I began this project with the question of how today's social justice activists might find a useable history in a massively influential text like Eyes on the Prize. Thus, the broad question that motivated this rhetorical inquiry was: what means are available to people interested in social change, but whose access to the resources to influence society is limited? One important resource that oppressed peoples can lay claim to is a shared sense of the past. Through a critical analysis of Eyes on the Prize, this dissertation examines shared memory as a resource for rhetorical production. I am interested not only in how the past is re-presented in the documentary, but also what resources the documentary provides its audience to consider and take action for social change. The films present memories that complicate or run counter to the dominant narrative of the black freedom struggle and thereby make available a reservoir of rhetoric power for a political present. My analysis suggests that Eyes on the Prize does not contradict public memory's dominant values of the black freedom struggle, but it does resist their blind adherence. The documentary does not force viewers to take sides on divisive issues like separation/integration or violence/nonviolence. Instead it allows them to realize that these concepts are dialectical. These are, in my estimation, productive tensions. Eyes on the Prize is an excellent pedagogical tool for producing citizen activists. Although activism gives way to electoralism by the end of the documentary, activism is portrayed positively in the documentary. There are certainly costs to activism, as some activists experienced in the most extreme way. However, the heroes of Eyes on the Prize are certainly the activists. In an analysis of a text's rhetorical potential, it is also necessary to acknowledge how the text limits rhetorical possibility. Significantly, Eyes on the Prize inadequately addresses the importance of class in the black freedom struggle. The lacuna of class in the documentary neglects fundamental changes in the goals and tactics of the black freedom struggle and limits the material and psychological structures that maintain racism. / text

Using an exploratory approach, this master thesis aims to provide an understanding of the issues around wildlife films as possible study objects. In the first part, this is made by examining some perspectives of the recent field of the Human-Animal Studies (HAS), which seeks to provide an interdisciplinary look at the several issues affecting the vast range of ethical, emotional, symbolic interactions between humans and nonhuman animals. The research also tries to enumerate some of the main theoretical, formal and historiographical questions on this matter with an analysis of the documentary film and wildlife film genres. In its final part, this master thesis embarks on an examination of Jacques Perrin´s Winged Migration (2001) and Luc Jacquet s March of the Penguins (2005) with the assumption that they can serve to demonstrate the importance and the complexity of animal representation in film. / Este trabalho tem como objetivo oferecer, a partir de uma perspectiva principalmente exploratória e bibliográfica, um olhar para os chamados wildlife films, ou filmes de vida selvagem, enquanto objetos de pesquisa. Esse esforço é realizado em um primeiro momento com o auxílio do recente campo de pesquisa dos Human-Animal Studies, que buscam compreender de maneira interdisciplinar as diversas problemáticas que afetam a imensa gama de interações éticas, afetivas, simbólicas entre os humanos e os animais não humanos. A pesquisa também empreende, nesse bojo, um estudo do documentário e do subgênero em questão em uma análise teórica e na descrição de um breve trajeto historiográfico. Em seguida, em um segundo momento, é realizada uma análise, ainda dentro da proposta exploratória do estudo, dos filmes Migração Alada (2001), de Jacques Perrin, e A Marcha dos Pinguins (2005), de Luc Jacquet.

Orientador: Fernão Vitor Pessoa de Almeida Ramos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T11:12:46Z (GMT). No. of bitstreams: 1 Vargas_Heidy_M.pdf: 2014463 bytes, checksum: bb1bace353c62c55d3b3e8afa368481a (MD5) Previous issue date: 2009 / Resumo: Este trabalho busca identificar as condições internas e externas à Rede Globo de Televisão que permitiram o surgimento dos programas Globo-Shell Especial e Globo Repórter e discutir a influência da linguagem e da estética do Cinema Novo no documentário televisivo. O Globo-Shell Especial foi criado em 1971 e, em 1973, foi substituído pelo Globo Repórter, cuja exibição foi suspensa pela primeira vez em 1983. Para mapear essa história, recorreu-se à bibliografia existente sobre o assunto - ainda pouco estudado -, às notícias e críticas publicadas e aos boletins de programação da emissora, bem como a entrevistas realizadas com profissionais envolvidos nesses projetos. Elaborou-se também, a partir de um mapeamento da produção dos doze anos que delimitam a pesquisa, uma planilha com informações primárias (nome, data de exibição, ficha técnica), subdividida em segmentos temáticos, que serve de base para uma análise preliminar do modo de produção, da linguagem audiovisual e da estética adotadas. Essa análise é cotejada com a tradição narrativa documental, a questão da autoria e as revoluções tecnológicas que permitiram a construção do discurso do documentário televisivo. Em ambos os programas, cineastas e jornalistas fizeram parte das equipes, somando competências e gerando contradições. O resultado desse encontro foi a criação de documentários únicos, diferenciados do restante da produção televisiva e cinematográfica do período, tanto nos planos da estética e da linguagem - uma preocupação intrínseca ao trabalho dos cineastas - quanto no da informação - uma marca do trabalho dos jornalistas. / Abstract: This paper seeks to identify the conditions inside and outside of the Globo Television Network that allowed the creation of Globo-Shell Especial and Globo Repórter programs and discuss the influence of Cinema Novo's language and aesthetics on TV documentary. Globo-Shell Especial was established in 1971 and replaced in 1973 by Globo Repórter, which had its transmission suspended for the first time in 1983. To map that history, we appealed to literature on the subject - which is still little studied -, news, reviews and published reports of the broadcast programming, as well as interviews with professionals involved in these projects. Based on a survey of production from the twelve years that are subject of research, we also produced a spreadsheet of primary information (name, date display, fact sheet), divided into thematic segments, which serves as the basis for a preliminary analysis of the adopted mode of production, audiovisual language and aesthetics. This analysis is compared to the traditional documentary narrative, the question of authorship and the technological revolutions that enabled the construction of the television documentary discourse. In both programs, filmmakers and journalists were part of the team, adding expertise and creating contradictions. The result of such a meeting was the creation of unique documentaries, different from the rest of the TV and film production of the period both in terms of aesthetics and language - a concern intrinsic to filmmaking - and in terms of information - a mark of the work of journalists. / Mestrado / Mestre em Multimeios

China Run is a 92 1/2 minute documentary film which portrays an ultramarathon runner's record-setting 2,125 mile run across China in 53 days, starting at the Great Wall north of Beijing and concluding in Guangjhou (Canton). It is a story of the difficulties, both physical and emotional, suffered by the runner, as well as the story of his encounters with the people of China.

This diploma thesis focuses on the use of documentary films in English lessons with secondary school students. It consists of theoretical and practical part; this being further divided into didactic and research part. The theoretical part covers four main areas: aims of current education and language teaching, multimedia in teaching, authentic materials in English lessons, and documentary films as a didactic tool. By an eclectic combination of the most suitable findings, approaches and methods from these areas, three complex educational materials based on documentaries were constructed for English lessons. These materials contain worksheets for students, instructions for teachers, presentations for online teaching, and a set of additional sheets and present a ready-to-use tool for English classes. In the practical part, design of the materials is described, along with their subsequent evaluation by experienced English teachers. Based on the materials design and evaluation, the overall aim of this thesis is to find out whether documentary films and lessons based on them are effective for English language teaching (where the main criterion is whether they lead to fulfilling the aims of language teaching and current educational aims in general) and what their main benefits are. The data collected are...

"The Great Hanging" is a documentary film that tells the story of the largest extra-legal mass hanging in U.S. History. This story is told through stage play recital of "October Mourning" written by historian and professor Dr. Pat Ledbetter. Using the stage play as a vehicle, the film showcases cinematic re-enactments based in the events in Gainesville, Texas during October 1862. These events show how a small community became overwhelmed by the fog of war and delved into madness as the Civil War crept closer and closer to their doorstep.

Eggplant Emoji is a documentary film that reveals a range of feminist perspectives on dick pics, sexting and online sexual harassment. Through intimate and hilarious interviews with women between the ages of 22 and 35, the film harnesses a collective voice that speaks back to the large and small ways patriarchy wields power in modern spaces, especially through sending unsolicited dick pics. By intertwining the testimonies of a dynamic group of female storytellers sitting amongst their close friends, the film provides candid and diverse commentary on this unique moment we are in, where the lines between private and public, online and offline are increasingly blurred. Until there are greater consequences, whether legal, social or otherwise, for men disrespecting women's choices and personal space, the domain of sexting is in a self-policing state and women are left to expend emotional labor to let men know why what they sent is unwanted or violating. Ultimately, the subjects' testimonials coalesce to provide suggestions for respectful, consensual sexting practices and fill in the gaps where sex education often neglects the importance of consent and communication altogether.

Don't Frack With Denton chronicles the ground-breaking movement to ban hydraulic fracturing in the city of Denton, Texas by combining observational location shooting with extensive sit-down interviews and carefully negotiated subject-filmmaker relationships to create a safe and comfortable space for thoughtful reflection and criticism of a complex social movement who's activities span several years and many individuals. The result is a long-form documentary that is unapologetically in solidarity with this movement's goals while simultaneously maintaining enough editorial independence and critical distance to allow the activists themselves to honestly evaluate their decision-making, tactics and interpersonal relationships in ways that will provide insight and instruction to similar movements around the country and the world.

The Deepwater Horizon oil drilling rig exploded on April 20, 2010, off the coast of Louisiana in the Gulf of Mexico. Following the spill, British Petroleum, leaser of the rig, set up a funding institution known as the Gulf of Mexico Research Initiative (GoMRI) to support research and understanding of the spill on the environments and peoples of the gulf. This outreach project was created alongside research of the RECOVER consortium, funded by GoMRI, to communicate what is happening within research labs around the country to understand the effect that the spill had on fish in pelagic and coastal regions of the gulf. The outreach project is composed of a short film (Deepwaters: The Science of a Spill, 18 min) and related outreach materials posted to Instagram (@FishandOilSpills).

In transboundary water resources policy and management situations, such as the governance of the Columbia River Basin, complex social, ecological, and economic factors seem to be in irreconcilable competition with one another. However, cooperative negotiation provides an outlet for entities and stakeholders to "expand the pie" and develop creative alternatives for integrated, resilient management. To achieve these goals, it is critical that stakeholders have meaningful dialogue that goes beyond positions to identify the underlying values and interests in the basin. Furthermore, parties must develop a shared understanding of the substantive complexities of the social-ecological system. Collaborative learning allows participants to meet both of these objectives at once, and facilitators can spark collaboration through carefully planned interventions. The goal of this study was to test a carefully crafted "facilitative" documentary film as a facilitation tool to promote dialogue, understanding, and creative scenario development amongst parties. The study has three main components: 1) the resilience and learning analysis of the case study (the Columbia River Treaty) policy situation, 2) the creation of a facilitative film featuring interviews with diverse stakeholders in the basin, and 3) the qualitative and quantitative assessment of the effects of the film in the cooperative negotiation process. The film, A River Loved: A film about the Columbia River and the people invested in its future, premiered at the Universities Consortium Symposium on Columbia River Governance- an informal forum for dialogue held in Kimberley, British Columbia in October 2011. I measured participants' reactions to the film and found substantial support for my hypotheses, concluding that interventions such as facilitative documentary film have great potential to transform complex, multi-stakeholder social-ecological policy situations. / Graduation date: 2012