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The Global ETD Search service is a free service for researchers
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Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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Showing 131 to 135 of 135 (0.083 seconds)Spelling suggestions: "subject:"documentary (film)"" "subject:"documentary (ilm)""
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Redigering och skuld : Ett kognitivt perspektiv på redigeringensfunktioner i ansvarsutkrävande tv-reportage / Editing and Guilt : A cognitive perspective on editing in investigative TV reportingUrniaz, Piotr January 2013 (has links)
Abstract: During the past decade, media researchers have intensified the study of media scandals and the role of journalism as an institution that holds social actors responsible for malfeasance and wrongdoings. On a micro level of analysis, the main attention has beendirected towards the journalistic interview and its use to promote the impression of guilt and journalistic neutrality. However, such studies have not been able to address the editing dimension of TV journalism that transforms conversation to another type of communicativepractice – that of communication through TV-flows composed of speech sequences, pictures,and sounds. This doctoral thesis develops a theoretical framework for analysis of the functions of editing inthe process of guilt attribution by journalistic TV-flows – e.g. investigative TV reporting. The purpose is also to contribute to an understanding of the relationship between the communicative competences of viewers and the contextualization of speech acts through the composition of TV-flows. The developed perspective consists of three parts: 1) A division of viewers’ reception of TV-flows in two types of interpersonal relations (to a speaker and to the composer) that involves six levels of cognitive activities. This division is based on the Habermasian notion of communicative rationality; 2) An intent-model, that lists communicative intentions expressed by the composer when speech sequences are merged and pictures are inserted; 3) A guilt-model, that encompasses guilt as a mental structure of ontologically separated elements (e.g. deed,intention, norm) and the associative relations that the viewer uses to create a meaningful whole– a fabula of guilt. The conveyed analysis of three cases of investigative reporting illustrates how the developed framework can be applied in the study of guilt attribution. The analyses also describe several compositional strategies by which the viewer is encouraged to make certain meaning, evaluate, and judge. The strategies concern the following areas: promotion of certain understanding of speech, promotion of certain evaluation of the validity claims, and promotion of certain understanding of the speaker’s intentions. Also strategies of positioning of the reporter in constructed discourses, that enhance the impression of her performances and argumentation, are explored. Furthermore, the composer’s strategies for masking intentions to interfere with the speech acts, by increasing intent ambiguity, are described. The guilt-model is used to understand the workings of the TV-flow on an overreaching level of meaning (the fabula level). Here, the analysis explains the interplay between portrayed intentions and acts, and the different ways in which condemning norms can be activated and highlighted. Furthermore, the model explores the possible employment of categorization in theprocess of guilt attribution (e.g. when properties of an individual are transferred to a group). In sum, this thesis contributes to a new way of understanding the reception of current affairs programs and TV journalism, as relation building between composer and viewer, by means of contextualization of speech acts.
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På väg till en narrativt fantasifull skola : Inlevelse, visuell litteracitet och narrativ kompetens i årskurs 4–6. / On the way to a school of narrative imagination : Visual literacy, narrative competence, and empathy.Weilander, Johan January 2019 (has links)
Den svenska skolans undervisning i det svenska språket har för avsikt att göra eleverna narrativt kompetenta, det vill säga, de ska kunna förstå och skapa berättande texter. Inom läroplanen finns dock en öppning för ett mer vidgat textbegrepp där det inkluderas visuell litteracitet, att eleverna exempelvis ska kunna förstå filmiska berättelser. Denna studies syfte är att undersöka på vilka sätt mellanstadieelever kan arbeta med en dokumentär filmberättelse om fyra skolbarn för att utveckla sina förmågor att skriva berättelser och vidga sina vyer av omvärlden. Begreppet narrativ fantasi, myntat av den amerikanska filosofen Martha C. Nussbaum, är framträdande i undersökningen. Med det menas en slags förmåga till inlevelse, att läsandet av olika texter vidgar läsarens förståelse för sin omvärld. Eleverna är uppmanade att välja karaktär och typ av berättelse. Genom både kvalitativ och kvantitativ textanalys visar deras berättelser på en varierad, men ändå utbredd narrativ fantasi. Denna förmåga är dock beroende av både visuell litteracitet, att förstå filmen, och narrativ kompetens, att skapa en egen berättelse.
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Vztahy československého a kubánského filmového průmyslu v šedesátých letech / Czechoslovak-Cuban Cinematic Cooperation in the 1960sMatušková, Magdaléna January 2017 (has links)
The study analyzes the largely understudied cinematic cooperation between Czechoslovakia and Cuba in the first decade following the Cuban Revolution. It is based mostly on archival documents from the former Central Directorship of Czechoslovak State Film, the ministry of education and culture and the ministry of foreign affairs. Several chapters also draw from oral history, data collected from series of interviews with Cuban technicians and artists who have worked in Cuban cinema since the 1960s as well as Czechoslovak experts who worked at the Cuban Institute of Cinematographic Arts and Industries in the 1960s. The Cuban Institute of Cinematographic Art and Industry (CICAI), founded in March 1959 shortly after the triumph of the Revolution, faced a shortage of human and material resources since its inception. The film industry, which had been mostly in the hands of the Americans before 1959, lost much personnel due to mass emigration. Later on, due to the American blockade and embargo, it also lost its most important provider of films, material and equipment. The majority of CICAI's technician and artists were just starting and were lacking in technical knowledge required to make films. Czechoslovak State Film (CSF) offered extensive help to Cuban cinema, especially in the area of developing the...
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In Real Life (Or Elsewhere) : om kreativa processer och parallella verkligheter i dokumentärfilmNevanti, Kirsi January 2017 (has links)
Reality isn’t what it appears to be. Contexts are not always clear and visible. People don’t always say what they really mean. And they don’t always mean what they say. When life is your stage manager, anything can happen. I often say, life is hard, my head is harder. Making documentaries is not for the faint-hearted.This PhD project explores creative processes and parallel realities in documentary film, and discusses and conceptualizes the artistic practice of documentary filmmaking. The project consists in part of artistic works and essays that are critical reflections on the creative process and how that process can be conceptualized. The cinematic centerpiece of the thesis is entitled Images and the Worlds of Being (2011–2016). Previous subprojects are A Shift Between Worlds (2013–2015) and an essay book entitled In Real Life (or Elsewhere) (2013). Between 2013 and 2017, more essays were written, some of them translated to English. All the Swedish essays are available in PDF format. All of the works in the PhD project explore creative processes and parallel realities in two different ways: A Shift Between Worlds (2013–2015) explores identity and parallel realities in the gendered world. These works are based on two workshops led by Diane Torr, “Man for a Day” and “Woman for a Day.” They resulted in several component works, including two video essays, two audio works and two large-format photographic works, the latter in collaboration with photographer Johan Bergmark, as well as a short commentary film entitled Diane Speaks Out (2016). Images and the Worlds of Being (2011–2016) – a VR Classic Style film – explores what happens when documentary images are shown on four screens forming the walls of a room. This work also focuses on the view through the camera lens through which the filmmaker meets the world, in a hypnotic tapestry of parallel realities in a tenderly portrayed, runaway present. A sort of logical reasoning about the illogic of our era, in search of elusive reality (to paraphrase Jean Baudrillard) – the presence in the act of seeing. An experiment in the forms of visual knowledge, outside the traditional display windows. Shooting location: The World.
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Conditional Truths: Remapping Paths To Documentary 'Independence'Lang, Ian William, n/a January 2003 (has links)
(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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