Pub Date : 2022-04-28DOI: 10.1080/17503280.2022.2066331
S. Barber
ABSTRACT After WW2, with the onset of the Cold War, by virtue of an Anglo-Australian Joint Venture, Australia became a centre for scientific research into rockets and long-range weapons (including Britain’s atomic warheads) testing. By the mid 1950s a new outback town - Woomera had been created in the Australian Desert to conduct the tests. Each test generated 1,000s of images and 50,000 pictures could be generated per trial. Women’s roles at Woomera were initially expected to be traditional – supportive wives and mothers. This research based on archival records, documentary film and oral histories with those who worked on the range during 1947-1970, reveals women undertaking roles operating the kinetheodolites that filmed and tracked the rocket firings and female “computers,” who assisted in the production processes. These women recorded and analysed the data from filming and can be considered Australia’s “hidden figures”. Previous Woomera histories exclude any detailed mention of this industrial phenomenon – women as camera operators and data analysts/computers. This article examines the work of one of these women as revealed through film, archival records and oral history drawn from a broader study that examined the work of 12 former camera operators and four “computers” on the Woomera rocket range.
{"title":"Woomera’s Women: camera operators on the Anglo-Australian rocket range 1947–1970, a case study of Laurine (Hall) East","authors":"S. Barber","doi":"10.1080/17503280.2022.2066331","DOIUrl":"https://doi.org/10.1080/17503280.2022.2066331","url":null,"abstract":"ABSTRACT After WW2, with the onset of the Cold War, by virtue of an Anglo-Australian Joint Venture, Australia became a centre for scientific research into rockets and long-range weapons (including Britain’s atomic warheads) testing. By the mid 1950s a new outback town - Woomera had been created in the Australian Desert to conduct the tests. Each test generated 1,000s of images and 50,000 pictures could be generated per trial. Women’s roles at Woomera were initially expected to be traditional – supportive wives and mothers. This research based on archival records, documentary film and oral histories with those who worked on the range during 1947-1970, reveals women undertaking roles operating the kinetheodolites that filmed and tracked the rocket firings and female “computers,” who assisted in the production processes. These women recorded and analysed the data from filming and can be considered Australia’s “hidden figures”. Previous Woomera histories exclude any detailed mention of this industrial phenomenon – women as camera operators and data analysts/computers. This article examines the work of one of these women as revealed through film, archival records and oral history drawn from a broader study that examined the work of 12 former camera operators and four “computers” on the Woomera rocket range.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"258 - 273"},"PeriodicalIF":0.6,"publicationDate":"2022-04-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49480323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-24DOI: 10.1080/17503280.2022.2066328
Deane Williams, G. C. Russell
ABSTRACT In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed ‘client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined’. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the dispositif, that emerged due to the translation of Jean-Louis Baudry’s seminal work in the 1970s. For us, research into what we term utilitarian filmmaking has been advantaged by the return to the dispositif, to what Adrian Martin calls ‘the social machine’ as well as Baudry’s basic cinematic apparatus. After defining the characteristics of the utilitarian film, we will explore the particular considerations for audiences and spectatorship as they pertain to utilitarian film. We discuss the resonances of these conceptions for genre, including documentary studies, and spectatorial pleasure.
{"title":"The utilitarian film dispositif","authors":"Deane Williams, G. C. Russell","doi":"10.1080/17503280.2022.2066328","DOIUrl":"https://doi.org/10.1080/17503280.2022.2066328","url":null,"abstract":"ABSTRACT In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed ‘client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined’. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the dispositif, that emerged due to the translation of Jean-Louis Baudry’s seminal work in the 1970s. For us, research into what we term utilitarian filmmaking has been advantaged by the return to the dispositif, to what Adrian Martin calls ‘the social machine’ as well as Baudry’s basic cinematic apparatus. After defining the characteristics of the utilitarian film, we will explore the particular considerations for audiences and spectatorship as they pertain to utilitarian film. We discuss the resonances of these conceptions for genre, including documentary studies, and spectatorial pleasure.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"219 - 231"},"PeriodicalIF":0.6,"publicationDate":"2022-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45888485","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-24DOI: 10.1080/17503280.2022.2066332
Mick Broderick
ABSTRACT In the mid-1980s a Royal Commission was established to investigate the conduct of the British nuclear testing program in Australia (1952–1963). It sought to document the impact on military participants, nearby Indigenous communities and downwind rural and urban populations. Amongst the evidence presented were official documents, photographs and films recording the atomic detonations. This article considers as ‘visible evidence’ previously unknown or withheld films – as both raw and edited footage, now publicly available – that hold the latent potential of filmic ‘mutation’, evolving from the original utilitarian or propagandist use to be recast as corroborative data that may serve to clarify disputed claims of harm caused by occupational exposure to radiation and ongoing contamination of traditional lands.
{"title":"Filmic Mutation: British nuclear tests in Australia 1952–1963","authors":"Mick Broderick","doi":"10.1080/17503280.2022.2066332","DOIUrl":"https://doi.org/10.1080/17503280.2022.2066332","url":null,"abstract":"ABSTRACT In the mid-1980s a Royal Commission was established to investigate the conduct of the British nuclear testing program in Australia (1952–1963). It sought to document the impact on military participants, nearby Indigenous communities and downwind rural and urban populations. Amongst the evidence presented were official documents, photographs and films recording the atomic detonations. This article considers as ‘visible evidence’ previously unknown or withheld films – as both raw and edited footage, now publicly available – that hold the latent potential of filmic ‘mutation’, evolving from the original utilitarian or propagandist use to be recast as corroborative data that may serve to clarify disputed claims of harm caused by occupational exposure to radiation and ongoing contamination of traditional lands.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"274 - 297"},"PeriodicalIF":0.6,"publicationDate":"2022-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46731353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-13DOI: 10.1080/17503280.2022.2048231
H. Brasier
ABSTRACT The world is precarious and changing, yet we continue to find ways to order and understand these entanglements; taming the complexity out there. In linear documentary, shots by necessity need to be ordered and fixed by the edit, whilst some shots do not make the cut at all. Due to the affordances of the online network, multilinear documentary allows multiple possible arrangements of audiovisual nonfiction content without the time restrictions to leave content out. How can we conceive an audiovisual nonfiction practice which senses the entanglements of the fluxing world around us? Over the past six years I have been experimenting with the affordances of the Korsakow authoring system to make multilinear nonfiction. Korsakow works with fragments of audiovisual content and allows multiple possible relations to form between parts. Through the development of two major projects, I have found Korsakow offers a way of maintaining the world in fragments as soft multiple relations, reflecting an ecocritical world as entangled continually doing things. By sketching out the practice I developed through this body of work, I will propose that Korsakow provides an audiovisual nonfiction tool to tune into and sense the indeterminate patterns and rhythms of the world.
{"title":"Tuning and sensing with Korsakow: the ecocritical potentials of multilinear nonfiction","authors":"H. Brasier","doi":"10.1080/17503280.2022.2048231","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048231","url":null,"abstract":"ABSTRACT The world is precarious and changing, yet we continue to find ways to order and understand these entanglements; taming the complexity out there. In linear documentary, shots by necessity need to be ordered and fixed by the edit, whilst some shots do not make the cut at all. Due to the affordances of the online network, multilinear documentary allows multiple possible arrangements of audiovisual nonfiction content without the time restrictions to leave content out. How can we conceive an audiovisual nonfiction practice which senses the entanglements of the fluxing world around us? Over the past six years I have been experimenting with the affordances of the Korsakow authoring system to make multilinear nonfiction. Korsakow works with fragments of audiovisual content and allows multiple possible relations to form between parts. Through the development of two major projects, I have found Korsakow offers a way of maintaining the world in fragments as soft multiple relations, reflecting an ecocritical world as entangled continually doing things. By sketching out the practice I developed through this body of work, I will propose that Korsakow provides an audiovisual nonfiction tool to tune into and sense the indeterminate patterns and rhythms of the world.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"71 26","pages":"114 - 126"},"PeriodicalIF":0.6,"publicationDate":"2022-04-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41312018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-29DOI: 10.1080/17503280.2022.2048230
Max Schleser
ABSTRACT While there are several publications in the field of documentary studies that deal with the digital disruption and innovations, the sub-field of emerging media needs constant re-examination as modes of production, dissemination and exhibition are exposed to significant changes and interact with documentary film in its various established and new facets. Smart Storytelling leverages contemporary digital transformations in Film and Screen Production, Screen and Digital Media and the Creative Arts more generally and synchs these with documentary studies. This special issue also explores creative practice research projects in order to demonstrate novel approaches in documentary storytelling with a focus on online, network and multilinear non-fiction and documentary practice. Particular emphasis is placed on accessible storytelling approaches, illustrating often overlooked creative processes, such as audio in cinematic VR documentary, and exploring current developments and trends such as AI for documentary media.
{"title":"Smart storytelling","authors":"Max Schleser","doi":"10.1080/17503280.2022.2048230","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048230","url":null,"abstract":"ABSTRACT While there are several publications in the field of documentary studies that deal with the digital disruption and innovations, the sub-field of emerging media needs constant re-examination as modes of production, dissemination and exhibition are exposed to significant changes and interact with documentary film in its various established and new facets. Smart Storytelling leverages contemporary digital transformations in Film and Screen Production, Screen and Digital Media and the Creative Arts more generally and synchs these with documentary studies. This special issue also explores creative practice research projects in order to demonstrate novel approaches in documentary storytelling with a focus on online, network and multilinear non-fiction and documentary practice. Particular emphasis is placed on accessible storytelling approaches, illustrating often overlooked creative processes, such as audio in cinematic VR documentary, and exploring current developments and trends such as AI for documentary media.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"97 - 113"},"PeriodicalIF":0.6,"publicationDate":"2022-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47296517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-17DOI: 10.1080/17503280.2022.2048235
Anandana Kapur, N. Ansari
ABSTRACT This article analyses the frameworks of co-creation between artists and AI in the context of documentary studies. As a result of emerging AI-focused experiments in documentary and transdisciplinary arts practice, we examine the nature and scope of AI as a collaborator with a focus of documentary projects exhibited and showcased at international documentary festivals. An introduction to emergent creative possibilities is made in light of non-humanism and new materialism while presenting the implications for emerging documentary forms and formats. The AI-as-medium approach allows reflection on documentary genres through the limitations and possibilities of algorithms. With the experiential turn in arts, coding has become a means of producing novel experiences. This has led to the emergence of documentary projects at the intersection of human and machine collaboration. The article addresses how operating within AI has wider consequences for collective intelligence by going beyond the visible and locating itself in the ontological. Scholarship concerns are outlined when exploring algorithms in terms of agency and autonomy and consideration of how they have come to affect our socio-cultural fabric. Coding Reality: Implications of AI for Documentary Media further discusses documentaries which were created in close collaboration with AI.
{"title":"Coding reality: implications of AI for documentary media","authors":"Anandana Kapur, N. Ansari","doi":"10.1080/17503280.2022.2048235","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048235","url":null,"abstract":"ABSTRACT This article analyses the frameworks of co-creation between artists and AI in the context of documentary studies. As a result of emerging AI-focused experiments in documentary and transdisciplinary arts practice, we examine the nature and scope of AI as a collaborator with a focus of documentary projects exhibited and showcased at international documentary festivals. An introduction to emergent creative possibilities is made in light of non-humanism and new materialism while presenting the implications for emerging documentary forms and formats. The AI-as-medium approach allows reflection on documentary genres through the limitations and possibilities of algorithms. With the experiential turn in arts, coding has become a means of producing novel experiences. This has led to the emergence of documentary projects at the intersection of human and machine collaboration. The article addresses how operating within AI has wider consequences for collective intelligence by going beyond the visible and locating itself in the ontological. Scholarship concerns are outlined when exploring algorithms in terms of agency and autonomy and consideration of how they have come to affect our socio-cultural fabric. Coding Reality: Implications of AI for Documentary Media further discusses documentaries which were created in close collaboration with AI.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"174 - 185"},"PeriodicalIF":0.6,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41338729","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-11DOI: 10.1080/17503280.2022.2048232
Jill Daniels
ABSTRACT In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).
{"title":"The way of the bricoleuse: experiments in documentary filmmaking","authors":"Jill Daniels","doi":"10.1080/17503280.2022.2048232","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048232","url":null,"abstract":"ABSTRACT In this article, I explore the way experimental documentary film practitioners may utilize the methodology of the bricoleuse in order to create films. I refer to my experiments in documentary film practice – mediations of memory, place and subjectivities – where I deploy hybrid filmic strategies of critical realism and fictional enactment. The bricoleuse may use footage obtained through pocket cameras, mobile devices, stills, archive or found footage – including their own past films, analogue and digital – using a digital database to store footage and to provide her with an endless storehouse of digital documents that can easily be accessed and reused in infinite ways to create new practice [Baron 2014. The Archive Effect. London: Routledge, 142]. I analyse in particular My Private Life II [Daniels, Jill. 2015. dir. My Private Life II. UK. https://vimeo.com/139077147] where I used the footage from an earlier film, My Private Life [Daniels, Jill. 2014. dir. My Private Life. UK. https://vimeo.com/104385249], to create a split screen view and my short documentary essay film, Breathing Still [Daniels, Jill. 2018. dir. Breathing Still. UK. https://vimeo.com/253291495] (shown at The Mobile Innovation Network and Association [MINA] in 2018), a short epistolary film addressed to Rosa Luxemburg and shot on a pocket camera (Canon G9X).","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"127 - 139"},"PeriodicalIF":0.6,"publicationDate":"2022-03-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46773721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-10DOI: 10.1080/17503280.2022.2048234
Alicia Butterworth
ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.
{"title":"Beyond sonic realism: a cinematic sound approach in documentary 360° film","authors":"Alicia Butterworth","doi":"10.1080/17503280.2022.2048234","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048234","url":null,"abstract":"ABSTRACT Sound is often recognised as critical to the success of 360° film, but in a new medium fraught with technological challenges and time constraints, there is little research to guide sound designers in their creative practice. As practitioners engage with this new 360° format, the wisdom and techniques developed from decades of documentary sound practice promise more compelling viewing experiences; however, there are many differences between cinematic documentary and non-fiction 360° film. This article contributes towards a new language of sound for this medium by exploring the sound design approaches of four non-fiction 360° films that experiment with cinematic sound practices. The findings discussed were gained from interviews conducted with leading sound designers Tom Myers from Skywalker Sound (Collisions, 2016); Joel Douek (Under the Canopy, 2017); Roland Heap (My Africa, 2018); and Mike Lange, Michael Thomas and Heath Plumb (Inside Manus, 2017). The findings detail the benefits of including sound designers from the beginning of pre-production, the implications for sound recording, and the post-production considerations in the sound studio. The practice-centred guidelines presented in this paper can be used by sound designers, directors and screen educators in the creative design and development of 360° film soundscapes.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"156 - 173"},"PeriodicalIF":0.6,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42666052","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-03-10DOI: 10.1080/17503280.2022.2048233
P. Kelly
ABSTRACT This article draws on my experience creating the film What's With Your Nails? (2018), a film about queerness, normality, slowness, and painting fingernails, and which embraces the affordances of smartphone filmmaking for queer documentary production in Australia. Documentary practices in this field are notable for a ‘privileging of authenticity’ through a subjective perspective, and there has been a history of queer filmmakers utilising accessible production technologies. The utilisation of hyper-accessible smartphone technologies presents an opportunity for queer activist filmmakers to make work that alters what we think of empowerment and self-identity by being different to mainstream media. In this article, I observe these concepts at play in notable historical contributions to queer Australian documentary, before discussing the creation of my own film, which was created in response to mainstream representations during and after the successful Australian Marriage Equality Postal Survey in 2017. As such, I argue that mobile media devices are ideal, hyper-accessible tools that can be used to interrogate subjectivities, generate material unlike that seen in mainstream media, and contribute to a growing history of queer documentary in Australia that changes the way we think about representation.
{"title":"Smartphone filmmaking for queer Australian documentary","authors":"P. Kelly","doi":"10.1080/17503280.2022.2048233","DOIUrl":"https://doi.org/10.1080/17503280.2022.2048233","url":null,"abstract":"ABSTRACT This article draws on my experience creating the film What's With Your Nails? (2018), a film about queerness, normality, slowness, and painting fingernails, and which embraces the affordances of smartphone filmmaking for queer documentary production in Australia. Documentary practices in this field are notable for a ‘privileging of authenticity’ through a subjective perspective, and there has been a history of queer filmmakers utilising accessible production technologies. The utilisation of hyper-accessible smartphone technologies presents an opportunity for queer activist filmmakers to make work that alters what we think of empowerment and self-identity by being different to mainstream media. In this article, I observe these concepts at play in notable historical contributions to queer Australian documentary, before discussing the creation of my own film, which was created in response to mainstream representations during and after the successful Australian Marriage Equality Postal Survey in 2017. As such, I argue that mobile media devices are ideal, hyper-accessible tools that can be used to interrogate subjectivities, generate material unlike that seen in mainstream media, and contribute to a growing history of queer documentary in Australia that changes the way we think about representation.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"140 - 155"},"PeriodicalIF":0.6,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42919400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：