This thesis explores the application of Kaupapa Māori processes to documentary filmmaking through practiced-led research. The need for this research came to light through the experience of witnessing unacceptable behaviour shown by film crews towards kaumātua who were attending the 2006 28th Māori Battalion Reunion. In reflecting on this experience and considering my own filming experience as a person with a Te Ao Māori background, the basis for this argument was conceived. This thesis argues that there are alternative ways in which filming can be conducted by considering processes that already exist within Māori practices and philosophies. This Thesis, therefore, investigates alternative processes of filming that have developed from a Kaupapa Māori perspective through practical filming experience. An historical overview of the relationship between Māori, media and filming practices have been provided to give context to this discussion. The application of Kaupapa Māori processes to film was considered through the use of Marae protocol and philosophies. The application of these concepts was supported by the creative research which was utilised by referencing specific examples. The reader is, therefore, instructed to refer to the DVD in the front of the thesis as referenced in the written text.

This dissertation researches some of the implications of the integration of documentary with the Internet, examining the effects on the genre as such products become new media objects. / Thesis (PhD)--University of South Australia, 2008.

Thesis (Ph.D.)--University of Wollongong, 2004. / Typescript. EMBARGOED - this thesis is subject to a two year embargo (16/11/2004 to 16/11/2006) and may only be viewed and copied with the permission of the author. For further information please Contact the Archivist. Includes bibliographical references.

Proposta de um modelo teórico para a construção e compatibilização de Linguagens Documentárias cujo referente é a Terminologia da área do conhecimento a ser representado por um Sistema de Informação. Para atingir este objetivo procuramos: definição de um modelo de comunicação entre o acervo de um Sistema de Informação e o seu usuário, isto é, um modelo de comunicação documentária onde a LD é elemento essencial; definir o que é uma LD, como elas são constituídas e quais as principais LDs utilizadas pelos Sistemas de Informação para realizar a representação documentária, analisar especificamente a representação documentária, verificando que esta questão tem se tornado prioritária na medida em que o universo de informações a ser representado tem se ampliado consideravelmente devido ao desenvolvimento científico e tecnológico e que a LD por si só não consegue realizar a contento esta função necessitando recorrer a Terminologia da área do conhecimento como instrumento normalizador; explicitar através de um estudo de caso os problemas de não utilização de um referente terminológico. O modelo teórico proposto define o lugar da terminologia, e sua função de normalização do significado, no processo de representação documentária para a transferência da informação, como um referente de uma LD. Concluímos que um Sistema de Informação somente poderá realizar a transferência da informação do seu acervo para o seu usuário na medida em que a LD utilizada para representar e recuperar a informação, seja construída a partir do referencial terminológico da área do conhecimento a que pertence o acervo independente do suporte físico de seus documentos. Assim, podemos evitar a diversidade de representações para a mesma informação, o que torna a Terminologia também um instrumento essencial quando necessitamos compatibilizar LDs. / The theoretical model proposed in the research intends to present the Terminology of de knowledge’s field to be represented by the Information System, like a referential for the production and compatibility of the Documentary Languages (LDs). The process developed in the work is based on the following procedures: establishment of communication model between the collection of the Information System and the user, wich means a documentary communication model in wich LD is an essential element; definition of the LD, what it is, how they are built and wich main LDs are usede by the Information System to make a Documentary Representation; analysing the Documentaru Representation specifically, observing that this point is becoming priority as the information universe to be represented has increased considerably because of technological and scientific development and as LD itself is not able to carry out this function it has to count on knowledge’s field’s terminology as an instrument tha standardizes; presenting the problems of lack of use of a terminological referential in a sample. The theoretical model here proposed defines the terminology’s local and its function of meaning’s standardization, in the process of Documentary Representation to transfer the Information System, as a referential of LD. The conclusion is that the Information System can only transfer the information from its collection to its user if LD used as a code in the process os Documentary Communication, or the LD used to represent and retrievel the information, is based on the terminological referential of the collection’s knowledge’s field, not considering the physical support of its documents. So it’s possible to avoid diversity of representation for the same information, which makes Terminology also an essential instrument when needings to make LDs compatible.

Abstract Love's Story is a documentary journey into the storytelling world, where the themes of love and memory connect the audience to a unique set of film interviewees. Marie and Alexis provide interesting recollections about their individual pasts, while Cherie guides the course of the film with her expert theories about the nature of storytelling. What initially appears a simple film, actually provides a multi-tiered commentary tackling issues of memory, love, and perseverance. The film equally highlights the nature of storytelling to encourage audiences to critically dissect the stories around them in the world. Presented visually through minimalist animation and aurally through a mix of interviews, sound effects, and music, Love's Story is a poetic film about the process of storytelling and the interconnectedness of the memories individuals tell.

This thesis examines the discourse of political documentaries. It show how documentary films have developed and notes the changes of structural elements resulting from this development. The aim is to characterize the discourse of political documentaries, using the method of critical discourse analysis of contemporary documentaries focusing on the persona of George W. Bush, terrorist attacks and the war in Iraq.

0400169A Tonyterah@yahoo.com Faculty of Humanities Master of Arts 2005 Dr Ebrahim. H haseenahe@artworks.wits.ac.za / This study analyses the role of the media generally, and the documentary mode specifically, in the construction of national identity. It focuses on the Project 10 documentary series in South Africa. Chapter one, lays the foundation for the study by discussing the concepts, theories and debates on the notion of ‘the nation’, ‘national identity’, ‘nation building’ and the documentary mode. Chapter two argues that nations are in a constant state of (re)birth, (re)definition and (re)invention and interrogates how the documentary mode attempts to sustain what Benedict Anderson (1991) calls a sense of ‘imagined community’. Chapter three focuses on the role and position of an individual citizen vis-à-vis ‘nation’ and ‘nation building’, and how the documentaries in the Project 10 series explore this concern. Chapter four examines the effects and manifestations of previous leadership regimes in the present-day South Africa and how this affects the process of building contemporary South Africa.

A dissertation submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in partlal fulfilment of the requirements for the degree of Master of Arts in Fine Arts. / The research for this degree comprises a theoretical dissertation and a practical component of photographs. The theoretical research investigates the practice of documentary photography in America and South Africa. The photographs of Walker Evans, Robert Frank, David Goldblatt and Bob Gosanl are examined against the background of two organisations, the Farm Security Administration and Drum. These organisations influenced the documentary genre in their respective countries because of their socio-polltical concerns: their choice and presentation of subject matter for publication influenced both the photographar and the viewer. Documentary photographs appear, because of their seemingly candid and unmediated nature, to present historically factual images. Examples from the work of the four photographers reveal their distinction from, continuity with the confines of the documentary genre. Their respective approaches reveal the role of perception as it manifests itself in their work. Subjugation, attltudes towards subject matter, and the pictorial construction of images are analysed in relation to each photographer's work. The relationship of image and text in documentary photography is seen as an element of intervention by the photographer. The selection of these photographers was motivated for their partinance to the subject matter and to the pictorial considerations of the candidate. These issues are therefore examined in relation to the candidate's approach to photography. / Andrew Chakane 2018

The use of personal testimony in theatre is a central component to the practice of Verbatim Theatre. Verbatim Theatre is a form of documentary theatre and is enjoying an increased popularity on world stages in recent years. The last decade, in particular, has seen both established and emerging playwrights incorporating the testimony of others into their scripts. This has led to various concerns and questions pertaining to the practical and moral implications of the work particularly surrounding issues of authorship, authenticity, truth, aesthetics, theatricality and ethics. This study is a practice-led enquiry. A central component to the study is the writing and performance of three plays in order to arrive at a better understanding of these challenges. Three original plays, Walking Away, Under Pressure and Aquéro are presented in a series of case studies accompanied by a critical and reflexive analysis on the practice of writing and staging each play. This examination investigates both the creation of these plays – from interview to writing – and their performance – from the perspective of the playwright and to a lesser extent the actor, in addition to contextualising the ethical and moral ramifications involved in this type of practice. The Introduction explores a few of the general problems and challenges around the practice of staging testimony, outlines the nature of the research project and is followed by a discussion on practice-as-research and my particular research methodology and ethic. The dissertation is then divided into three parts. Chapter One begins with an overview of the documentary form and considers developments in the form that have facilitated the staging of testimony. The chapter then considers the terms Verbatim Theatre and Theatre of Testimony, arguing for a distinction to be made between the two terms and why Theatre of Testimony is the term most suited to my practice. It contends with an examination of the epistemology of testimony that new knowledge can be generated by attending to and nurturing the narrative essence of testimony. This chapter also examines the significance of the site of production of the testimonies and the extent to which this impacts on the dramaturgical choices made by the playwright. The chapter concludes with a discussion on the main questions, problems and challenges that have been identified by theatre practitioners, scholars and critics regarding the use of testimony in theatre. Part Two comprises of Chapters Two, Three and Four, which discuss the case studies. Each chapter provides a context for the research project, a script of the play, a DVD of a performance of the play and critical and reflexive commentary on the practice of writing and staging the play. The final section, Part Three, presents concluding thoughts on the research outcomes and considers the value and potential efficacy of employing ‘reportage’ as a legitimate dramaturgical choice when staging personal testimonies. Accompanying this thesis are three DVDs which include recordings of each script in performance.

This dissertation is a descriptive grammar of Guna, a Chibchan language of Panama with an approximate 40,000 speakers. The aim of the dissertation is to provide a description of the language that is linguistically relevant and at the same time straightforward and readable for a wider audience that may include the community of Guna speakers. This work fills a gap that exists in the literature for Guna. Great work has been done about Guna in diverse areas and disciplines. However, as the Guna population seeks to become more involved in their own representation (Howe 2010), there exists a great need for a document that bridges the understanding of Guna linguistics with the community's efforts of language maintenance and revitalization. In order to accomplish this, chapters are written in such a way that topics can be easily located, linguistic concepts are fully explained, and the language used to describe specific linguistic phenomena is straightforward. The dissertation is organized as follows: Chapter 1 introduces the reader to the academic and cultural context in which the dissertation was written and the methodology used in data collection and writing; Chapter 2 describes the phonology of the language and explains different orthographies that have surfaced for Guna; Chapter 3 presents the roots/bases and the formatives that attach to them; Chapter 4 builds on the previous chapter to describe phrases that have nouns and modifiers as heads; Chapter 5 discusses verbal morphology; Chapter 6 gives a description of sentence formation, which includes different syntactic phenomena such as type of predicates, word order, and pragmatically determined word orders; Chapter 7 serves as a bridge between Chapters 6 and 8 as it describes serial verb constructions, structures with two verbs that function as one predicate; and Chapter 8 is an account of clause combinations in the language. Although Guna is still spoken and learned by children, its dwindling percentage of native speakers makes it an endangered language. Therefore, this grammar is a contribution to the field of linguistics and to the efforts of revitalization and maintenance within the community. / text