Mineola is a poetic, observational, immersive documentary centered in the town of Mineola, Texas. The film provides an intimate, first person perspective of different locations in the town as well as underlying subversive beliefs and traditions. The film’s authoritative perspective guides the viewer not only in a direction of observation but personal connection to nostalgia of small communities.

This practice based PhD project investigates the language ideologies which surround the specific multilingual context of rural primary education in Zambia. The project comprises of a creative documentary film and a complementary written submission. The fieldwork and filming of the project took place over 12 months between September 2011 and August 2012 in the community of Lwimba, in Chongwe District, Zambia. The project focuses on the experiences of a single grade one class, their teacher, and the surrounding community of Lwimba. The majority of the school children speak the community language of Soli. The regional lingua franca, and language of the teacher, however, is Nyanja, and the students must also learn Zambia’s only official language, English. At the centre of the project is a research inquiry focusing on the language ideologies which surround each of these languages, both within the classroom and the wider rural community. The project also simultaneously aims to investigate and reflect on the capacity of creative documentary film to engage with linguistic anthropological research. The film at the centre of the project presents a portrait of Annie, a young, urban teacher of the community’s grade one class, as well as three students and their families. Through the narrativised experiences of the teacher and children, it aims to highlight the linguistic ideologies present within the language events and practices in and around the classroom, as well as calling attention to their intersection with themes of linguistic modernity, multilingualism, and language capital. The project’s written submission is separated into three major chapters separated into the themes of narrative, value and text respectively. Each chapter will focus on subjects related to both the research inquiry and the project’s documentary film methodology. Chapter one outlines the intersection of political-historical narratives of nationhood and language that surround the project, and reflects on the practice of internal narrative construction within documentary film. Chapter two firstly focuses on the language valuations within the institutional setting of the classroom and the wider community, and secondly proposes a two-phase perspective of evaluation and value creation as a means to examine the practice of editing within documentary film making. Chapter three addresses the theme of text through discussing the role of literacy acquisition and use in the classroom and community, as well as analysing and reflecting on the practice of translation and subtitle creation within the project.

From the begining of television broadcasting in the Czechoslovakia the sports documentary belonged to the group of TV genres, which are regularly situated on the television. Most of the czech and czechoslovak sports documentaries also got an important award at home and abroad. This thesis is looking for what place a sports documentary has in the Czech Television broadcasting at the beginning of the 21st century, an era that increasingly belongs to the Internet and shared content rather than television. The thesis also seeks to answer the question of what types of sports documentaries are currently being filmed, and whether a sports documentary is the privilege of a public television or private television or even internet stations and platforms. The thesis also includes a list of sports documentaries that were broadcasted by the Czech Television between 2000 and 2018.

A presente tese se apoia no estudo do campo ocupado pelo que se designa como teatro documentário, com a certeza da necessidade de trabalhar com um termo agregador, mas sem a intenção de criar rótulos ou de estabelecer uma tipologia sistemática e ordenadora. À procura de conceitos ricos em conteúdo histórico, defende-se a opção consciente por se documentar, o consequente trabalho com dados não ficcionais e a percepção por parte do espectador da natureza documentária do discurso como os princípios que norteiam as produções que de algum modo são associadas ao documental. Ainda que a existência de um termo, ligado a uma tradição e à determinadas práticas, afaste a generalização tão perniciosa quanto a criação de definições restritivas e simplificadoras, propõe-se que, no campo do teatro documentário, forças opostas coexistam, marcando a presença de vários teatros documentários. Dentre essa diversidade, os processos da Cia. Teatro Documentário foram discutidos como uma forma de corroborar a teoria construída, além de ressaltar como as práticas documentais propostas pelo grupo não dissociam o caráter estético do educacional, numa perspectiva que justifica a presença de um olhar imbuído pelos estudos em pedagogia do teatro, presente de maneira sutil ao longo de todo o trabalho. / This dissertation aims at searching and studying the documentary theater field without listing characteristics in order to identify its labels or creating a systematic typology even if it being necessary a gregarious term. Apart from the definitions, yet searching for historically charged concepts, it is intended to document this project with non-fictional data and the audience perception in terms of the documentary nature of discourse as the principles that govern productions that are associated with the documentary. The existence of terminology, associated with certain traditions and practices, distances the pernicious generalization in regards to the creation of restrictive and simplifying definitions. Nonetheless, we propose that in the field of documentary theater, opposing forces coexist, marking the existence of multiple documentary theaters. Within such diversity, the processes of Cia. Teatro Documentário were discussed as a way to confirm the theory. Also, it was intended to bring to light the idea that the documentary practices proposed by the group do not dissociate the aesthetics and educational components. Justifying, then, the presence of a perspective influenced by Theater Pedagogy, as a non-explicit presence in the process.

Investiga a interface teórico-prática entre terminologia, ontologia filosófica, ontologia computacional e linguística documentária e os subsídios que oferecem para a construção de informações documentárias. Foram estabelecidos como objetivos específicos, a análise das condições de produção, desenvolvimento, implementação, uso e integração de ontologias com base no referencial teórico da ciência da informação; a investigação sobre a contribuição das ontologias para o desenvolvimento de tesauros e vice-versa; a discussão acerca do fundamento filosófico da aplicação de ontologias com base no estudo das categorias ontológicas presentes na filosofia clássica e nas propostas contemporâneas. Defende que a compreensão das ontologias por meio da teoria comunicativa da terminologia colabora para a organização de um acesso menos quantitativo (sintático) e mais qualitativo (semântico) à informação. Observa que, conquanto compartilhem alguns objetivos comuns, ainda há pouco diálogo entre a ciência da informação (e, no seu interior, a linguística documentária) e a ciência da computação. Defende que as ontologias concretas e as ontologias filosóficas não são eventos completamente independentes que guardam entre si apenas a similaridade de denominação e constata que a discussão sobre categorias e categorização na ciência da computação, nem sempre possui a ênfase que recebe na ciência da informação no âmbito dos estudos sobre representação do conhecimento. A abordagem do rizoma, de Deleuze e Guattari, foi tratada como provocadora de reflexões sobre a validade do modelo hierárquico arborescente e sobre as possibilidades de sua ampliação. Conclui que a construção de ontologias não pode prescindir do tratamento terminológico-conceitual, como compreendido pela terminologia e pela ciência da informação, acumulado nos referenciais teóricos e nas metodologias para construção de linguagens documentárias e que, por outro lado, a construção de linguagens documentárias mais flexíveis não pode ignorar o modelo de representação das ontologias, com mais predisposição para a formalização e para a interoperabilidade. / Investigates theoretical and practical interfaces between terminology, philosophical ontology, computational ontology and documentary linguistics and the subsidies that they offer for the construction of documentary information. It was established as specific objectives, the analysis of the production, development, implementation and use of ontologies based on the information science theories, the research on the contribution of ontologies for the development of thesauri and vice versa and the discussion of the philosophical foundation of the application of ontologies based on the study of ontological categories present in classical philosophy and in the contemporary proposals. It argues that the understanding of ontologies through the communicative theory of terminology contributes to the organization of a less quantitative access (syntactic) and more qualitative (semantic) of information. Notes that, in spite of sharing some common goals, there is little dialogue between the information science (and, inside it, the documentary linguistics) and computer science. It argues that the computational and philosophical ontologies are not completely independent events, which have among themselves only the similarity of name, and notes that the discussion of categories and categorization in computer science, does not always have the emphasis it receives in information science in studies on knowledge representation. The approach of Deleuze and Guattari\'s rhizome, was treated as instigator of reflections on the validity of the hierarchical tree model structure and the possibilities of its expansion. It concludes that the construction of ontologies can not ignore the terminological and conceptual analysis, as it\'s understood by the terminology and by the information science accumulated in the theoretical and methodological basis for the construction of indexing languages and, on the other hand, the construction of flexible indexing languages can not ignore the representational model of ontologies which are more capable for formalization and interoperability.

Investiga a interface teórico-prática entre terminologia, ontologia filosófica, ontologia computacional e linguística documentária e os subsídios que oferecem para a construção de informações documentárias. Foram estabelecidos como objetivos específicos, a análise das condições de produção, desenvolvimento, implementação, uso e integração de ontologias com base no referencial teórico da ciência da informação; a investigação sobre a contribuição das ontologias para o desenvolvimento de tesauros e vice-versa; a discussão acerca do fundamento filosófico da aplicação de ontologias com base no estudo das categorias ontológicas presentes na filosofia clássica e nas propostas contemporâneas. Defende que a compreensão das ontologias por meio da teoria comunicativa da terminologia colabora para a organização de um acesso menos quantitativo (sintático) e mais qualitativo (semântico) à informação. Observa que, conquanto compartilhem alguns objetivos comuns, ainda há pouco diálogo entre a ciência da informação (e, no seu interior, a linguística documentária) e a ciência da computação. Defende que as ontologias concretas e as ontologias filosóficas não são eventos completamente independentes que guardam entre si apenas a similaridade de denominação e constata que a discussão sobre categorias e categorização na ciência da computação, nem sempre possui a ênfase que recebe na ciência da informação no âmbito dos estudos sobre representação do conhecimento. A abordagem do rizoma, de Deleuze e Guattari, foi tratada como provocadora de reflexões sobre a validade do modelo hierárquico arborescente e sobre as possibilidades de sua ampliação. Conclui que a construção de ontologias não pode prescindir do tratamento terminológico-conceitual, como compreendido pela terminologia e pela ciência da informação, acumulado nos referenciais teóricos e nas metodologias para construção de linguagens documentárias e que, por outro lado, a construção de linguagens documentárias mais flexíveis não pode ignorar o modelo de representação das ontologias, com mais predisposição para a formalização e para a interoperabilidade. / Investigates theoretical and practical interfaces between terminology, philosophical ontology, computational ontology and documentary linguistics and the subsidies that they offer for the construction of documentary information. It was established as specific objectives, the analysis of the production, development, implementation and use of ontologies based on the information science theories, the research on the contribution of ontologies for the development of thesauri and vice versa and the discussion of the philosophical foundation of the application of ontologies based on the study of ontological categories present in classical philosophy and in the contemporary proposals. It argues that the understanding of ontologies through the communicative theory of terminology contributes to the organization of a less quantitative access (syntactic) and more qualitative (semantic) of information. Notes that, in spite of sharing some common goals, there is little dialogue between the information science (and, inside it, the documentary linguistics) and computer science. It argues that the computational and philosophical ontologies are not completely independent events, which have among themselves only the similarity of name, and notes that the discussion of categories and categorization in computer science, does not always have the emphasis it receives in information science in studies on knowledge representation. The approach of Deleuze and Guattari\'s rhizome, was treated as instigator of reflections on the validity of the hierarchical tree model structure and the possibilities of its expansion. It concludes that the construction of ontologies can not ignore the terminological and conceptual analysis, as it\'s understood by the terminology and by the information science accumulated in the theoretical and methodological basis for the construction of indexing languages and, on the other hand, the construction of flexible indexing languages can not ignore the representational model of ontologies which are more capable for formalization and interoperability.

A presente tese se apoia no estudo do campo ocupado pelo que se designa como teatro documentário, com a certeza da necessidade de trabalhar com um termo agregador, mas sem a intenção de criar rótulos ou de estabelecer uma tipologia sistemática e ordenadora. À procura de conceitos ricos em conteúdo histórico, defende-se a opção consciente por se documentar, o consequente trabalho com dados não ficcionais e a percepção por parte do espectador da natureza documentária do discurso como os princípios que norteiam as produções que de algum modo são associadas ao documental. Ainda que a existência de um termo, ligado a uma tradição e à determinadas práticas, afaste a generalização tão perniciosa quanto a criação de definições restritivas e simplificadoras, propõe-se que, no campo do teatro documentário, forças opostas coexistam, marcando a presença de vários teatros documentários. Dentre essa diversidade, os processos da Cia. Teatro Documentário foram discutidos como uma forma de corroborar a teoria construída, além de ressaltar como as práticas documentais propostas pelo grupo não dissociam o caráter estético do educacional, numa perspectiva que justifica a presença de um olhar imbuído pelos estudos em pedagogia do teatro, presente de maneira sutil ao longo de todo o trabalho. / This dissertation aims at searching and studying the documentary theater field without listing characteristics in order to identify its labels or creating a systematic typology even if it being necessary a gregarious term. Apart from the definitions, yet searching for historically charged concepts, it is intended to document this project with non-fictional data and the audience perception in terms of the documentary nature of discourse as the principles that govern productions that are associated with the documentary. The existence of terminology, associated with certain traditions and practices, distances the pernicious generalization in regards to the creation of restrictive and simplifying definitions. Nonetheless, we propose that in the field of documentary theater, opposing forces coexist, marking the existence of multiple documentary theaters. Within such diversity, the processes of Cia. Teatro Documentário were discussed as a way to confirm the theory. Also, it was intended to bring to light the idea that the documentary practices proposed by the group do not dissociate the aesthetics and educational components. Justifying, then, the presence of a perspective influenced by Theater Pedagogy, as a non-explicit presence in the process.

This project interrogates the status of documentary film as an oppositional force and conduit for radical social and political change. The first two chapters examine the interconnected transnational history of the radical or "committed" documentary. This historical inquiry leads me to construct a set of parameters for how the radical documentary was defined and codified between 1926 and 1990. My investigation is particularly attuned to how documentary filmmakers in this tradition moved away from a didactic mode of address that sought to educate a state sanctioned "citizen subject." Instead, I argue that the radical documentary tradition grew out of the modernist avant-garde movement and activated a "revolutionary subject" in opposition to the state. To date, there have only been a handful of accounts locating post-1990s documentary practices within the domain of radical political concerns and the possibilities presented by the intersection of documentary and new media technology. The second part of the dissertation examines how such practices extend and challenge the aforementioned historical definitions while intervening in a diverse range of contexts. The final three chapters focus on an eclectic corpus of films and videos that include the work of the video advocacy organizations WITNESS and B'Tselem, student documentaries made in Iraq, and interactive documentary projects by new media artists Zohar Kfir and Sharon Daniel. I argue that these groups and artists create an "activist subject" that intervenes within specific social and political situations during wars, occupations, and cases of human rights abuses. Ultimately, I conclude that the radical power of documentary film lies not in and of itself as singular object of art or evidence, but in the discourses it engenders and within the discourses and contexts in which it is placed. In the increasingly post-digital age of new media, the study and practice of radical documentary demands a multi-faceted approach as well as an openness to expanding definitional boundaries of what a documentary is, how it functions, how it circulates, and how its impact is measured.

Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources. / text

A close textual analysis of the films of Basil Wright between 1931 and 1938. This work will give a fresh perspective on the working methods of one of the senior members of the British Documentary Movement. It will also discuss the influence exerted by the leader of this group John Grierson. Seven films will be looked at in detail beginning with The Country Comes to the Town and concluding with Face of Scotland. In these detailed analyses we will discuss how the ideological thinking of the group found expression through Wright The purpose of studying an individual is to judge what measure of freedom individual members of the unit were permitted. In seven chapters we will chart the growth of the movement from Gnerson's Dnfters in 1929 to Wright's Face of Scotland in 1938. During the period the Movement went through changes in direction which had a direct bearing on the style of Wright's work. In order to understand these changes we shall chart Wright's development from cutter in late 1929 to senior member in the late thirties. Each chapter will begin with socio-historical data on the subject Wnght was filming. Also included in this section is material on key personnel and details of shooting. This is followed with a close analysis of the form and meaning of Wright's style. In the conclusions we will discuss Gnerson's reaction to the films in question as well as giving further political and historical data. The purpose of this thesis is to re-evaluate Wright's early work and to judge how much it is a reflection of the middle-opinion group whose ideas on social policy find expression in some of the films.