This book chapter indicates a further application of theories of multimodal communication applied to naturally occurring text, in this instance to documentary film making. Instead of producing a model of genre the intention here was to perform a descriptive analysis of composition in the documentary form as a whole and applied to a specific film, Godfrey Reggio¿s Koyanisquatsi. The analysis here was intended to establish further low-level spatial attributes that could be applied to visual and multimodal texts. Framing is a particularly powerful yet often transparent feature of multimodal texts and this chapter was an attempt to develop a rigorous application of many aspects of composition to the critical analysis of film. This is another natural progression from the previous publication as the intention here was to embed the use of framing as a technique in the construction of multimodal texts, such as film, within the critical discourse of representation in film. In doing so the chapter draws from many different `flavours¿ of semiotic theory, from theories of visual design, linguistics, and theories of `spectacle¿. This book chapter is one of the first extended applications of framing from the perspective of multimodality to the documentary film genre. It also brings together important critical approaches to film into a unified theory of representation in the documentary form.

Recent years have produced an influx of popular documentaries of Indian gurus who founded transnational spiritual communities and became embroiled in various forms of controversy. One example of this is Wild Wild Country, a 2018 Netflix documentary that depicts the rise and fall of a spiritual community, started by an Indian guru named Osho (1931-1990) in a failed attempt to build a utopian commune in Oregon. American representations of Asian religious figures have historically been a complex, and often prejudiced, affair. This thesis will attempt to assert the best fit theoretical framework with which to interpret Wild Wild Country, between Edward Said's Orientalism and J. J. Clarke's Affirmative Orientalism. Alongside these frameworks, the thesis will incorporate the theoretical framework of Virtual Orientalism by Jane Iwamura, and scholarly analyses of Osho from Marion Goldman and Hugh Urban. My thesis will explore the documentary's representations of Hinduism, race, sexuality, capitalism, and culture. The original contribution of the project will be an analysis of Osho in the primary source material Wild Wild Country. Utilizing the postcolonial scholarship produced by scholars such as Edward Said, Richard King, and Jane Iwamura, as well as the alternative framework of Affirmative Orientalism used by J.J. Clarke, the project will attempt to dissect the American media representation of the "mystic East" broadly, and of the Hindu religious leader Osho, specifically.

Many gay Christians these days feel as if they need to choose to be either gay or Christian. Verses in the Bible' condemn homosexuality, and so guilt, shame, and denial are often experienced among gay Christians in particular, especially if they have nonaccepting parents. If a gay Christian believes that God does not accept their gay identity, then they will be confused as to who they are. As a gay Christian myself, I have felt in conflict with my identity throughout my life. Initially, I began this paper in conjunction with a documentary I made about a relationship. I had with another woman. In the documentary, I explore this issue of identity and religion, and I seek to find answers as to where exactly my guilt could have stemmed from. Making the film was a journey I took to find peace with my faith and orientation. In this paper, I will explain how I have changed and pinpointed my guiit throughout the process of making this documentary entitled, Seeing with the Heart.

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Thesis ((LLD (Law))--University of Stellenbosch, 1996. / 424 leaves single sided printed, preliminary pages and numbered pages 1-356. Includes bibliography, digitized at 300 dpi (OCR), used Bizhub 250. / ENGLISH ABSTRACT: The documentary credit is one of the most important methods of payment utilised in international trade. This versatile instrument is encountered in a variety of forms. In its simplest form it is an undertaking by a bank given on application by a buyer-importer (the bank's client) to pay the seller-exporter (the beneficiary) against delivery of stipulated documents. It has two essential characteristics: (i) the bank's undertaking to pay the beneficiary is independent of the contract of sale and the contract between the bank and its client; and (ii) the bank will pay only against the precise documents stipulated in the credit. In Chapter One the different relationships established between the parties involved are dealt with against this background, and the different types of credits are discussed. Documentary credits are, comparatively speaking, modern instruments. Possible historical origins are explored briefly in Chapter Two. Documentary credits are virtually invariably applied for and issued subject to the Uniform Customs and Practice for Documentary Credits (the UCP). The UCP is a set of rules formulated by the International Chamber of Commerce. The modern history of documentary credits as reflected in the development of the UCP is discussed in Chapter Three. The legal nature of the UCP is analysed from a civilian, common-law and South African perspective in Chapter Four. The legal nature of the relationship between the bank and the beneficiary is the focal point of Chapter Five. The question is approached from a civilian (especially German and Dutch), common-law (especially English and American) and South African point of view. Special attention is devoted to the ability (or inability) of the traditional law of contract of the different jurisdictions to provide a theoretical foundation for (i) the independence of the bank's obligation, and (ii) the irrevocability of the bank's undertaking. The conclusion arrived at is that the South African law of contract is able to provide an adequate basis for this relationship in general and these two matters in particular. In the final chapter the defences available to the bank against the beneficiary's claim are scrutinised, as well as the possibility of the bank being interdicted from paying the beneficiary. Related issues such as anti-dissipation interdicts and attachments in the documentary-credit context are also dealt with. These questions are likewise investigated from a civilian, common-law and South African perspective. This investigation leads to the conclusion that the South African law is essentially in harmony with the law elsewhere and that our courts have been successful to date in protecting the integrity of documentary credits. / AFRIKAANSE OPSOMMING: Die dokumentêre kredietbrief is een van die belangrikste betalingsmetodes wat in die internasionale handel aangewend word. Hierdie buigbare middel kan 'n verskeidenheid van vorms aanneem. In sy eenvoudigste vorm is dit 'n onderneming deur 'n bank wat op aansoek van 'n koper-invoerder (die bank se kliënt) aan die verkoper-uitvoerder (die begunstigde) gegee word. Dit het twee essensiele eienskappe: (i) die onderneming van die bank om die begunstigde te betaal is onafhanklik van die koopkontrak sowel as die kontrak tussen die bank en sy klient; en (ii) die bank sal slegs betaal teen lewering van die presiese dokumente vereis in die kredietbrief. In Hoofstuk Een word die verskillende verhoudinge tussen die partye betrokke teen hierdie agtergrond bespreek asook die verskillende tipes kredietbriewe. Dokumentere kredietbriewe is relatief gesproke moderne instrumente. Moontlike historiese oorspronge word kortliks in Hoofstuk Twee verken. Kredietbriewe word bykans sonder uitsondering aangevra en uitgereik onderworpe aan die Uniform Customs and Practice for Documentary Credits (die UCP). Die UCP is 'n stel reels wat deur die Internasionale Kamer van Koophandel opgestel is. Die moderne geskiedenis van kredietbriewe soos in die ontwikkeling van die UCP weerspieel, is die hoofonderwerp van Hoofstuk Drie. In Hoofstuk Vier word die regsaard van die UCP vanuit die perspektief van die regstelsels baseer op die ius civile, die common-law stelsels en die Suid-Afrikaanse reg beskou. In Hoofstuk Vyf word op die regsaard van die verhouding tussen die bank en die begunstigde gefokus. Die aangeleentheid word benader vanuit 'n ius civile (veral Duitse en Nederlandse) perspektief, 'n common-law (veral Engelse en Amerikaanse) perspektief, asook 'n Suid-Afrikaanse perspektief. Besondere aandag word verleen aan die vermoe (of onvermoe) van die tradisionele kontraktereg in die verskillende jurisdiksies om 'n teoretiese grondslag daar te stel vir: (i) die onafhanklikheid van die bank se verpligting; en (ii) die onherroepbaarheid van die bank se betalingsonderneming. Daar word tot die gevolgtrekking geraak dat die Suid-Afrikaanse kontraktereg wel in staat is om 'n bevredigende basis vir die verhouding in die algemeen, en hierdie twee aangeleenthede in die besonder, daar te stel. In die laaste hoofstuk word aandag geskenk aan die verwere wat 'n bank teenoor die begunstigde se aanspraak kan opper, asook aan die moontlikheid dat die bank by wyse van interdik belet kan word om die begunstigde te betaal. Verwante aangeleenthede soos interdikte in securitatem debiti en beslagleggings in die konteks van kredietbriewe word ook bygehaal. Hierdie aangeleenthede word eweneens vanuit 'n ius civile, common-law, en Suid-Afrikaanse perspektief benader. Die ondersoek lei tot die gevolgtrekking dat die Suid-Afrikaanse reg breedweg beskou in harmonie is met ander stelsels en dat ons howe die integriteit van kredietbriewe tot dusver suksesvol beskerm het.

This report will summarize the process of developing, producing and finishing the short documentary film ARVIND. Shot on HD video in Austin, TX from May 2012 to March 2014, 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