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This reflexive documentary film explores the Alabama-Coushatta Indian Tribe of Texas and examines questions of cultural identity. The twenty-one minute film uses footage of cultural events, reservation landscape, photographs, and interviews to bring the viewer into the lives of the Alabama-Coushatta people. The written portion of this thesis details the entire processes of making the film, from the proposal stage to the post-production stage. This includes an examination of the film's evolution from using a proposed ethnographic approach to one less scientific and more personal.

Mama D's 2 Blocks tells the story of a neighborhood home in New Orleans that was transformed into a distribution center and used to assist residents impacted by Hurricane Katrina's devastation in 2005. Mama D stayed at her home throughout the storm and remained there until the floodwaters had subsided. After the water had drained, socially minded youth from all over the country were drawn to Mama D's home and stayed there while supporting local renewal efforts. The film documents their joining together, without electricity or running water, and assisting in the rebuilding process undertaken by Mama D and other neighborhood residents. This film captures a community in action, how it survived, and the first steps taken towards the rebuilding of New Orleans.

This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.

The purpose of the study was to compile a catalog of two sections: (1) a comprehensive, alphabetic, annotated list of North Texas State University (NTSU) Library films (the general catalog); and (2) a classified and cross-referenced film and broadcasting filmography of NTSU Library films. The catalog represents all films available for distribution from the NTSU Library as of July, 1976. The cataloging and compilation process is described. An analysis is made of the NTSU Library film collection. The titles of 13 films are recommended for addition to the collection.

Neste trabalho comparamos dois documentários-propaganda das ditaduras do Brasil (1964-1985) e da Argentina (1976-1983). Nossa pesquisa busca desenvolver uma análise enunciativo discursiva dos dois documentários que permita estabelecer relações com aspectos das suas condições de produção e com as características do enunciador e do co-enunciador. Trata-se dos filmes, Brasil de Ontem, Hoje e Amanhã, exibido em 1975 no programa Amaral Netto, o Repórter da Rede Globo e Ganamos la Paz, exibido em 1977 no canal 7 da televisão argentina. Os dois filmes expõem a versão dos governos militares da situação política e social daqueles anos, justificando a necessidade de intervenção das forças armadas, que se apresentam como a única instituição capaz de conter o avance de um mesmo inimigo: o comunismo. A noção de condições de produção mostrou-se especialmente produtiva porque nos permitiu indagar o âmbito institucional dos dois países e a circulação de superfícies discursivas produzidas a partir de uma mesma doutrina na qual ambos os regimes se fundamentaram: a de Guerra Revolucionária francesa. O estudo do funcionamento e da modalidade de representação expositiva do gênero documentário (Nichols, 1997), as categorias de discurso constituinte (Maingueneau, 2008) e de heterogeneidade discursiva (Authier Revouz, [1982] 2011) foram fundamentais em nossa análise. Dessa forma, pudemos estabelecer não apenas relações interdiscursivas, mas também entre os diferentes lugares de dizer que o enunciador ocupa, a representação do inimigo e a interlocução representada nos dois filmes. / In this study we compare two propagandistic documentary films of the Brazilian (1964-1985) and Argentinean (1976-1983) dictatorships. Our research aims at carrying out a discourse and enunciation analysis in order to relate some aspects of their production conditions with the enunciator´s and co-enunciator´s characteristics. The films under study were Brasil de Ontem, Hoje e Amanhã, exhibited in 1975 on Rede Globo´s Amaral Netto, o Repórter show, and Ganamos la Paz, exhibited in 1977 on channel 7 in Argentina. Both films exposed the military government version of the political and social situation in those years, justifying the intervention of the armed forces which introduce themselves as being the sole institution capable of hindering the progress of the same enemy: communism. The production condition notion has proved to be productive since it allowed us to get into the institutional framework of both countries and into the circulation of discursive surfaces produced based on the same doctrine to which both governments adhere, namely the French Revolutionary War. The study of the functioning and representation mode of the documentary genre (Nichols, 1997), the constitutive discourse categories (Maingueneau, 2008), and the discursive heterogeneity (Authier Revouz, [1982] 2011) were of the utmost importance in our analysis. Therefore we were able to assess not only interdiscursive relations, but also the place of speech the enunciator occupies, the representation of the enemy and the interlocution represented in both films.

This project presents a three-level analysis of Persepolis and Waltz with Bashir to elucidate the way these films deconstruct the image of the Middle East that the dominant Western media perpetuate. The thesis demonstrates that the combination of highly expressive and easily understandable animated form with an autobiographical storyline that endows the films with attractive authenticity, personification and intimacy, creates a palatable setting for the intellectual texts. Further, this project discloses the ways representation gives rise to stereotypes and illustrates how the films articulate an alternative to the dichotomous perception of West versus Middle East. The movies impersonate a unique, subjective insight into the past, emphasizing that history is an ongoing, non-linear process that depends on where and who is narrating it, and to whom. Understanding that public memory is shaped by media content, the thesis asserts the necessity for more cultural texts that deconstruct the norm and eliminate bias. / by Kristyna Dzmuranova. / Thesis (M.A.)--Florida Atlantic University, 2011. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2011. Mode of access: World Wide Web.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-26T10:03:55Z No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5) / Made available in DSpace on 2018-09-26T10:03:55Z (GMT). No. of bitstreams: 1 Natália Keiko de Carvalho Suguiyama.pdf: 1784993 bytes, checksum: a35d3dad535c11f72868d64d8280222a (MD5) Previous issue date: 2018-08-24 / Focusing in the documentary cinema as a way of representing the testimony of traumatic experiences in cinema, this project emphasizes the creative procedures found in the film Shoah (1985), by Claude Lanzmann, and in the series Histoire(s) du Cinéma (1988/1998), by Jean-Luc Godard. More specifically, it reflects on how documentary films has put us in contact with painful historical events, understanding the creative procedures used in its conception. Our corpus is based notably on the works above mentioned. The most important theoretical frameworks are the studies who deal with documentary theory, as presented by Bill Nichols theory and, in Brazil, Fernão Ramos. Our research also counterpoints the issue of representation of the catastrophe, using the studies of both Georges Didi-Huberman and, in Brazil, Márcio Seligmann-Silva. The relevance of the research is related to the intense debates that surround today the testimony, assigning to the images a role in the representability of the extreme, previously interdicted / Este projeto enfoca o cinema documental voltado à temática do testemunho no campo da experiência traumática, com ênfase no documentário Shoah (1985), de Claude Lanzmann, e na série em vídeo Histoire (s) du cinéma (1988-98) de Jean-Luc Godard. Mais especificamente, trata-se de perguntar como o cinema documental nos tem colocado em contato com eventos históricos dolorosos, assinalando os procedimentos criativos de que se tem valido. O corpus da pesquisa compõe-se principalmente das obras acima referidas. Os principais referenciais teóricos envolvem estudos abalizados sobre o gênero documentário, como os de Bill Nichols e, no Brasil, Fernão Ramos, e trabalhos em contraponto sobre a questão da representação da catástrofe, como os de Georges Didi-Huberman e, no Brasil, Márcio Seligmann-Silva. A relevância da pesquisa liga-se aos intensos debates que voltam a cercar hoje o testemunho, atribuindo às imagens um papel na representabilidade do extremo, antes interditado

Stuntwork became a science when stuntman and technician Yakima Canutt left the rodeo to work in Hollywood westerns. Canutt perfected methods and designed mechanisms that made dangerous stunts safer and visually exciting. Many of Canutt's techniques are still used today by modern stuntmen like Hal Needham, Ronnie Rondell, and Paul Baxley. Directed by stuntman Hal Needham and starring "box office draw" Burt Reynolds, Hooper presented the stuntman as a rugged, fun-loving, almost suicidal superman. For the first time in film's short history, the stuntman and his craft became a topic of wide public interest. The stuntman had become "glamorous" almost rivaling his actor counterpart.