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Talanoa: matala 'oe fonuaToluta'u, Talita January 2008 (has links)
This study is concerned with representation. It considers the nature of a culturally located narrative form called talanoa and its creative translation into film. The film Talanoa: Matala ‘o e Fonua that constitutes the designed outcome of this project considers the memories of three Tongan women who left their homeland to settle in New Zealand between 1970’s and 1990’s. It is designed as three related garlands that exist as a related unit. Talanoa: Matala ‘o e Fonua is therefore, a creative synthesis of their talanoa, into a new form of documentary that is designed to capture the cultural and emotional resonance of their stories. The work orchestrates photography, animation, sound design, filmed footage and extensive postproduction research into a unique text that seeks to move the parameters of documentary beyond the visual interview. In doing so, the research draws heavily on Tongan paradigms of narrative and representation.
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Talanoa: matala 'oe fonuaToluta'u, Talita January 2008 (has links)
This study is concerned with representation. It considers the nature of a culturally located narrative form called talanoa and its creative translation into film. The film Talanoa: Matala ‘o e Fonua that constitutes the designed outcome of this project considers the memories of three Tongan women who left their homeland to settle in New Zealand between 1970’s and 1990’s. It is designed as three related garlands that exist as a related unit. Talanoa: Matala ‘o e Fonua is therefore, a creative synthesis of their talanoa, into a new form of documentary that is designed to capture the cultural and emotional resonance of their stories. The work orchestrates photography, animation, sound design, filmed footage and extensive postproduction research into a unique text that seeks to move the parameters of documentary beyond the visual interview. In doing so, the research draws heavily on Tongan paradigms of narrative and representation.
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Indigenous, yes: participatory documentary-making revisited (an Argentine case study)Enghel, Florencia January 2005 (has links)
This Master in Communication for Development thesis –an essay- is based on two documentaries made with -and about- indigenous communities located in the North region of Argentina (the provinces of Misiones and Jujuy) which the author produced between 1997 and 2003 through the implementation of a participatory communication approach: Ayvü-Porä/The beautiful words (1998), and Candabare/Late summer celebration (2001). The essay is meant to be in itself a communication for development device: an investigation of examples, and a mapping exercise, intent at laying open and laying out the actual practices that led to the concrete products discussed.
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Idéia, imagens e sons: caminhos para a estruturação de um documentárioWainer, Julio 30 May 2010 (has links)
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Previous issue date: 2010-05-30 / This dissertation investigates the construction of a documentary film or video.
The diversity of documentary forms in Brazil and abroad makes it clear that there is
no fixed rules for its production. However there are commonalities among the
production of documentaries that helps to define its characteristics as a genre.
This dissertation explores definitions for the genre; the creation
processes, theme fields, rethoric resources, structuring paths and some recurring
procedures.
Firstly we discuss the world view of documentaries (Aufderheide, Barnouw, Da-Rin,
Ellis, Grierson, Nichols) as well singularities in the Brazilian experience (Bernardet,
Lins e Mesquita). Then we discuss the documentary production processes (Salles,
Bernard, Cousins and Macdonald, Lins).
Then the author presents his own methodology, from his teaching experience. It start
from the interests of the producer, and his motivation. The authorship is then
discussed, as a way to prevent producers from falling into the myth of neutrality.
Possible images and sound resources are reminded as an attempt to open up
creative possibilities. Some structures are suggested so that one can evaluate the
production efforts. Procedures are pointed out to help producers to think
audiovisually, both in the conception and in the editing the documentary. References
for teaching are Rabiger, Rosenthal, Bernard / Esta dissertação procura investigar como funciona a construção de um
documentário.
A diversificada experiência do documentário, no mundo e no Brasil mostra que não
existem regras para a sua produção. No entanto, na sua feitura podem ser
encontradas certas linhas comuns, constantes que ajudam a definir a especificidade
do documentário. Esta dissertação investiga definições para o documentário; os
processo de criação nele envolvidos; campos temáticos; recursos retóricos;
caminhos estruturantes e procedimentos recorrentes.
Inicialmente é investigada a presença do documentário no mundo (Aufderheide,
Barnouw, Da-Rin, Ellis, Grierson, Nichols) e suas particularidades no Brasil
(Bernardet, Lins e Mesquita), situando-o no espectro dos gêneros audiovisuais. Num
segundo momento percebe-se os processos de criação envolvidos no seu fazer
(Salles, Bernard, Cousins e Macdonald, Lins).
Na sequência, é sistematizada a experiência didática do autor, que apresenta uma
metodologia de ensino própria. Parte de uma primeira idéia do interessado, e
procura localizar a sua motivação. Discute, em seguida, a questão da autoria,
alertando para o inevitável posicionamento do realizador. Elenca os possíveis
recursos retóricos, procurando abrir as possibilidades da expressão audiovisual.
Propõe possíveis estruturas para o audiovisual, com a qual já se terá uma idéia de
dimensionamento do trabalho. E, ao final, sugere procedimentos que ajudem a
trajetória do realizador, na direção de um pensar audiovisual, aplicáveis tanto na
concepção do documentário como na sua edição. No tocante ao ensino do
documentário são buscadas referências em Rabiger, Rosenthal, Bernard
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