Thesis (M.A.)--Ohio University, November, 2009. / Title from PDF t.p. Includes bibliographical references.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / Includes bibliographical references. / Cinema verite is distinguished from other genres by its refinement of means to make spontaneous revelations of character and situation. Because cinema verite can reveal extemporaneous behavior more easily and more acutely than other filmmaking techniques, its subjects are inherently more vulnerable to exposure than are subjects in directed or rehearsed films. Consideration of vulnerability as a key element characterizing the form and affecting audience response.to cinema verite opens up criticism of the form in a number of ways: It explains more fully audience discomfort with cinema verite, because it suggests that in cinema verite the audience's affiliations shift between filmmaker and film subject. It underpins discussion of the cinema verite film maker's responsibility to and relationship with the film's subjects. It suggests a perspective from which to examine humor in cinema verite. Finally, it is one explanation of the particular force of this form, a force that can be used or abused. / by Ann Schaetzel. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes bibliographical references. / by Benjamin Bergery. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes bibliographical references (leaves 58-59). / by Claude Chelli. / Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1978. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / by Richard Peña. / M.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / by John Chittick. / M.S.V.S.

This thesis investigates performance, identity, representation and shame in documentary filmmaking. Identities that are performed and mediated through a relationship between filmmaker and participant are examined with detailed reference to two decades of my own practice. A reflexive, feminist approach engages my own films - and the relationships that produced them - in analysis of the ethical potholes and emotional challenges in representing others on TV. The trigger for this research was the furiously angry reaction of the One Direction fandom to my representation of them in Crazy About One Direction (Channel 4, 2013). This offered an opportunity to investigate the potential for shame in documentary; a loud and clear case study of filmed participants using social media to contest their image on screen. In the space between documentary confession and the reception of a story by the audience, a dangerous moment comes, in which shame can be received, perceived, projected, internalised or imagined. The point of this research is to offer to existing documentary theory a practitioner's understanding of the processes which produce shame and to establish for documentary filmmakers some practical ways to resist and prepare against the rupture in identity that representation can cause those they film. Engaging both theory and practice in pursuit of the same research questions, I make a self-reflexive investigation into the ethics, affect and impact of representing others, employing the mediums and methods of fans to answer their complaints. All the films, artwork, documentation of the installation, sources, written work, appendices and past documentaries referred to in this thesis can be best experienced online at https://daisy-asquith-xdrf.squarespace.com, the website hosting this PhD, but are also provided on the accompanying USB drive.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / Includes index. / The considerations, potential and limit ations of very short films as exemplified by the production of thirty- eight Mini-Documentaries for the Aspen Movie Map Project. The films are included on videotape. / by Marek Zalewski. / M.S.V.S.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Includes bibliographical references. / Making an unscripted documentary (cinema verite) film is a kind of exploration into uncharted territory. It was my experience in making "Marv Cutler and the Little Prince of Rock" that preconceptions in shooting a scene were rarely realized. The footage returned by the lab, having been shot by me in a state of instant surprise, often had a puzzle quality which would then be reworked into a logical scene which was usually a restructuring, rather than a reporting of the event. Thus the film acquired a shape molded by feasibility, logistics, and accessibility in shooting. Conclusions are avoided; I strive instead for evocative scenes which suggest the complexity of real life. / by Carolyn Swartz. / M.S.V.S.

University of Technology Sydney. Faculty of Humanities and Social Sciences. / The growing concern about the role of ethics in western society has also touched documentary film-making. Yet, since the emergence in the late 1980s of the first journal articles discussing documentary ethics, the theoretical exploration of the key arguments in this field has been fitful. Debates amongst filmmakers about ethics are often immersed in topical discussions of production issues or issues relating to a few controversial films. With the exception of a few insightful works, there is little new analysis or examination devoted to exploring ethics in this discipline. This dissertation adds to the available body of work by examining in depth the ethics encountered in the production of a documentary film, Tagged, with young people, especially the ethics encoded in the aesthetic and discursive elements of the film. Theoretical discussions about ethics range from the analytical focus on the ethics of representation, through the use of subjective modes of expressivity and filmic techniques to epistemological analyses of specific issues such as privacy and the nature of consent that draw on legal and medical models. A study of relevant documentary films reveals the variety of approaches to the moral values reflected in their discourses and visual representations, and a range of authorial voices, heavily influenced by the relationship between filmmakers and subjects and by the production circumstances of each film. In Australia, broadcasters, funding bodies and production companies dominate the documentary film-making environment and their codes, editorial policies and protocols influence the whole sector of documentary filmmaking. By categorizing documentary within the broad scope of factual programming, they reflect an institutional gaze that fails to acknowledge those individuals including children and youth, who participate in its production. Through my examination of ethics in both the theory and practice, I address the relevant question of whether there should be a code of practice for documentary film-making. In focussing on my own ethical position and its translation into practice through the making of Tagged, I explore the ways in which the ethical stance that I established is pivotal to the documentary and represented both in the text and in the pragmatic choices of production. This led me to conclude that the development of an ethical position specific to a current project is an effective focus on the potential ethical conflicts in a production. From this I argue that while a broad code of conduct can provide valuable guidelines, it cannot replace the filmmakers’ investigation of their ethical practice and their establishment of an ethical statement and stance for their films thus creating a platform from which ethical conflicts can be understood and either avoided or resolved.