This paper discusses the exploratory process of making a short digital film with two women with early-onset dementia in a day care setting. The film was produced as part of a larger participatory video (PV) pilot project within the day centre. My main subject here is the adaptations to the standard PV process which I made in order for the two women, Pam and Carol*, to be able to take active part. These adjustments took account of their individual abilities related to cognition, physical mobility and social confidence. I discuss the development of an asynchronous approach, which involved my going out into the local community to capture images of Leeds City Market using a mini-camcorder (Flipcam) and the subsequent addition, at the day centre, of voice-over commentary by the two women in response to the visual images they saw on screen. Extracts from their film narrative presented here suggest that participation in the film-making process helped to reconstruct their sense of cultural identity and social engagement. The resulting short film is now being disseminated to Dementia Studies degree students by way of their social networking site.

In this article, the conception ¡¨qu¡¦est-ce que le cinéma¡H¡¨ is set up as the initial point in order to reveal the core topic. As we know, the development of digital technology nowadays has raised the essential altering of inner and outer fields as to Film. At first, based on the research on film history, images and social environments, we attempt to figure out the possible revolution of technology, industries and aesthetics about the films. In addition, throughout the characteristics and construction of the inner and outer fields towards digital films, we offer the possibility of the postmodern turn on film aesthetics as well as the demonstration and strategies on social participation and democracy. Finally, we try to discuss the development of film aesthetics on le cinéma¢wen soi. Moreover, we acclaim that le-cinema-en-soi makes itself a becoming subject and gains the varieties of creation power to deconstruct Film ontology as well as the object/subject relationship between the public and the films.

Given the accessibility of media devices available to us today and utilising van Leeuwen's concept of inscription and synthesis as a guide, this thesis explores the practice of re-presenting a domestic material object, the Croxley Recipe Book, into digital media. Driven by a creative practice research method, but also utilising materiality, digital storytelling practices and modality as important conceptual frames, this project was fundamentally experimental in nature. A materiality-framed content analysis, interpreted through cultural analysis, initially unraveled some of the cookbook's significance and contextualised it within a particular time of New Zealand's cultural history. Through the expressive and anecdotal practice of digital storytelling the cookbook's significance was further negotiated, especially as the material book was engaged with through the affective and experiential digital medium of moving-image. A total of six digital film works were created on an accompanying DVD, each of which represents some of the cookbook's significance but approached through different representational strategies. The Croxley Recipe Book Archive Film and Pav. Bakin' with Mark are archival documentaries, while Pav is more expressive and aligned with the digital storytelling form. Spinning Yarns and Tall Tales, a film essay, engages and reflects with the multiple processes and trajectories of the project, while Extras and The Creative Process Journal demonstrate the emergent nature of the research. The written thesis discusses the emergent nature of the research process and justifies the conceptual underpinning of the research.

The nexus that exists between Aboriginal ways of knowing and Western modern science provided the setting for this research project. It investigated the process of using digital film as a learning tool in the documentation and reflection of Aboriginal knowledge with respect to science. It used Participatory Action Research (PAR) as the research methodology, specifically students engaged in creating films on topics of their choice with respect to Aboriginal knowledge and science. The findings emerged into two themes; one focused on the traits of Aboriginal knowledge and its knowledge transfer systems; the other on the traits that encompass the use of digital film in the learning process, and the capacity development that accompanies it.

Den här uppsatsen undersöker hur filmfotografens yrkesroll och kreativitet påverkas av valet av teknik. Trots att det snart gått 20 år sedan digitala kameror började användas i filmproduktioner används än idag analoga kameror i stor utsträckning. Kameran är fotografens viktigaste verktyg och den här uppsatsen belyser skillnader i arbetsprocessen med analog och digital film samt hur detta påverkar filmfotografens kreativa process. Vi har genomfört kvalitativa intervjuer med fyra filmfotografer som har arbetat med både analog och digital film och med hjälp av dessa genomfört en diskursanalys. Resultatet visar att det finns skillnader i arbetet med analog och digital teknik. Det finns dock lika mycket för- som nackdelar med de båda teknikerna och de lämpar sig bäst i olika typer av produktioner. Det går inte att säga att fotografen kan vara mer eller mindre kreativ beroende på vilken teknik som används. Teknikvalet påverkar fotografen främst i det tekniska arbetet men nödvändigtvis inte i den kreativa processen.

Made available in DSpace on 2015-04-11T13:41:40Z (GMT). No. of bitstreams: 1 Graciene _Siqueira.pdf: 2489522 bytes, checksum: bd087e1a5255602fcaa9049e5730b839 (MD5) Previous issue date: 2011-05-16 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The study aimed to analyze the benefits and limitations of using digital technology in the development / production and distribution of cinema in Manaus. First stood the image production in contemporary society, a process examined by authors such as Nöth and Santaella (2008), Virilio (2002), Couchot (1993) and Dubois (2004), showing the main changes in the image production, suggesting a division from the technique used in this task by discussing how it interferes with the formation of image, starting with the photographic image to the image synthesis, computergenerated. Based on Machado (1997, 2008), Baudrillard (1991) and Santaella (2003) it was discussed the main features of the synthesized image and how it changed the landscape of visual art, especially cinema. Through Mattos (2006), Manovich (2001) Lipovetsky and Serroy (2009) it was analyzed the key technical developments in film, including sound and color, and then we get to image synthesis, their benefits and limitations. We then discussed the democratic aspect made possible by digital technology as a possible emergence of new producers to provide multiple image capture devices, creating new viewports productions, among others, providing the development of a film culture. As for the methodological approach, the research conducted survey descriptive / critical conditions of film production in Manaus, the use of questionnaire and interviews with the independent filmmakers. / O estudo objetivou analisar os benefícios e limitações do uso da tecnologia digital no desenvolvimento/produção e distribuição da cinematografia em Manaus. Primeiramente situou-se a produção imagética na contemporaneidade, processo analisado por autores como Nöth e Santaella (2008), Virilio (2002), Couchot (1993) e Dubois (2004), apontando as principais transformações na produção da imagem, propondo uma divisão a partir da técnica utilizada nessa tarefa, discutindo de que forma ela interfere na constituição imagética, iniciando pela imagem fotográfica até a imagem de síntese, gerada por computador. Já em Machado (1997;2008), Baudrillard (1991) e Santaella (2003) discutimos as principais características da imagem de síntese e de que forma ela modificou o cenário das artes visuais, especialmente o cinema. Por meio de Mattos (2006), Manovich (2001) e Lipovetsky e Serroy (2009) analisamos as principais evoluções técnicas no cinema, entre elas o som e a cor, para então chegarmos à imagem de síntese, seus benefícios e limitações. Discutimos a seguir o aspecto democrático da tecnologia digital como possibilidade do surgimento de novos produtores de imagens ao disponibilizar vários dispositivos de captação, a criação de novas janelas de exibição das produções, entre outros, propiciando o desenvolvimento de uma cultura cinematográfica. Quanto ao aporte metodológico, a pesquisa realizou um levantamento descritivo/crítico das condições de produção cinematográfica em Manaus, com a aplicação de questionário e de entrevistas junto aos realizadores independentes.

No description available.