This report will summarize the process of developing, producing and finishing the short documentary film ARVIND. Shot on HD video in Austin, TX from May 2012 to March 2014, the film was produced as my Graduate Thesis Film in the Department of Radio-TV-Film at the University of Texas at Austin in partial fulfillment of my Master of Fine Arts in Film Production degree. / text

Mineola is a poetic, observational, immersive documentary centered in the town of Mineola, Texas. The film provides an intimate, first person perspective of different locations in the town as well as underlying subversive beliefs and traditions. The film’s authoritative perspective guides the viewer not only in a direction of observation but personal connection to nostalgia of small communities.

This written thesis accompanies a sixteen-minute documentary video, Harbor, in which the filmmaker explores her relationship with her father who has suffered a stroke. Detailed accounts of the pre-production, production and post-production of the video allow the reader to understand the challenging and rewarding process of making an autobiographical documentary. Theoretical issues are also discussed, including the validity, criticisms, artistic nature and ethical concerns of autobiographical filmmaking. The filmmaker stresses the universality of her story, and how, despite the film's very personal nature, it is applicable for anyone who has dealt with the illness and/or disability of a parent.

Orientador: José Leonardo do Nascimento / Banca: Omar Khoury / Banca: Simonetta Persichetti / Resumo: Com esta pesquisa a minha intenção foi a de realizar uma investigação do filme/documentário russo Anna dos 6 aos 18 e como ele expõe os momentos históricos do fim dos anos 1980 e começo dos 1990, com a queda da União Soviética e o surgimento da Perestroika. Tentei aqui apresentar uma análise de como esta obra, enquanto objeto de arte e documento histórico, se relaciona com as transformações e o discurso oficial do final da URSS. Foram analisadas as diferentes formas de articulação entre os elementos verbais e sonoros, mas com foco nos elementos estético-visuais (signos, ícones, sinais, movimentos de câmera, composições cênicas) e principalmente a montagem. O trabalho aqui aprestado é um estudo sobre o papel da montagem, do filme documentário enquanto documento histórico e do papel do diretor enquanto ―escultor do tempo‖. Para a realização deste trabalho foram realizadas entrevistas com profissionais desta área, bem como pesquisa e observação de diferentes obras cinematográficas e de artes plásticas que abordam a montagem. Também realizo a minha análise sobre algumas imagens escolhidas pelo diretor Nikita Mikhalkov que contam uma visão sobre este período da história russa vivenciada por ele juntamente com o crescimento de sua filha Anna, a heroína do filme objeto do nosso estudo / Abstract: With this research the intention was to investigate the russian documentary film called Anna from 6 to 18 and how he exposes historic moments in the late 1980s and beggining of 1990s among the Soviet Union fall and the emergence of Perestroyka. We try to present how this work, as art object and historic document, relates itself with the changes and the official version about the end of URSS. We analyzed the different forms of articulation between the verbal elements and sound, but with a focus on aesthetic and visual elements (signs, icons, signs, camera movements, scenic compositions) and especially the assembly. The study presented here is a study on the role of the assembly, the documentary film as a historical document and the role of director as "sculptor of the time." For this study, interviews were conducted with experts in this area as well as research and observation of different films and visual arts that address the assembly. Also realize my analysis on some images chosen by director Nikita Mikhalkov who have a vision about this period of Russian history experienced by him along with the growth of his daughter Anna, the heroine of the film object of our study / Mestre

This study examines anti-apartheid documentary production in South Africa between 1977 and 1987. These documentaries were produced by a variety of producers in order to record aspects of South Africa's contemporary social history, and as a means of contributing - in some way - to changing the conditions described. While the 'content' of the documentaries is historical and social, and their intention political, this study is aimed at elucidating how a documentary, as a representational system, produces meaning. The study is therefore located within the discourse of film studies. My study is based on the theory that a documentary is the embodiment of several relationships: the relationship between social reality and documentary producers; the social relationships engaged in, in the production of the text; the relationship between the text and its audience 1, and the relationship between the audience and its social context. This informs my methodological approach in which analysis appropriate to each area of study is used. Using secondary sources obtained through standard library research, I pursue social and historical analysis of the 1970s and 1980s in order to contextualise both the producers of the documentaries, and their audience. The social relations of production of a text are examined using material gathered through extensive interviews with the producers and published secondary material. How this impinges on the documentary is ascertained through detailed textual analysis of 30 documentaries. For analytical clarity each chapter focuses on a specific aspect of documentary - although I do show how the various relationships impinge on each other. This research finds that the documentaries faithfully reflect the anti-apartheid ideology dominant in the extra-parliamentary opposition in the period under discussion - to the extent that all forms of consciousness are framed by this discourse. An examination of the textual strategies used shows that they are bound by the conventions of broadcast television. They therefore construct a spectator-text relationship which is not consistent with the political concern that democratic relationships be established as the basis of a post-apartheid society. In other words, there is an inconsistency between the ideology espoused, and the way in which film- and videomakers, in their specialised field of production, practise their politics. This can be attributed to the over-riding political intention of the documentarists 'to record' what is happening, and to establish a popular archive which can be used by extra-parliamentary opposition groups in their struggle against apartheid.

(Communication) Project (M.A.) - Simon Fraser University, 2005. / (Communication) Project (School of Communication) / Simon Fraser University. Also issued in digital format and available on the World Wide Web.

Thesis (M.F.A.)--University of New Orleans, 2003. / Title from PDF title page (viewed on Apr. 5, 2005). "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Drama and Communications." Vita. Includes bibliographical references (p. 72-93).

This report outlines the process of creating and producing the documentary film “That Thing You Do” based on the TV series “1+1=Infinito” (1+1=Infinite). The series and the film provide a better understanding of the concept of Corporate Social Responsibility (CSR) and shows how people can incorporate CSR into their daily lives. The film production was financed by “PROhumana Foundation” (Chile) and shows how three Chilean people: Rodrigo Alonso, entrepreneur, Catalina Valdés, chef, and Javier del Río, architect, are trying to make a difference in their specific fields in terms of environmental impact, saving and using energy properly, and the importance of conscientious eating. The documentary film has taken the concept of CSR and attempted to present it to a massive audience in order to suggest the idea that all of our actions eventually come back to us. Any imbalance in the system that surrounds us and which we are a part of will affect us. In contrast, any improvement to the system will benefit us. The film thus attempts to showcase testimonials by the main characters suggesting small changes we can make in our daily lives in order to work toward this goal. / text

This thesis explores the National Film Board's Cultural Diversity in Action Initiatives (1997-- ) whose aim is to redress the under-representation of filmmakers of colour in the English Program's documentary film production streams. Focusing on how these strategies and objectives have broadly tried to promote racial diversity (for instance, one way is through the goal of having one of four filmmakers be a person of colour), this thesis proposes that these initiatives represent the NFB's most prominent and socially progressive raison d'etre for the late 1990s and the new millennium.

No description available.