No description available.

No description available.

The following thesis offers an insight into a collection of documentary movies, which were screened in the category Czech Competition (Česká sekce) presented by the film festival One World (Jeden svět), as well as the nomination process behind it. The first section of the Body of this Thesis (Practical Part) is focused on the nomination process. In particular its objective is to describe principal changes in the nomination process and at the same time outline its future developments. This is achieved by means of exclusive interviews with five Program Section members in charge of the nomination process (both former and contemporary). Heightened attention is being dedicated to the films nominated for the Czech Competition section with regards to its specifics. The other part of the thesis body is based on thorough analysis of the films selected for the Czech competition between the years 2010-2019. By means of original interviews and content analysis the thesis attempts to establish an idea of which features are significant for the films representing the Czech Republic at this documentary film festival and what conclusions can be drawn from this about the Czech documentary film scene in general. The theoretical part of the thesis offers sourcing this approach in expert literature.

This thesis focuses on the analysis of non-profit organizations operating in the Czech Republic and whose main activity is the area of human rights. From this analysis have been selected four NGO's. Their representatives were interviewed with an aim to obtain their attitudes towards international human rights film festival One World. Research seeks answers to these questions: Does the One World festival really have the potential to help with solving human rights issues, civic engagement or promoting democratic principles? What is the potential of documentary films in the field of human rights education?

This thesis focuses on the analysis of non-profit organizations operating in the Czech Republic and whose main activity is the area of human rights. From this analysis four NGO's have been selected. Their representatives were interviewed with an aim to obtain their attitudes towards international human rights film festival One World. The research seeks answers to these questions: Does the One World festival really have the potential to help with solving human rights issues, civic engagement or promoting democratic principles? What is the potential of documentary films in the field of human rights education?

Studiens syfte är att undersöka vilka diskurser som representeras i dokumentärfilmen "Kan vi förlåta Margaux?” producerad av public service företaget SVT. Vidare undersöks den kritik som diverse nyhetsartiklar har presenterat i samband med dokumentärfilmens publicering. Kritiken som framförs innehåller bland annat uttalanden som berör public service-uppdrag i det svenska samhället och att innehållsvillkor som riktas mot filmproduktionen ej uppfylls. Ovanstående har analyserats och jämförts med innehållsvillkoren som regeringen ställt upp för public service. Studiens empiriska material består av dokumentärfilmen "Kan vi förlåta Margaux?", utvalda nyhetsartiklar som innehåller respons på filmen samt regeringens innehållsvillkor för public service. Metoden som studien använde är Norman Faircloughs tredimensionella modell som har sin grund i den kritiska diskursanalysen. Studiens teoretiska ramverk utgjordes av både teoretiska analysbegrepp från den tredimensionella modellen samt Westerståhls objektivitetsmodell. Resultaten visar vilka teman responsen till dokumentärfilmen berör samt de diskurser som representeras i dokumentärfilmen. Analysen av diskurserna visade bland annat att dokumentärfilmen förhåller sig till de krav och riktlinjer som public service ska följa då de diskurser som dokumentärfilmen skildrar är i linje med de krav om saklighet och opartiskhet som SVT har att förhålla sig till.

Mémoire en recherche-création / Ce mémoire de recherche et création propose une étude théorique et artistique des démarches collaboratives en cinéma documentaire. Les enjeux contemporains de la représentation de l’Autre poussent les artistes documentaires à développer des méthodologies innovantes où les relations de pouvoir entre filmeur.euse–filmant–filmé.e sont reconceptualisées. Les volets théorique et créatif de ce mémoire réfléchissent ces enjeux sous l’angle des dynamiques autochtones-allochtones au Mexique et au Canada. Le premier chapitre se penche sur les relations de pouvoirs coloniales ancrées dans nos sociétés contemporaines et perpétuées dans l’exercice documentaire. L’approche collaborative se présente alors comme une option empruntée par plusieurs artistes, dont Roberto Olivares Ruiz et Iphigénie Marcoux-Fortier. Le chapitre deux se consacre ainsi à l’analyse de leur travail. Les considérations éthiques et pratiques étudiées ont servi au développement du court-métrage Segunda Piel; le chapitre trois expose donc les caractéristiques de la collaboration et du processus créatif qui ont été menées. Enfin, le mémoire conclut en évaluant les limites et les réussites de l’approche documentaire collaborative au niveau du processus créatif et des relations de pouvoirs qui s’y trouvent. / This research-creation master’s thesis proposes a theoretical and artistic study of collaborative approaches in documentary film. Contemporary issues of the representation of the Other push documentary artists to develop innovative methodologies where power relations between filmmaker—filming equipment—filmed are reconceptualized. The theoretical and creative components of this thesis consider these issues from the perspective of indigenous—non-indigenous dynamics in Mexico and Canada. The first chapter examines the colonial relationships of powers rooted in our contemporary societies and perpetuated in the documentary exercise. The collaborative approach is presented as an option borrowed by several artists, including Roberto Olivares Ruiz and Iphigénie Marcoux-Fortier. Chapter two is devoted to analyzing their work. The ethical and practical considerations studied served the development of the short film Segunda Piel; therefore, chapter three outlines the characteristics of the collaboration and the creative process that have been carried out. Finally, the thesis concludes by measuring the limits and successes of the collaborative documentary approach in regard to the creative process and inherent power relations.

No description available.

The thesis presents a view of film for change set against the manifold approaches, practices or ideologies influencing it, and analysis it as a tool for the self-representation, self-determination and mediation of marginalised people in the face of globalization and the democratization of communication. It seeks to find an answer to the question of how film for change works as a method to empower the disadvantaged inhabitants of three villages in Tanzania, where fieldwork was carried out. The thesis tracks down core parameters that connect the visual communication experience to the social reality and bear the potential to change it. The use of visual communication technology, interactive and horizontal communication practices, fictionalizations and empowerment strategies enable processes among spectators and participants that permit them to reframe or reconsider representations that they witness. Film for change potentially reaches beyond the community and through convergence with Web 2.0 into the much larger public sphere, nationally as well as globally. The thesis suggests that film for change should be adapted to the present day media environment as citizens’ media, whereby media users also become media producers and start broadcasting self-communicated alternatives to the images and interpretations produced by established media corporations that dominate the global flows of information. In this way film for change connects to the right to communicate and becomes a tool for citizens to influence power relations and advocate social change.

We have an opportunity not only to interact with 3D content but also to immerse ourselves in it via Virtual Reality (VR). This work is deeply inspired by my experience as a Ukrainian witnessing the recent turmoil in my homeland. I wanted people around the globe to experience the horrors that are unfolding. The Voice of the People, explores narrative storytelling through VR. Ultimately, the viewer will be able to put on a VR headset and become deeply immersed in the story. With this technology, the user intimately experiences the war and devastation created by Russian occupation first hand. The end of World War II is a critical time in my country’s history. Included in the 3D environment are video segments of those affected by the current Russian occupation; historical themes underscore the narrative and help the viewer understand the recurring aggression by Russia that is part of Ukraine’s history. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection