Proliferation and convergence of new technologies as well as the diverse media it has given rise to have had a dramatic impact on the theory and practice of contemporary filmmaking. This trend also holds considerable implication for the range of cinematic forms likely to be embraced in the future as well as the methodologies necessarily exploited in their making. The formal and expressive possibilities inherent in the climate of experimentation existing at this unique juncture in history encourage out-of-the-ordinary solutions to long-standing problems while begging important questions regarding the process and goal of filmmaking. Taking the films of the Czech New Wave and their trademark formal experimentation as a point of departure, the present study attempts to incorporate the disparate influences of these novel circumstances to filmmaking. As such, Lekhost a Tíže represents one filmmaker's efforts towards the goal of an intuitive and personal system of filmmaking, based on a flexible, yet expressive visual language that seeks to promote discovery without forfeiting narrative coherence.

This study examines the way social media changes the way documentaries are developed, produced and distributed. I want investigate how web 2.0 technologies disrupt the documentary sector and the way producers navigate the social media ecology. Research exposed an industry in transformation. New roles, like the Producer for Marketing and Distribution (PMD), the Impact Producer (IP) and a participant-centric mode of documentary filmmaking are revealed. The way users connect via social media has changed the way people interact with each other at work. A balanced real- and virtual world network approach makes a strong and highly central network position for a documentary project possible. Emotional contagion and an authentic online presence create value for a films social media campaign. Both are crucial factors to the mobile multi-device audience expecting a credible social media experience. Research suggests that users accept the risks associated with the way their data is exploited by social networks as long as the user's social media experience is not diminished. The concept of the Global Digital Family is revealed when reappraising social media. I suggest further research into the problem of online authenticity. Kozinets' ideas on Gemeinschafts-type engagement (Kozinets, 2015) shed light on the phenomenon. But exactly when something is perceived as authentic online is still not entirely clear and should be investigated further. I also recommend that the PMD is formally accredited to encourage industry recognition.

Associations are embedded in many aspects of filmmaking. It is this artist's goal to analyze visual associations in the process and product of an original narrative video piece called Discretion. Character relationships and plot structure are examples of nonconcrete visuals developed in preproduction. Family trees and plot diagrams provide a structural map for the film and are helpful tools to communicate with the cast and crew. Art direction and wardrobe are examples of concrete visuals developed during production. For example, wardrobe with certain colors may be assigned to each character in the film. Editing and compositing allow further development in the postproduction phase. Juxtaposing scenes and imagery results in a more complex web of connections for the viewer to discover. In effect, this thesis is meant to explore the filmmaking process with a special emphasis given to visual associations. In this discussion, the video will be referred to as a film to relate concepts to other films and to the filmmaking process. However, it is important to note that interchanging these words is a common practice that is not acceptable in many industry settings.

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Orientador: Nuno Cesar Pereira de Abreu / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T15:30:22Z (GMT). No. of bitstreams: 1 Molina_VivianaEchavez_M.pdf: 2846323 bytes, checksum: e768cf62d1e08e6c495adc6d99ac8573 (MD5) Previous issue date: 2014 / Resumo: A realização de um filme geralmente demanda o trabalho de um grupo de pessoas para se distribuir as tarefas criativas e de produção. Porém, dentro do cinema documentário tem sido vários os casos de cineastas que empreenderam sozinhos a realização de um filme. O presente trabalho de pesquisa pretende elucidar as consequências que traz consigo assumir um projeto cinematográfico de documentário em solitário, isto é com o diretor como único membro da equipe. Nesse sentido se fará uma análise da obra do cineasta norte americano Ross McElwee tendo em conta que ele desenvolve a maior parte da sua obra como uma equipe de uma pessoa só. Além disso, no presente trabalho se desenvolverá uma experiência prática de realização de um documentário nestas condições. A pesquisa prática será um caminho para observar através da experiência, como a decisão de filmar com uma equipe de uma pessoa só, se vê refletida tanto no processo de realização como na obra finalizada / Abstract: Filmmaking generally demands the work of a crew for the distribution of creative and production functions. Nevertheless, in documentary several directors undertook alone the process of filmmaking. The present research work aims to elucidate what consequences working alone in a documentary film may bring; in other words, what are the consequences for a film when the director is the only member of the film crew. In order to do that, we will make an analysis of American filmmaker Ross McElwee work, as he has built the most of his films as a one-person-film crew. In addition, as part of this research, we will make one documentary film as a one-person-film crew as a way to elucidate through practice, how this production choice is reflected in the filmmaking process and in film resulting out of this process / Mestrado / Multimeios / Mestra em Multimeios

MA, School of Music, Faculty of Humanities, University of the Witwatersrand / In 2003 I made a documentary film called Karoo Kitaar Blues with South African songwriter and guitarist, David Kramer, on the rare musicians, music, and instruments of scattered coloured communities in the Northern Cape. When I set out, seven years ago, to make the film I had no intention of making an ethnographic film or producing a visual ethnography in the anthropological sense (I am a documentary filmmaker), but two academic reviews, critical of its lack of ‘ethnographic context’ caught my intention. This dissertation attempts to respond to their critique. I explore the territory of visual anthropology and ethnographic methodology in order to understand why my film, with hindsight, is and is not ‘ethnographic’, and to establish how ethnographic practice could enhance my work as a filmmaker. I use Karoo Kitaar Blues as my visual monograph and examine the differences between ethnographic film and documentary (in the observational mode) with reference to ethnographic methodologies and theory in ethnomusicology, and consider how film can be used ‘as’ ethnography or ‘in’ ethnography. I conclude that Karoo Kitaar Blues film lies somewhere between ethnographic and observational filmmaking.

This thesis explores the intersection of observational filmmaking with auto-ethnographic writing, a combination not used very often but with great potential for visual anthropologists. I examine how my research and filmmaking over a ten-year period have been shaped both by my cancer experience as well as by my Japanese background. Using the metaphor "journey", I approach my own traumatic cancer experience and turn it into a field of study. My journey begins from the moment of my first cancer diagnosis and treatment in the US, moving through my second diagnosis in Norway, and leading up to my most recent fieldwork with a cancer support community in Japan. My auto-ethnographic journey illustrates how I altered my own relationship to my cancer, moving through critical encounters that transformed me from a silent sufferer to an attentive listener. These experiences have also influenced my metaphorical thinking about "dying well" to "living well" with cancer. My personal journey is closely linked to my professional one, and also affects my approaches to filmmaking. By meeting the anthropologist Paul Stoller, who has also lived in the world of cancer, I learned the importance of coming to terms with one's own cancer mask. This mask can easily evoke a sense of being trapped in a "continuous liminality" (Stoller 2005), a transitional state between health and sickness, hopefulness and hopelessness, past and future, life and death. How am I able, as a researcher and filmmaker, to go on with my life in this in-between state and attend to the lives of others through this cancer mask? In my recent fieldwork, I decided to enter the world of the cancer patients' shadow and met with the families of patients and bereaved families in a support group in Japan. I learned that they too wore a mask, though I struggled to establish friendships with them as my cancer status versus their caregiver status distanced us somewhat. I overcame this challenge by using the technique of collaborative filmmaking to seek mutual fellowship with them, and trying to create a shared space in-between, ma in Japanese, where we could meet and feel with each other (kyokan empathy). For that purpose, and combined with the technique of feedback screening, I used a mobile phone as a filming device to free up my face and to make me available as a listener for the filmed persons. The fieldwork resulted in the film 'To the Last Drop' (2016). By combining the methods of auto-ethnographic writing and observational filmmaking, my personal account served to broaden my understanding of the experiences of those afflicted by cancer in Japan. Together, these methods expand on the space between, where suffering becomes visible and silence becomes audible, in a culturally sensitive way.

The Utah State Standards for media arts are general and therefore give teachers a great deal of freedom in how they present the content for media arts courses. How the teacher engages students and project assignments are left to the teacher as they walk the students through the process of making films. This thesis explores how an art teacher might use music videos to teach filmmaking techniques and engage students in the process of meaning making. My research hypothesis is that, by educating students to understand and interpret the messages they consume through media, I can help them recognize the hidden texts in visual culture. My curriculum provides students with learning activities that foster the development of critical thinking skills and also techniques for analyzing images. An important part of the curriculum for this unit is a critical study of music videos wherein the students examine music videos using semiotics and qualitative film analysis. The students explore filmmaking techniques and the processes needed to create their own messages in a music video.

Documentary is a genre of film that portrays "real" events using depictions that connote the objectivity and facticity implied by the processes of photorealism. Many contemporary documentary theorists and critics observe a constitutive problem in this ethos: despite the apparent constructions and agendas of documentary filmmaking, the framing and assumption of documentary as a window on the world tend to naturalize its own constructions as "real." Critics who engage documentary trace the multitude of ways this problem plays out in particular films. These projects yield many important insights, but they most often approach documentary as a form of inherently deficient representation fraught with ethical questions-- questions created by the frame and ethos of objectivity it fails to achieve. Are events portrayed truthfully? Are people depicted fairly? Are filmmakers misrepresenting? In this study I seek to show that a rhetorical approach to documentary shifts the critical focus to instead examine how documentary constructions and images work as evidence in the claims and rhetorical agendas of documentary. I study recent film texts (2000-2012) that explicitly and primarily structure their documentary materials as evidence for the truth of an argument or interpretation, and I argue that documentaries, when they work as documentary, establish and verify their depictions as evidence by drawing on the elements of their "scene." I use Kenneth Burke's dramatistic approach to observe that the "real world" as depicted in documentary is at once experienced as representation of the world outside the documentary, but also constructed as the scene of a dramatization. Understanding the dramatism of documentary helps me to characterize what I call a "rhetoric of evidence" that may be particular to documentary expression. In the films I study documentary "scene" interacts at key moments and particular ways to locate the events of films in the "real world," not just as evidence that something is real, but also as meaningful for particular arguments and rhetorical moves. This study reveals the often extremely subtle ways that documentaries wield the influence of "truth," and also offers filmmakers an understanding of how evidence might be deployed more deliberately to present a social world that is open for transformation.

From the sprouting of the idea for the series to the final stages of post-production for Returning to Ananda, a one-hour, made for cable-television pilot, directed by Déjà Cresencia Bernhardt; this report details the pre-production to post-production phases of its development. Included in this report are the final screenplay and various other production notes. / text