Documentary filmmakers have been considered artists, authors, or intellectuals, but rarely as labor. This study investigates how the nature of work as well as life is changing for those who work in the expanding area of TV documentary in China, in the midst of China’s shift towards a market-based economy. How do documentary makers reconcile their passion for documentary making with the increasingly precarious conditions of work? And, how do they cope with and resist the pressures of neoliberalism to survive in increasingly competitive local and global markets? Based on data gathered through the interviews with 40 practitioners from January 2014 to August 2017 and my own experience as a director and worker in the Chinese documentary for a decade, I outline the particularity and complexity of the creative work in China. My research indicates that short-time contracts, moonlighting, low payments and long working hours, freelancing, internship, and obligatory networking have become normal working conditions for cultural workers. Without copyright over their intellectual creations, cultural workers are constrained to make a living as waged labor, compelled to sell their physical and mental labor in hours or in pieces. Self-responsibility and entrepreneurism have become the symbols of the neoliberal individual. Following the career trajectories of my interviewees, I elaborate on the mechanisms by which cultural workers are selected, socialized and eliminated. When they decide to escape from the production line, they use four types of strategies: going international, surviving in the market, switching to new media career, and sticking to journalistic ideals. This dissertation also reveals that global production has intensified exploitation by increasing working hours through a 24/7 production line that works across national borders and time zones, amplifies competition by introducing global talent, and alienates local workers by imposing the so-called “universal” aesthetics of global production. The crisis of cultural work is the outcome of the incapacity of the neoliberal imagination to imagine plausible and feasible futures for sustained creative work. It is through my research into the history of documentary production in China and conversations with cultural workers that I found explanations for the increasing precarity of work and possible forms of resistance to it in post-socialist China.

Thesis. 1978. M.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Videorecording in Rotch Visual Collections. / M.S.

In 1971, on the eve of his retrospective at the Museum of Modern Art, Walker Evans declared his photographs to be “documentary style” rather than documents. “A document has use, whereas art is really useless,” Evans would claim. “Therefore art is never a document, though it certainly can adopt that style.” Yet, the photographer produced the majority of his pictures as documents for various individuals and institutions throughout his life. How, then, does one reconcile this tension between the work of art and its contexts, between the photograph and its various uses, between individual autonomy and the institutions of photography in Evans’s career? This dissertation seeks to elucidate this dichotomy within the changing contexts for photography from the early 1930s to the mid-1970s. Three chapters focus on key contexts for the production and dissemination of Evans’s work. The Introduction revisits the literature on Evans and the issues of context versus style in the history of photography. The problem of “documentary style” in the 1930s is addressed in Chapter One, which examines the overlooked context of architectural surveys during that decade. Two explores how Evans engaged with mass culture through independent projects, commissioned photo essays, and his job as photographic editor at Fortune magazine from 1948 to 1965. After thirty years of working for magazines, Evans became a professor of photography at Yale University. Three exhumes his role as a theorist and didact, examining how he crafted new interpretations of his photographs and photography that suited the new institutional contexts of the art world. Through both his pictures, writings, and their presentations, Evans continually worked with and against his contexts.

Orientador: João Batista Ernesto de Moraes / Banca: José Augusto Chaves Guimarães / Banca: Lígia Maria Arruda Café. / Resumo: Os usuários de biblioteca escolar solicitam a literatura infanto-juvenil de acordo com temas que expressam seus interesses de leitura. Para que ocorra uma resposta a essa necessidade de informação, explorou-se o estudo da análise documental de conteúdo para identificação de temas, enfocando a estratégia da exploração da estrutura textual com base no percurso gerativo de sentido em literatura infanto-juvenil, a fim de que seu conteúdo possa tornar-se acessível. O problema de pesquisa buscou soluções para uma análise documental de conteúdo adequada diante de termos implícitos e necessários para a identificação de temas. Utilizando para isto a metodologia de estudo exploratório, que considerou a interdisciplinaridade entre a Ciência da Informação, a Lingüística Textual, a Semiótica Narrativa e Discursiva, e a Semântica Discursiva, pois juntas esclarecem os métodos de identificação do conteúdo do documento, bem como elucidam a disposição e o tema dos textos de ficção. A hipótese levantada de que o percurso gerativo de sentido evidencia a estrutura textual, alertando para as partes importantes da narrativa e sua temática, foi comprovada. Verificou-se, portanto, que os objetivos de pesquisa de analisar as teorias do percurso gerativo de sentido para a identificação de temas em literatura infanto-juvenil são válidos para a proposta de que essas teorias façam parte do método para a identificação de temas. Os resultados do corpus analisado demonstram que o percurso gerativo de sentido é de grande auxílio para a identificação da estrutura textual, bem como o tema principal, junto com outros temas implícitos considerados importantes. / Abstract: The school library users request an infant-juvenile literature according to themes expressing their reading interests. To explain this need for information, the study of the documentary analysis of content was exploited for the identification of themes, focusing the strategy of textual exploitation based on the gerative sense course in infant-juvenile literature, in order to make its content accessible. The research problem investigated solutions for a suitable documentary analysis of content before implied terms which are necessary to the identification of themes. Applying, in this case, the methodology of exploratory study, which considered the interdisciplinarity among Science of Information, Textual Linguistics, Narrative and Discursive Semiotics, and Discursive Semantics, because together they elucidate the methods of identification of the document content and also explain the disposition and the theme of the fiction texts. The hypothesis saying that the gerative sense course makes the textual structure evident, alerting to the important parts of the narrative and its thematics, was verified. It was found, therefore, that the objectives of research to analyze the theories of the gerative sense course for the identification of themes in infant-juvenile literature apply to the proposal affirming that these theories are part of the method to identify the themes. The outcome of the corpus analyzed shows that the gerative sense course is very helpful to identify the textual structure, as well as the main theme, together with other implicit themes which are considered important. / Mestre

Este trabalho discute a importância do estabelecimento de uma política de indexação e a proposição de uma linguagem documentária (LD) para orientar o documentalista quanto ao processo de indexação de fotografias, alinhado às necessidades do usuário e ao perfil da instituição. Foi realizada uma análise comparativa entre o referencial teórico e as práticas existentes em três instituições-memória. A questão fundamental foi verificar se a metodologia utilizada estava alinhada ao perfil da instituição-memória e se atendia às necessidades dos usuários. Averiguamos que, apesar de haver métodos já consagrados referentes à análise do conteúdo da imagem e à criação de linguagens documentárias, estes não foram utilizados nas instituições-memória com acervos fotográficos. A tarefa de indexação foi realizada ali a partir de critérios muito particulares; no entanto, atendeu às necessidades da instituição, desde que a busca fosse mediada pelo documentalista. Essa constatação reforça a percepção de que o conteúdo da imagem geralmente é identificado conforme o perfil da instituição e as necessidades dos usuários, mas que a adoção de critérios socializáveis de representação do conteúdo da imagem se torna essencial quando o sistema não prevê a mediação do profissional documentalista. / The present paper discusses the importance of establishing an indexing policy and the proposal for a documentary language (DL) to guide documentalists regarding photographic indexing processes, which are aligned to the users´ needs and the institutional profile. A comparative analysis between theoretical references and existing practices has been carried out within three memory-institutions. The pivotal issue was to verify whether the methodology used was aligned to the profile of the memory-institution and whether it catered to users´ needs. The conclusion reached was that, despite the existence of already-established methods related to image content analysis and creation of documentary language, such were not employed at memory-institutions with photo archives. The task of indexing was performed therein by using very particular criteria; nevertheless, it catered to institutional needs, as long as the search was mediated by the documentalist himself. Such evidence reinforces the perception that image content is usually identified according to institutional profiles and users´ needs, but also that the adoption of socializable criteria of image content representation becomes essential when the system does not foresee mediation by the documentalist.

It is acknowledged that the genre of animated documentary is particularly suited to depicting the subjective point of view (Wells, 1997, Honess Roe, 2013). It has also been suggested that animated documentary may have a tendency toward collaborative working methods (Ward, 2005: 94). This PhD work explores and expands these suggestions and presents the development of a methodology adapted from what has been termed collaborative ethnography (Lassiter, 2005) when using animation to document perceptual brain states. The claim to originality in this thesis lies in the methodological approach taken through the documenting of idiopathic perceptual brain states, previously unrepresented in animation. It involves a shifting of the roles of subject and director to collaborative consultant and facilitator respectively, and differentiates between the recording of an animated document and the creation of an animated documentary . It rejects the sound reliant template of the 'animated interview' (Strøm, 2005: 15) as the dominant model of creating animated documents, which assumes both that the indexical is crucial to documenting, and that this can only be achieved in animation through the use of indexical sound. It agrees with Tom Gunning s argument that Charles Sanders Pierce's original idea of the index as part of an interconnected triad of signs (index, symbol and icon) has been abstracted from its richer signifying context and extracted a simplified version of what Pierce intended it to mean (a trace or impression left by an object) to become a 'diminished concept' (2007:30-1), essentially a short hand coda in this instance for document . The practice in this work challenges this by presenting an alternative; using a collaborative cycle methodology.

Through a meeting of practice and theory this thesis shifts the locus of attention from the spectacle to the everyday practice of parkour. Using documentary filmmaking with anthropological intentions and extended access over a six year period, this thesis explores the subjective everyday lived performances and essence of parkour, as experienced by a select group of experienced practitioners, as well as those who were involved in parkour’s creation and development. Parkour is a multidimensional phenomenon that can be experienced as an art, training discipline, sport, set of values, and practice of freedom, depending on an individual’s motivations, cultural understanding and exposure to the history of the practice. The research establishes that parkour is an imaginative and particular way of thinking; remapping the landscape with ‘parkour vision’. Parkour transforms how one experiences, moves, connects and participates in the environment, challenging notions of normative behaviour, socialisation, identity and self-determining actions through explorations of, as well as expressions of the self. The results of which are a means to find a more authentic deeper inner sense of self, producing feelings of inclusion and an enhanced sense of freedom through the creation of an autonomous social body. Parkour encourages self-reliance and mutual co-operation whilst enabling participants to reclaim the wonderment and magic of the human experience, valuing confrontations of fear, pleasure and pain in transcending the real and imagined boundaries of one’s own limitations, play and freedom of expression. This thesis explores themes such as shared cinema, collaborative filmmaking, participant observation and issues of representation. Parkour is discussed theoretically from the perspectives of Eichberg’s work on body cultures, Foucauldian relations of power and technologies of the self, alongside Merleau Ponty’s phenomenology, Csikszentmihalyi’s optimal flow experience, Wellmann’s insights into networked individualism and Charles Taylor’s work on the search for an authentic self and the complexities of a modern identity. This thesis contributes to the growing field of research into body cultures and the continually evolving culture of parkour.

When he began his journal seaman Hugh Calhoun had high hopes for the outward-bound voyage ahead of him. Ship-of-the-Line Ohio was back from the Siege of Veracruz, being prepared for her next mission, and the War was at its height. The cruize, as he called it, did not turn out as eventful as he expected it to be and yet he was nevertheless able to produce a book which bountifully embodies a short but fruitful chapter of maritime literary history. Serio-Comic Journal of a Cruize, On Board of the U. S. Ship Ohio, Commencing from New York June 23d 1847, with its full name, is a shipboard diary kept by an ordinary seaman during the Mexican-American War. The 148-page manuscript volume, located at the archives of the Massachusetts Historical Society in Boston, is a product of the maturity phase of American sea writing as Calhoun, self-consciously a Jack Tar and an American, was representing a trained, well-read and well-influenced generation of sailor-authors who lived and recorded the final years of America under sail. The past three decades have seen a progressive conceptual expansion of the themes involving the ways in which literate sailors viewed the world they lived in. Scholars of early American literature, maritime history and culture have explored the meanings and information provided in the textual products of seamen. Upon comparison with similar material found at the archives of maritime museums and historical societies, and discussions with leading maritime historians, Serio-Comic Journal proved to be a meaningful source text which, through scholarly treatment, can benefit research in multiple disciplines due to the significance of its production date and the diversity of the topics and literary forms found in it. This edition aims to provide related fields of study with a historically contextualized shipboard document in the light of these latest findings. The transcription of the complete text is presented with glossarial, historiographical and geographical notes, whereas the introductory chapters discuss several key subjects to form a framework for the better evaluation of not only the source text of the edition but the sea journal genre as a whole.

Este trabalho discute a importância do estabelecimento de uma política de indexação e a proposição de uma linguagem documentária (LD) para orientar o documentalista quanto ao processo de indexação de fotografias, alinhado às necessidades do usuário e ao perfil da instituição. Foi realizada uma análise comparativa entre o referencial teórico e as práticas existentes em três instituições-memória. A questão fundamental foi verificar se a metodologia utilizada estava alinhada ao perfil da instituição-memória e se atendia às necessidades dos usuários. Averiguamos que, apesar de haver métodos já consagrados referentes à análise do conteúdo da imagem e à criação de linguagens documentárias, estes não foram utilizados nas instituições-memória com acervos fotográficos. A tarefa de indexação foi realizada ali a partir de critérios muito particulares; no entanto, atendeu às necessidades da instituição, desde que a busca fosse mediada pelo documentalista. Essa constatação reforça a percepção de que o conteúdo da imagem geralmente é identificado conforme o perfil da instituição e as necessidades dos usuários, mas que a adoção de critérios socializáveis de representação do conteúdo da imagem se torna essencial quando o sistema não prevê a mediação do profissional documentalista. / The present paper discusses the importance of establishing an indexing policy and the proposal for a documentary language (DL) to guide documentalists regarding photographic indexing processes, which are aligned to the users´ needs and the institutional profile. A comparative analysis between theoretical references and existing practices has been carried out within three memory-institutions. The pivotal issue was to verify whether the methodology used was aligned to the profile of the memory-institution and whether it catered to users´ needs. The conclusion reached was that, despite the existence of already-established methods related to image content analysis and creation of documentary language, such were not employed at memory-institutions with photo archives. The task of indexing was performed therein by using very particular criteria; nevertheless, it catered to institutional needs, as long as the search was mediated by the documentalist himself. Such evidence reinforces the perception that image content is usually identified according to institutional profiles and users´ needs, but also that the adoption of socializable criteria of image content representation becomes essential when the system does not foresee mediation by the documentalist.

Esta pesquisa pode ser considerada um ensaio analítico a partir de questões de cunho filosófico que transbordam no documentário contemporâneo e encontram um diálogo muito fértil com a obra de Joel Pizzini. A nossa proposta é abordar a obra deste cineasta, especificamente o filme 500 Almas (2004) como inspiração para repensar o real, no documentário, enquanto uma questão de ponto de vista. Para tanto, torna-se necessário entender tal questão como um gesto de implicações mais profundas, comparativamente às teorizações cinematográficas e literárias acerca deste elemento. Trata-se, quiçá, de outra forma de conceber o ponto de vista no cinema, orientada pelo perspectivismo filosófico - pensamento presente nas reflexões de Leibniz, Nietsche, Deleuze e posteriormente assimilado pelo perspectivismo ameríndio com Viveiros de Castro - que amplia e reverbera o seu significado não se limitando à expressão ou fixação do ponto de vista de um sujeito autor. Trata-se da possibilidade acarretada pelo documentário, uma forma que é por pressuposto híbrida, de questionar, de produzir verdades, de repensar a distinção entre essência e aparência, entre real e invenção. Estas questões são problematizadas a partir de autores como Comolli e Guy Gauthier que pensam o documentário contemporâneo e as implicações de outros sujeitos e elementos envolvidos no filme que se faz em fricção com o real: a mise-en-scène dos sujeitos filmados, os sujeitos espectadores, a montagem criativa. Ao analisar o filme 500 Almas, observamos de que forma esses e outros elementos são engendrados para constituir o ponto de vista do real. / This research can be considered as an analytical essay from matter of philosophical that abound in contemporary documentary and find a very fruitful dialogue with the work of Joel Pizzini. Our proposal is to address the work of this director, specifically the film 500 Almas (2004) as inspiration for rethinking the real as a matter of the point of view. Therefore, it is necessary to understand this issue as a gesture of deeper implications, compared to cinematographic and literary theorizing about this element. It is, perhaps, another way of conceiving the point of view in cinema, guided by philosophical perspectivism - present thought the reflections of Leibniz, Nietzsche, Deleuze and subsequently assimilated by amerindian perspectivism with Viveiros de Castro - which expands and reverberates your meaning not limited to the expression or fastening point of view of an individual author. It brought about the possibility for the documentary, which is a form of hybrid assumption, to question, to produce truths, to rethink the distinction between essence and appearance, between real and invention. These questions are problematized from authors such as Comolli and Guy Gauthier who think contemporary documentary and implications for other subjects and elements involved in the film that is in friction with the real: the mise-en-scène of the subjects filmed, the subjects spectators, the creative mounting. When analyzing the film 500 Almas, we observe how these and other elements are interwoven to build the point of view of the real.