Blivits! is a feature-length documentary produced, written, and directed by Charles Sutter in pursuit of the Master of Fine Arts in Film & Digital Media from the University of Central Florida. This thesis examines the ethical questions of making a documentary in the digital era. In accordance with the restrictions of the program's guidelines, this film was completed a budget of less than $50,000. The film was shot over 18 days, in various locations up and down the east coast of the United States. This thesis is the record of Blivits!'s journey through development until completion of picture lock.

The aim of this paper is to examine how European development intervention in Africa iscommunicated in the documentary “Sweet Poison.” For many decades there have beenprojects that were developed in Africa in order to support civilization in the poorest areas.This paper explores how the three projects in Africa, Tanzania, Kenya and Mali werecreated and developed, but not fully completed. These had various consequences overtime. With a reflection of representations, narratives and documentary story-telling, thestudy will use Teun Van Dijk's framework (2004) to analyze the film. The importance ofcritical discourse analysis techniques is well-known and provides an effective strategy toanalyze ideology as well as power in the language. In particular, the dichotomy of in-groupfavoritism vs. out-group derogation seems to be efficient in analytical discursive practices.A semi-structured interview was made with the author of the film to collect important datafor the analysis.

This diploma thesis deals in detail with the matter of amendments to documentary credits. The amendments are analysed in terms of their causes, subjects that may initiate their execution, and their process itself. Also analysis of respective articles of interpretation rules UCP 600 relating to credit's amendments is included. Prior to the above mentioned analysis of amendments there is a part regarding the term of documentary credit, its process, regulation and contemporary position in international trade. In the connection with credit amendments the attention is given to the techniques of their execution, namely through the SWIFT system. The subject of the last part of the thesis is the quantitative analysis of credit amendments on the example of the analysis of real transactions which are assessed from various points of view. Statistical analyses are carried out aiming at considering of the existence of the relation between the region of the credit applicant and the number of credit amendments and between the credit amount and the number of amendments.

This diploma thesis deals with the attitude of the Z generation to Czech documentary films and series. The aim of the work is to describe the common tendencies of the whole generation Z or its subgroups within their attitude to Czech documentary production. The research method for determining the attitude of this generational cohort is a questionnaire survey. In the beginning the Z generation is characterized, its formants and basic characteristics are analyzed. One of the subchapters also focuses especially on the Czech generation Z. In the theoretical part space is also devoted to documentary production, specifically its characteristics, typology and history of documents. The genre of the document is presented both in the global context and also in the Czech environment in the work. The practical part describes the research which has the form of a questionnaire survey. The results are presented for each evaluated question separately while at the end there is a collective summary with the most important and interesting findings from the research.

This thesis attempts to explore within what historical context and with what documented content, A Bite of China: Season I, a Chinese documentary television series that explores the history of food, eating and cooking garners widespread popularity. By theoretical analyses, Chapter 1 concludes the relationship between documentary and the "reality" is built upon representation and there is "something beyond reality" in documentary. Moreover, in documentary representation, affect helps the "reality" to transform into "documentary reality," and affect is the key to understand "something beyond reality." In order to analyze documentary in historical context, Chapter 2 reviews and analyzes western documentary film history, Chinese television documentary history and The New Documentary Movement in China. As conclusion shows, this movement changes Chinese documentary history and provides historical context for A Bite of China. In particular, it makes common Chinese people's lives and general Chinese society become main documented content, which constitutes a non-governmental power discourse. Chapter 3 turn the case study of A Bite of China. As it concludes, historical context is the integration between governmental discourse and non-governmental discourse. As for documented content, the intertwined representation between the representation of Chinese gourmet food and affective resonance among director, documented people and spectators makes A Bite of China popular. This thesis advances "affect" as an approach to further understand "documentary reality" and provides a new viewpoint on how A Bite of China becomes a popular Chinese television documentary.

The essence of American women’s struggle to play sports at a competitive level is that for decades the power structure of American professional and scholastic athletics simply didn’t think they should be allowed to play. The various institutions governing athletics of all levels sought first to prevent women from participating in sports at all and later to keep women athletes segregated and barred from playing on men’s teams or competing against them. They have justified this discrimination by citing various outmoded ideas of women’s mental and physical abilities, their perceived frailty, and the erroneous belief that keeping women athletes segregated from men provides a more suitable and more enjoyable athletic experience for both sexes. This report and the accompanying video, Outlaws Rising, examine the legacy of gender inequality in sports and its impact on the Austin Outlaws, a women’s tackle football team. / text

By contrasting the uses of image-as-evidence and documentary-as-witness, this report challenges some of the maxims of documentary film studies and exposes the ways in which different forms of audiovisual media construct distant conflict. More specifically, the report analyzes a purposive case selection of videos/films related to the Syrian uprising: the first set of visual data includes a montage of 13 YouTube videos claiming to show the aftereffects of the 21 August 2013 chemical weapons attack in Syria; the visual analysis in section two centers upon a selection of 15 short documentary films produced by the Syrian Abounaddara Collective. Theoretically, the study advances the value of witnessing in the re-envisioning of documentary film. My research demonstrates the relative weakness of both legalistic and journalistic approaches to depicting war that treat visual material primarily as recorded fact or evidence. In its place, the report advances a new form of documentary with a higher degree of interpretive acumen based on the "emergency cinema" model developed in Syria -- what I term "documentary-as-witness." / text

There is a moment in Edward Yang’s acclaimed film Yi Yi (2000) in which a young boy in a conversation with his father observes that he cannot see what his father sees and that his father cannot see what he sees, prompting two questions: “How can I know what you see?” and “Can we only know half of the truth?” Unable to provide adequate answers, his father instead offers his son a camera. Later in the film, the same boy presents his uncle with a picture he took of the back of his head. When asked why, the boy responds by saying, “You cannot see it yourself, so I’m helping you.” These two scenes in Yang’s film illustrate the spirit of the questions that guide the aesthetic approach I have taken in my own documentary project. My thesis is composed of two parts: a video project and a research paper, the former of which is a documentary entitled Yi. Named after its primary subject, the film explores the intersections of transnational migrancy and cultural identity through a series of interviews that are intercut with scenes of everyday life that are shot in an observational style. The research paper that follows will situate the project within a specific historical, conceptual, and aesthetic context, before delineating how the cinematic composition of my documentary engages with this framework.

A reflection of my short film American Mom

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.