"The article considers one dominant tendency of independent filmmaking, and its impact on the treatment of the refugee (broadly conceived): the application of contemporary documentary methods to both fiction and nonfiction works. The goal is a preliminary exploration of the complex, context-sensitiv
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e political effects of the approach, sometimes dubbed the “documentary style”, as resistance of (and/or submission to) the hegemonic global-nationalist order. To this end, the paper investigates specifically how such filmmaking efforts may—or may not—redirect the phenomenological vehicle of imagination away from narrow nationalist imaginaries towards a broader humanist identification and emotional (and normative) investment in the stranger or “the other” per se. The focus is on two works in particular, Another News Story (Orban Wallace, 2017) and Before Summer Ends (Avant la fin de l’été, Maryam Goormaghtigh, 2017), identifying how the filmmakers’ broadly pluralistic techniques help avoid the potentially dehumanising pitfalls of more didactic approaches, but also generate their own potential limitations. While the slackening of the subject’s categorical—and the plot’s narrative—shape may be liberating, it also risks a phenomenological disconnection on the part of the potentially interested spectator. The cognitive effects—including impediments to memory and recall—may thus weaken the work’s potential as a vehicle of cultural awareness and social identification." (Abstract)
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"Since the 1970s, Syrian cinema masters played a defining role in avant-garde filmmaking and political dissent against authoritarianism. After the outbreak of violence in 2011, an estimated 500,000 video clips were uploaded making it one of the first YouTubed revolutions in history. This book is the
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first history of documentary filmmaking in Syria. Based on extensive media ethnography and in-depth interviews with Syrian filmmakers in exile, the book offers an archival analysis of the documentary work by masters of Syrian cinema, such as Nabil Maleh, Ossama Mohammed, Mohammed Malas, Hala Al Abdallah, Hanna Ward, Ali Atassi and Omar Amiralay. Joshka Wessels traces how the works of these filmmakers became iconic for a new generation of filmmakers at the beginning of the 21st century and maps the radical change in the documentary landscape after the revolution of 2011. Special attention is paid to the late Syrian filmmaker and pro-democracy activist, Bassel Shehadeh, and the video-resistance from Aleppo and Raqqa against the regime of President Bashar al-Assad and the Islamic State." (Publisher description)
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"This work examines the vibrant field of documentary filmmaking in Brazil from the transition to democracy in 1985 to the present. Marked by significant efforts toward the democratization of Brazil's highly unequal society, this period also witnessed the documentary's rise to unprecedented vitality
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in quantity, quality, and diversity of production-including polished auteur films as well as rough-hewn collaborative works; films made in major metropolitan regions as well as in remote parts of the Amazon; intimate first-person documentaries as well as films that dive headfirst into struggles for social justice." (Publisher description)
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"Author and veteran filmmaker Rustin Thompson shows that by stripping away, sidestepping, or reassessing the entrenched industry hurdles-long waits for funding, the unwieldy crews, the unnecessary gear, the gauntlet of film festivals, pitch forums, and distribution networks-filmmakers can move quick
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ly from idea to execution to finished film. Throughout the book, Thompson demystifies and de-clutters the way docs are produced today, illustrating the use of a few simple and accessible tools and techniques while still engaging with the aesthetic possibilities of the medium, its creative opportunities and its satisfying rewards of giving back to the world. Using the essential lessons in Get Close, filmmakers will learn to eliminate physical and financial barriers between themselves and their subject matter, ultimately leading them to tell more artful, illuminating stories and find the joy in documentary filmmaking." (Publisher description)
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"By critically examining how trauma theory and subaltern studies have previously been applied to testimonial cinema, Garibotto rereads Argentinian films produced since 1983 and calls for an alternate interpretive framework at the intersection of semiotics, theories of affect, scholarship on hegemony
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, and the ideological uses of documentary and fiction. She argues that recurrent concepts—such as trauma, mourning, memory, and subalternity—miss how testimonial films have changed over time, shifting from subaltern narratives to official, hegemonic, and iconic accounts. Her work highlights the urgent need to continue to study these types of narratives, particularly at a time when military dictatorships have become entrenched in Latin America and memory narratives proliferate worldwide. Although Argentina is Garibotto's focus, her theory can be adapted to other contexts in which narratives about recent political conflicts have shifted from alternative versions of history to official, hegemonic accounts—such as in Spanish, Chilean, Uruguayan, Brazilian, South African, and Holocaust testimonies. Garibotto's study of testimonial cinema moves us to pursue a broader ideological analysis of the links between film and historical representation." (Publisher description)
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"Bringing theory and practice together, 'African Cinema and Human Rights' argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights
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abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations." (Publisher description)
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"What happens at the nexus of the digital divide and human trafficking? This book examines the impact of the introduction of new digital information and communication technology (ICT) – as well as lack of access to digital connectivity – on human trafficking. The different studies presented in t
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he chapters show the realities for people moving along the Central Mediterranean route from the Horn of Africa through Libya to Europe. The authors warn against an over-optimistic view of innovation as a solution and highlight the relationship between technology and the crimes committed against vulnerable people in search of protection. In this volume, the third in a four-part series ‘Connected and Mobile: Migration and Human Trafficking in Africa’, relevant new theories are proposed as tools to understand the dynamics that appear in mobile Africa. Most importantly, the editors identify critical ethical issues in relation to both technology and human trafficking and the nexus between them, helping explore the dimensions of new responsibilities that need to be defined. The chapters in this book represent a collection of well-documented empirical investigations by a young and diverse group of researchers, addressing critical issues in relation to innovation and the perils of our time." (Publisher description)
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"Following a century filled with violations of human rights, a significant number of documentary films have appeared since the first decade of the current century that report these events. Traditionally this process is carried out from the victims’ point of view. However, a new tendency has emerge
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d in which the films deal with the perpetrators’ perspective. It is easy to understand how establishing a relationship with a person who has committed atrocities may be problematic. So, why should we engage with perpetrators? The overarching purpose of this article is to attempt to offer some answers to this question. To this end, two methodological approaches are carried out in parallel: first, this article explores a sample of five documentary films and the filmmakers’ considerations of what their engagement with the perpetrators was like. Second, this article reviews the related literature and the controversial reception of these films by some scholars. In doing so, I also posit a theory that 4Rs (remembrance, recognition, remorse, and redemption) are a necessary prerequisite for the fifth R, of reconciliation. The final elaboration of this schema is mainly based on an example of interpersonal reconciliation." (Abstract)
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"Based on detailed onsite observation of documentary production, circulation practices and the analysis of film texts, this book identifies independence as a 'tactical practice', contesting the normative definitions and functions assigned to culture, cultural production and producers in a neoliberal
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economic system." (Publisher description)
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"Wie wird koloniale Gewalt historisch thematisiert? Wie gehen dokumentarische Filme und geschichtspolitische Diskurse mit ihr um? Robert Stock nähert sich diesen Fragen mit kritischem Blick auf den Kolonialkrieg Portugals in Afrika und den nationalen Befreiungskampf Mosambiks. Dabei fokussiert er s
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eine Untersuchung auf die Gestaltung, Funktion und Reflexion historischer Zeugenschaft. Am Material von bislang wenig beachteten Filmproduktionen über die Dekolonisierungsprozesse zwischen Mosambik und Portugal seit den 1970er Jahren analysiert er die sich verändernden Deutungsweisen der kolonialen Vergangenheit." (Verlagsbeschreibung)
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"In spite of harsh censorship, conservative morals and a lack of investment, women documentarists in the Arab world have found ways to subtly negotiate dissidence in their films, something that is becoming more apparent since the ‘Arab Revolutions’. In this book, Stefanie Van de Peer traces the
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very beginnings of Arab women making documentaries in the Middle East and North Africa (MENA), from the 1970s and 1980s in Egypt and Lebanon, to the 1990s and 2000s in Morocco and Syria." (Publisher description)
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"Ist unabhängiges Dokumentarfilmschaffen im Kaschmirkonflikt möglich? Über den Fokus auf Mobilität zeigt Max Kramer neue theoretische und methodische Zugänge zur Erforschung von filmischen Praktiken in Konfliktregionen auf. Er argumentiert, dass die Herstellung von Zeugenschaft zunehmend auf ve
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rschiedene Momente von Mobilität bezogen ist. Die vorgeschlagene Forschungsperspektive nimmt nicht nur auf die umkämpften Repräsentationen und Narrationen von Konfliktregionen Bezug, sondern ebenso auf affektive und ästhetische Momente dokumentarfilmischer Praktiken." (Verlagsbeschreibung)
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"[This book] reflects on the extent to which films can play an active role in denouncing human rights abuses and exposing the struggle for visibility of different social movements and minorities. This collection explores Latin American cinema’s representations of human rights violators and oppress
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ed subjects and groups. In so doing, it aims to assess the long overdue relation between cinema and human rights in the region, thus opening new avenues to understanding cinema’s role in social transformation. In effect, the chapters relate to at least one of these three main themes: human rights, social movements and activism. They seek to demonstrate the various ways they have been depicted in contemporary Latin American films, especially in the twenty-first century. Together, the chapters reinforce the importance of examining the ways in which contemporary Latin American cinema has explored human rights issues, while offering new perspectives to the study of (trans)national and world cinemas. Moreover, they explore the main themes and concepts covered in the volume in order to reveal the different aesthetic, political, social and historical representations of human rights in cinema." (Introduction, page 2)
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"The main purpose of this report is to analyze the documentary feature film called 'The Opium War' based on the civilians' antidrug movement in the author's home place, Myanmar's Kachin state. The film mainly focuses on the antidrug movement 'Pat Jasan' organized by Myanmar civilians and which liter
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ally translates in the local Kachin language by "stop and clean off drugs". This documentary does not follow one single character but a group of civilians who are activists in the antidrug movement. The film covers a series of incidents that occur between the antidrugcivilian activists and farmers producing opium. The report is a step-by-step analysis of the film's production process from the conception of the idea to the completion of the film within the period of the years 2016 to 2017 [...] The main shortcoming of this film is that the author didn't manage to obtain as much information from the government and from the drug lords as he wished. But not only some police officials declined interviews, but basically the crew was risking the whole time being arrested by the officials for exposing the drug problem to a wider audience. Additionally it was life-threatening to approach too much the drug lords and the opium farmers who woul become aggressive towards people with cameras. Because of those issues coming from both the police and the drug lords the crew had to shoot many of the scenes in the film secretly from rootops or from trees in order to avoid being spotted. Still while shooting the film, the crew witnessed the death of an antidrug activist who was shot dead by drug lords and the serious wounding of another fifty people by an attack from opium farmers." (Abstract)
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"Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human s
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uffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to "give a voice to the voiceless," an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations-tropes that reinforce their status as the "other" and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other." (Publisher description)
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"The article discusses the film 'Last Station Before Hell' by Pierre-Olivier François. United Nations' Peacekeepers known as the Blue Helmets, are often the subject of criticism and negative press reports. Most notably they have been blamed for transmitting cholera to the victims of the earthquake
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that struck the island nation of Haiti in 2010. The UN reluctantly admitted its role in bringing the Peacekeepers who brought the disease to the island, and has finally agreed to compensate the people of Haiti. Based on his experience at the United Nations in New York as a press attaché in charge of the General Assembly and the Security Council, filmmaker Pierre-Olivier François was asked to make a film about the United Nations peacekeeping forces for the seventieth anniversary of the world body. In this chapter, François discusses the making of the documentary, and he details the challenges posed by the mostly negative media frames applied to UN Peacekeepers." (Introduction to part 7, page 381)
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"Getting to the heart of stories by asking the really tough questions and going places where no one wants to go. That’s documentary at its best. This Safe+Secure Handbook has been designed to help filmmakers get there—and back—and get their stories into the public domain as safely as possible.
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The Documentary Funders behind this initiative want to help filmmakers remove unnecessary risk, minimise possible risk, and have a contingency plan for the rest. As supporters of great documentaries, we drew on what many of the best independent filmmakers told us they wished they had done differently. We also worked with the smartest journalism and legal professionals." (Page 2)
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"Der Dokumentarfilm gilt in Indien als kommerziell schwer auswertbares Genre - und stellt dennoch ein Feld dar, in welchem Experimente entstehen können. Angesichts der gegenwärtigen gesellschaftlichen Umbrüche untersucht Ulrike Mothes den aktuellen indischen Dokumentarfilm hinsichtlich seiner fil
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mästhetischen Form und betrachtet seine Positionierung zwischen lokalen und globalen Bezugnahmen, politischem Diskurs und kulturellem Ausdruck. Ihr besonderes Augenmerk liegt dabei auf der Beschreibung offener Erzählstrategien, welche die Annahme von Wahrheit als solcher hinterfragen und mehrere Deutungen eines Themas zulassen." (Verlagsbeschreibung)
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"'Half the Sky' is an ambitious humanitarian documentary about the global crises in gender discrimination. Based on Nicholas Kristof and Sheryl WuDunn's book (Kristof and WuDunn 2010), the nearly four-hour documentary visits six countries to explore six issues: gender-based violence in Sierra Leone,
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sex trafficking in Cambodia, education in Vietnam, female genital mutilation in Somaliland, intergenerational prostitution in India, and economic empowerment in Kenya. Heather McIntosh explores the role of celebrity in telling these stories. Six American actresses, each of whom visits a country, meet local activists and survivors, and leam about the situation. Drawing on scholarship about documentary representation and celebrity, McIntosh engages critical perspectives that charge that the appearance of notable personalities simplifies complex issues, and overshadows survivors' voices. She evaluates the success of 'Half the Sky' and the film's attempt to cast celebrities as moral agents helping viewers emotionally connect to the issues and the people involved. Ultimately, she questions the film's ability to overcome the tensions between suffering and poverty, and glamour and Western privilege." (Introduction to part 7, page 380-381)
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