Pub Date : 2022-03-06DOI: 10.1080/17503280.2022.2046738
Madison E Brown
{"title":"Radical documentary and global crises: militant evidence in the digital age","authors":"Madison E Brown","doi":"10.1080/17503280.2022.2046738","DOIUrl":"https://doi.org/10.1080/17503280.2022.2046738","url":null,"abstract":"","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"186 - 187"},"PeriodicalIF":0.6,"publicationDate":"2022-03-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44749397","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 : 2022-02-17DOI: 10.1080/17503280.2022.2039429
K. Munro
{"title":"Interactive documentary: theory and debate","authors":"K. Munro","doi":"10.1080/17503280.2022.2039429","DOIUrl":"https://doi.org/10.1080/17503280.2022.2039429","url":null,"abstract":"","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"16 1","pages":"188 - 189"},"PeriodicalIF":0.6,"publicationDate":"2022-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557538","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 : 2021-11-22DOI: 10.1080/17503280.2021.2005456
S. Venkatesan, R. James
ABSTRACT Questions of political allegiance between India and Pakistan have turned Kashmir into one of the most militarised zones in the world. Although antagonism between India and Pakistan vis-à-vis Kashmir is predicated on territorial disputes, the Kashmir Valley since the end of the British rule in India in 1947 has struggled with the contentious issues of identity, freedom, armed intrusions, often resulting in mass murders, and illegal arrests of its people. Although independent documentary film-makers address these issues, and thus offer a complicated history and politics of Kashmir, Iffat Fatima, perhaps as the only independent woman documentary film-maker based in Kashmir, engages a wide-ranging issues including enforced disappearances, politics of memory/remembrance, resistance, neo-national ideologies, ‘states of exception’ in her films. Unlike the usual male dominated conflict zones, protests in Kashmir are characterized by its resisting and protesting women. In boldly articulating Kashmiri experiences through her independent films, Fatima foregrounds women’s participation as an essential aspect of Kashmiri protest producing different outcomes and relations. Situating herself in such a precarious space, Fatima in the interview at hand discusses her filmic self, her engagement with resistance movements in Kashmir, and women’s protest movements in Kashmir.
{"title":"Kashmir: a long winding road to freedom","authors":"S. Venkatesan, R. James","doi":"10.1080/17503280.2021.2005456","DOIUrl":"https://doi.org/10.1080/17503280.2021.2005456","url":null,"abstract":"ABSTRACT Questions of political allegiance between India and Pakistan have turned Kashmir into one of the most militarised zones in the world. Although antagonism between India and Pakistan vis-à-vis Kashmir is predicated on territorial disputes, the Kashmir Valley since the end of the British rule in India in 1947 has struggled with the contentious issues of identity, freedom, armed intrusions, often resulting in mass murders, and illegal arrests of its people. Although independent documentary film-makers address these issues, and thus offer a complicated history and politics of Kashmir, Iffat Fatima, perhaps as the only independent woman documentary film-maker based in Kashmir, engages a wide-ranging issues including enforced disappearances, politics of memory/remembrance, resistance, neo-national ideologies, ‘states of exception’ in her films. Unlike the usual male dominated conflict zones, protests in Kashmir are characterized by its resisting and protesting women. In boldly articulating Kashmiri experiences through her independent films, Fatima foregrounds women’s participation as an essential aspect of Kashmiri protest producing different outcomes and relations. Situating herself in such a precarious space, Fatima in the interview at hand discusses her filmic self, her engagement with resistance movements in Kashmir, and women’s protest movements in Kashmir.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"17 1","pages":"82 - 90"},"PeriodicalIF":0.6,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45725790","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 : 2021-10-19DOI: 10.1080/17503280.2021.1981758
Linnéa J. Hussein
ABSTRACT This article uses the German idiom fremdschämen to discuss some of the ethical dilemmas posed by the representation of sexuality and mental disability in documentary. Fremdschämen roughly translates as vicarious embarrassment. It suggests that one can feel embarrassed on behalf of somebody else who seems oblivious to the cause of embarrassment. Does the representation of sexual desire in neurologically diverse people evoke such feelings? And if so, can fremdschämen reveal our own complicity with normative assumptions about neurologically diverse subjects? The article uses Sickles and Santini’s 2017 documentary Dina as a case study to examine these questions. Dina’s protagonist is a neurologically diverse woman who speaks openly about her sexuality and her desires, thus evoking and at the same time challenging normative cultural expectations. The article turns to the film to discuss the relationship between these expectations and the ethics of representing subjects like Dina. It revisits commonly held beliefs about responsibility in documentary filmmaking and reveals a potential conflict between protecting vulnerable subjects and acknowledging and respecting their agency. By introducing the concept of fremdschämen to the discussion of documentary ethics, it asks us to consider not the documentary subject’s ability to conform but our difficulty in accepting non-conformity.
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Pub Date : 2021-09-02DOI: 10.1080/17503280.2021.1971465
J. Medhurst
{"title":"Documentary in Wales: cultures and practices","authors":"J. Medhurst","doi":"10.1080/17503280.2021.1971465","DOIUrl":"https://doi.org/10.1080/17503280.2021.1971465","url":null,"abstract":"","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"281 - 282"},"PeriodicalIF":0.6,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44552564","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 : 2021-06-15DOI: 10.1080/17503280.2021.1940433
Djoymi Baker
ABSTRACT This article examines eco-documentaries that employ the ethics of the face to engage with the notion of a universal human right to a healthy environment. Climate Refugees (Nash, dir 2010) and I Bought a Rainforest (Searle and Woodward, dir 2014) use close-ups of the human face to bear witness to environmental damage. They each emphasise a shared human right to resources and a safe environment, but in the process often enact colonial discourses that I Bought a Rainforest begins to critique. Terra (Arthus-Bertrand and Pitiot, dir 2015) uses the nonhuman animal face to emphasise an equivalency between human and nonhuman animals in their shared environmental vulnerabilities. Hija de la Laguna (Daughter of the Lake, Cabellos, dir 2015) initially withholds the face to depict the personhood of the environment itself from an Indigenous perspective. These different approaches to the face highlight anthropocentric tensions in the environmental human rights approach to ecological ethics.
这篇文章探讨了生态纪录片，采用道德的脸与健康环境的普遍人权的概念参与。《气候难民》(纳什，2010年出版)和《我买了一片雨林》(塞尔和伍德沃德，2014年出版)用特写镜头来见证环境破坏。它们都强调共享资源和安全环境的人权，但在这个过程中，它们往往会制定殖民话语，而这正是《我买了一个热带雨林》开始批判的地方。Terra (Arthus-Bertrand and Pitiot, dir 2015)利用非人类动物的脸来强调人类和非人类动物在共同的环境脆弱性方面的等同性。Hija de la Laguna(湖的女儿，卡贝略斯，2015年)最初保留了面部，从土著的角度描绘环境本身的个性。这些不同的方法面对突出人类中心主义紧张的环境人权方法的生态伦理。
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Pub Date : 2021-05-04DOI: 10.1080/17503280.2021.1923145
Stacie Friend
ABSTRACT I claim that we should reject a sharp distinction between fiction and non-fiction according to which documentary is a faithful representation of the facts, whilst fiction films merely invite us to imagine what is made up. Instead, we should think of fiction and non-fiction as genres: categories whose membership is determined by a combination of non-essential features and which influence appreciation in a variety of ways. An objection to this approach is that it renders the distinction too conventional and fragile, undermining our justification for criticising documentaries like Bowling for Columbine or The Hunting Ground for playing fast and loose with the facts. I argue that this objection is misguided, misidentifying the justification for criticising non-fiction films that mislead or deceive. I develop an alternative account that explains why we also criticise many fictions for inaccuracy.
我认为我们不应该把虚构和非虚构区分开来，因为纪录片是对事实的忠实再现，而虚构电影只是让我们去想象虚构的东西。相反，我们应该把小说和非小说看作一种类型:这些类别的成员是由非本质特征的组合决定的，它们以各种方式影响欣赏。反对这种做法的人认为，它使这种区别过于传统和脆弱，削弱了我们批评《科伦拜恩的保龄球》(Bowling for Columbine)或《猎场》(the Hunting Ground)等纪录片对事实忽快忽慢的理由。我认为这种反对意见是错误的，错误地确定了批评误导或欺骗的非虚构电影的理由。我提出了另一种解释，解释了为什么我们也批评许多小说不准确。
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Pub Date : 2021-05-04DOI: 10.1080/17503280.2021.1923146
M. García‐Carpintero
ABSTRACT This paper rehearses a debate with Stacie Friend on the nature of the fiction/non-fiction divide. The paper first puts in a sharper focus the dividing issue, arguing that it is ontological in character. It focuses on how the distinction emerges in films, by contrasting fiction films with documentaries; Friend has also discussed films, even though the debate has mostly studied the literary case. The medium does not affect the main issues, but it raises interesting questions. After highlighting two important points of agreement with Friend, in contrast with some other proponents of a similar view on the present debate like Currie, the paper offers a normative account of the distinction, offering reasons to prefer it to Friend’s.
{"title":"Documentaries and the fiction/nonfiction divide","authors":"M. García‐Carpintero","doi":"10.1080/17503280.2021.1923146","DOIUrl":"https://doi.org/10.1080/17503280.2021.1923146","url":null,"abstract":"ABSTRACT This paper rehearses a debate with Stacie Friend on the nature of the fiction/non-fiction divide. The paper first puts in a sharper focus the dividing issue, arguing that it is ontological in character. It focuses on how the distinction emerges in films, by contrasting fiction films with documentaries; Friend has also discussed films, even though the debate has mostly studied the literary case. The medium does not affect the main issues, but it raises interesting questions. After highlighting two important points of agreement with Friend, in contrast with some other proponents of a similar view on the present debate like Currie, the paper offers a normative account of the distinction, offering reasons to prefer it to Friend’s.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"163 - 174"},"PeriodicalIF":0.6,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1923146","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49114501","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 : 2021-05-04DOI: 10.1080/17503280.2021.1923144
John Ellis
ABSTRACT Assessments of the truthfulness or otherwise of documentaries are best understood as genre conventions which vary historically. Genre conventions are shared between audiences, filmmakers and institutions. Beliefs about the acceptable use of fictional techniques in documentary storytelling, particularly in television, are subject to occasional public controversies. The move from photographic to digital processes underlay one such controversy at the end of the last century. This was particularly the case around the so-called ‘docu-soaps’ on television, but public doubts about the truthfulness of documentary filming meant that many filmmakers developed new approaches. The result is that both public and professional documentary beliefs and practices have changed. Where once observational filming was seen as the bedrock of authenticity, newer approaches have developed a growing emphasis on the assessment of the ‘documentation’ of past events. They frequently gather and interrogate footage and other visual information from very diverse sources. They are seen as evidence in explicit attempts to reconstruct those events.
{"title":"How documentaries mark themselves out from fiction: a genre-based approach","authors":"John Ellis","doi":"10.1080/17503280.2021.1923144","DOIUrl":"https://doi.org/10.1080/17503280.2021.1923144","url":null,"abstract":"ABSTRACT Assessments of the truthfulness or otherwise of documentaries are best understood as genre conventions which vary historically. Genre conventions are shared between audiences, filmmakers and institutions. Beliefs about the acceptable use of fictional techniques in documentary storytelling, particularly in television, are subject to occasional public controversies. The move from photographic to digital processes underlay one such controversy at the end of the last century. This was particularly the case around the so-called ‘docu-soaps’ on television, but public doubts about the truthfulness of documentary filming meant that many filmmakers developed new approaches. The result is that both public and professional documentary beliefs and practices have changed. Where once observational filming was seen as the bedrock of authenticity, newer approaches have developed a growing emphasis on the assessment of the ‘documentation’ of past events. They frequently gather and interrogate footage and other visual information from very diverse sources. They are seen as evidence in explicit attempts to reconstruct those events.","PeriodicalId":43545,"journal":{"name":"Studies in Documentary Film","volume":"15 1","pages":"140 - 150"},"PeriodicalIF":0.6,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17503280.2021.1923144","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47480202","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 : 2021-05-04DOI: 10.1080/17503280.2021.1923147
Eric Studt
ABSTRACT I argue that virtual reality (VR) documentaries mandate that users employ a fictional attitude toward their presence in a virtual environment (VE) for the purpose of engaging with nonfictional content. The most salient feature of VR is that VR users typically feel as though their bodies were present in a VE. This paper explores presence in VR as a perceptual illusion facilitated by certain technological features. Drawing on Kendall Walton’s concept of fiction, I argue that the illusion of presence in VR also requires a fictional attitude that VR users employ when imagining themselves in a VE. In the case of VR documentaries, while users’ attitude in regards to the feeling of presence is best characterized as make-belief, they nevertheless employ an attitude of belief in regards to the content of the documentary and accept this content as nonfictional.
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