li­nea que divide el genero documental de otros generos cinematograficos, la li­nea que divide el genero femenino del genero masculino (u otros), y la linea que divide una cultura de otra -o un pai­s- de otro. El encuentro de estos tres elementos constituye un centro fructi­fero de ideas alternativas de lo marginal, y se establece como espacio legi­timo de rearticulacion de poli­ticas de representacion. Las diferentes perspectivas sobre las dinamicas socioculturales que surgen de la (re)consideracion de los procesos de produccion y circulacion de estos textos culturales aportara a generar nuevos abordamientos de elaboracion y usos de poli­ticas identitarias.

There's an interesting phenomenon happening on the South Coast of British Columbia, Canada- particularly on southern Vancouver Island and the Gulf Islands. Groups of women, couples and families are going back to the roots of craftsmanship to build their own houses. These houses are not your typical timber framed home. These cob homes are made from a mixture of clay, sand and straw. The author draws upon data collected through interviews with nine participants. Through the examination of why people live in or build with cob, the author shows the importance of this material in relation to community and connectivity, as well as environment and health. Two professionally produced audio documentaries and two magazine-style articles contribute to wider public knowledge and understanding of the physical and mental sensations and beliefs of the participants, as well as their understanding of how others perceive cob builders and dwellers to be.

Dissertation submitted in partial fulfilment of the requirements for M.Tech.: Graphic Design, Durban University of Technology, 2011. / Social issues are a very real problem in South Africa. Violent protests in poorer communities around South Africa indicate a need to better understand negative social realities impacting on communities. This research examined the sociocultural context of Wentworth in Durban, KwaZulu-Natal, South Africa, as shown on the map on page x. The focus of this study was the social and community realities; and the significance of photography in the context of examining these. The aim was to use photography as a research tool as well as to document the data collected. From the data a 118-page book, as shown on page viii, was conceptualised, which captures this community’s social context. Further, the study questioned the use of design practice to support social change. Because of the distinctly “Coloured” nature of Wentworth, literature was sought for the definition, history, current dynamics and complexities of Coloured identity. The literature review highlighted ethics and the strategies that should be adhered to when considering the social nature of photography. For this inquiry a qualitative analysis was conducted using the Grounded Theory method. A collaborative, or participatory research approach, was used for data collection, by working closely with families and health, church and non-governmental groups in Wentworth. Qualitative data collection methods used to gather primary data were photographic documentation and interviews. This research produced a number of key findings regarding socio-cultural problems plaguing the community. Findings deemed photography a rich tool for researching the social and for accurately recording everyday life. The main conclusions drawn from this research were that in-depth studies be conducted on individual problems, utilising greater manpower and funding. In addition, that further research and documentation be undertaken in the community.

This research aims to chart four modes of engagement in post-verite documentary films, devoted to an exclusive examination of theatrical formats, that being those documentaries which are originally intended for a cinema audience. As these theatrical documentaries provide a means for spectators to see through the cinema screen and into the real world, it is important to understand how this 'seeing through' is constructed by the documentary production itself. This thesis acknowledges that the 'learning' of documentary stories and subjects has broadened for the global audience of today. After exploring various separate critiques of documentary voice theory, the definition of documentary and film semiotics, I have devised eight paradigms for creating this 'learning' or 'documentary consciousness' in these theatrical or cinema documentaries. I have explored how these eight paradigms can be observed to function in four different modes. These modes contribute to an evolving understanding of viewer comprehension; that thing called documentary consciousness. This is demonstrated through the audio-visual appendix of clips taken from the proto-typical theatrical documentaries I have chosen to analyse, which are: 'Bowling For Columbine' by Michael Moore (2003), which is illustrative of what I have dubbed the 'Outcome Mode'; 'Etre et Avoir' ('To Be And To Have') by Nicholas Philibert (2004), which exemplifies what I call the 'Participant Mode'; 'My Architect' by Nathaniel Kahn (2005), an example of the 'Journey Mode'; 'Baraka' by Magidson Films (1996), a model of the 'Mandala Mode'.

This thesis is a study of a young woman coming to terms with her grief. It unpacks how an invitation to film an unusual and life-changing event developed into an opportunity to question the ethics of the interview. It examines how the intricacies of a trust relationship influence the very threads and textures of the resulting documentary. This paper is a partnership between a practical documentary project and a more traditional written discussion. The documentary Five Hours with Raja is weighted at eighty per cent of the final thesis and the written exegesis makes up the remaining twenty per cent. Together these two elements investigate the developing relationship between Claudia – the documentary’s key protagonist, and the filmmaker, investigating how their relationship has affected the style, method, content and even the fundamental story line of a documentary. It also discusses the consequential ethical considerations and dilemmas behind creative and practical decisions, investigating ways that a filmmaker can draw the participant into the process to allow a greater degree of ownership, a stronger voice and a more immediate sense of intimacy with the final audience.