"'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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"The goal of the Field Guide is to provide methods for filmers to use so that their videos can be as valuable as possible in exposing abuse and bringing about justice. This resource will help ensure that more cameras in more hands can lead to more exposure and greater justice. Activists producing fo
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otage that they hope will be used not only by journalists but also by investigators and court rooms must consider these fundamental questions: Is it clear where and when the video was filmed? Can this video be verified? Has it been tampered with or edited? Is the footage relevant to a human rights crime? Can the video’s chain of custody be proved? Would its helpfulness in securing justice outweigh its potential to undermine justice? These are some of the issues we explore throughout the guide while providing practical guidance on addressing them." (Page 5)
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"Today, social-issues storytellers are sharpening their craft, while funders with finite resources focus on reach, and strategic innovators bring more robust evaluation tools. Friesen illuminates the spark at the core of these three pursuits. Structured around stories from the front lines, Story Mon
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ey Impact reveals best practices in the areas of documentary, digital content, and independent journalism. Here you will find six key story ingredients for creating compelling content; six possible money sources for financing your work; six impact outcome goals to further your reach; seven practical worksheets for your own projects." (Back cover)
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"Documentary film is proving to be a particularly complex tool for the Kurdish social and political existence, as Kurds lack the official tools of history-writing and cultural preservation that are categorically associated with the capacities of a state. By delving into Kurdish documentary films as
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products of complex societal, political, and historical processes, the articles in the volume highlight the intersections of media production, film text, and audience reception, and expand on vibrant debates in the field of film and media studies through situated case studies." (Publisher description)
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"Small Cinemas in Global Markets addresses aspects such as identity, revisiting the past, internationalized genres, new forms of experimental cinema, markets and production, as well as technological developments of alternative small screens that open new perspectives into small cinema possibilities.
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Small and big markets for small industries reveal an unimagined diversification of the cultural product and consequently the need to analyze the impact at local, regional, and global levels. Much needed to continue and expand the existing scholarship in the field, this volume is based on research by authors who approach their subject from Western theoretical perspectives with a professional (mostly native) knowledge of the language, cultural realities, and film industry practices. It covers aspects from fifteen different countries, including Bolivia, Brazil, China (Hong Kong), Croatia, East Africa (Kenya, Tanzania, and Uganda), Greece, Indonesia, Lithuania, Bulgaria, Poland, Romania, Morocco, and the United States. Since both film and documentary distribution from certain areas of the globe on international markets remains problematic, it is important for the academic field to discuss and circulate them as much as possible, and to create the basis for further exploration." (Publisher description)
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"Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer loo
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k at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike." (Publisher description)
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"This timely study is based on detailed interviews with Chinese documentary makers rarely available in English, and insights gained by the author while working as a journalist in Beijing. It considers the relationship between independent documentaries and China’s official film and television secto
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rs, exploring the ways in which independent films probe, question and challenge the dominant ideas and narratives circulating in the state-sanctioned public sphere. Detailed analyses of key contemporary documentaries reveal a sustained attempt to forge an alternative public sphere where the views and experiences of petitioners, AIDS sufferers, dispossessed farmers and the victims of Mao’s repression can be publicly aired for a small, but steadily growing, public." (Publisher description)
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"This book approaches the memory sharing of groups, communities and societies as inevitable struggles over the interpretation of, and authority over, particular stories. Coming to terms with the past in memory work, alone or with others, is always unsteady ground and the activation of memory will al
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ways relay imaginations of futures we want to shape and inhabit. The contributors all explore in different ways how citizens can actualize a public and how citizens and groups struggle with their pasts and presents - and other group's understandings - in their work for futures they dream of, or envision. This implies an engagement with the notion of social justice, which in turn entails trial and revision of ideas and procedures of how to share the world. But to share also requires some kind of common ground and distributed power. The anthology thus engages with a range of cases that bring views and voices back in public, demanding justice, recognition, sometimes literally triggering new trials. Some of the memory work is done strategically, in the context of communication for development and social change interventions where NGOs, community-based organizations, governments or UN agencies pursue not just voice and views, but also very material demands for social justice and social change." (Publisher description)
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"Examining the vast breadth and diversity of contemporary documentary production, while also situating nonfiction film and video within the cultural, political, and socio-economic history of the region, this book addresses topics such as documentary aesthetics, indigenous media, and transnational fi
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lmmaking, among others." (Publisher description)
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"This study focuses on the institutional practice of international development communication. Through a qualitative study of the Videoletters project, it examines a situated process of intervention in its complexity and analyzes how the specifics of mediation illuminate issues of proximity and dista
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nce in the relationship between bilateral funders, the citizens of the countries that their intervention claims to assist, and the governance structures of the countries intervened. Videoletters was a media-driven intervention aimed at reconnecting ordinary people affected by ethno-political divisions across the former Yugoslavia between 2000 and 2005. Adopted by European bilateral funders for large-scale implementation, the project was categorized as a “tool for reconciliation”. The study explores how this specific intervention was initiated, implemented, circulated and evaluated in practice. Issues of ethics and accountability at stake in the process are analyzed in relation to a framework of global justice. Findings indicate that mediated communication intervention may be embraced by bilateral funders for its potential to make them look good in the eyes of Western audiences beyond discourses about its potential to do good for the citizens of troubled countries. By linking international development communication to a framework of justice, the study contributes to a critical agenda for theorization and research that takes accountability into consideration and puts citizens at the center." (Back cover)
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"At present, INGOs, development agencies and media producers who attempt to engage audiences in issues of international development and social change operate in an increasingly saturated media environment, which is content rich but time poor. This leads to a search for innovative, web 2.0-native way
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s of presenting these often complex and challenging issues such as is interactive web documentary -a format that combines digital, interactive and social media with the documentary form. In this article I consider how interactive web documentary might affect audience engagement with issues of international development and social change via audience surveys and interviews based on two cases of idocs. Three modes of engagement appear to be enhanced by the format: active, emotional and critical engagement. Barriers to engagement -access, audience interest and tensions between discourses of gaming and issues of international development and social change- must be negotiated for the format to succeed in its aims." (Abstract)
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"Es lässt sich also feststellen, dass der Dokumentarfilm der Demokratie insofern zuträglich ist, da er seinen Schwerpunkt auf der Gewährleistung der Validierungs-, Orientierungs-, Informations-, Bildungs- und Sozialisationsfunktion hat, während das citizen journalism footage sich insbesondere da
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durch auszeichnet, dass es der Beobachter-, Informations-, Artikulations- und Kritik- und Kontrollfunktion verstärkt gerecht wird. Indem also das citizen journalism footage durch professionelle Instanzen in eine den gängigen Konventionen entsprechenende Form des etablierten Dokumentarfilms gebracht wird, können so die demokratieförderlichen Attribute ,alter‘ und ,neuer‘ Medien ergänzend kombiniert werden." (Conclusio, Seite 75-76)
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"During the first decade of the twenty-first century, a stunning array of documentary films focusing on environmental issues has been met with critical and popular acclaim. Green Documentary is the first book-length study of this phenomenon. It explores how the films offer a variety of responses to
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the questions raised by environmental change: about the future of the countryside, the relationship between health and industrial pollution, the role of corporations and the politics of energy and climate. Offering a coherent analysis of imaginative, controversial and high-profile documentary films such as Into Eternity, The Yes Men Fix the World and An Inconvenient Truth, the book divides the responses into contemplation, irony and passionate argument, and the recruitment of the filmmaking process itself into the campaign to bring about better change. Along with analysis that includes the wider context of environmental documentary filmmaking, about local rural communities in Britain and Europe, Green Documentary underlines the important role of documentary film in the on-going public debate about the environment." (Publisher description)
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»Die Khmer mögen keine Dokumentarfilme. Hier geht es nur um Unterhaltung.« Das haben mir lokale Filmemacher und TV Produzenten gesagt, als ich Kambodschas erstes unabhängiges Medien- und Kunstzentrum Meta House (www.meta-house.com) 2007 in der Hauptstadt Phnom Penh eröffnete. Ich wollte zu Kamb
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odschas kultureller Renaissance beitragen, nachdem es 30 Jahre lang unter Bürgerkrieg und dem Genozid Pol Pots gelitten hatte. Kambodschas eigene Filmindustrie wurde durch die Khmer Rouge 1975 zerstört. In den 80er und 90er Jahre erlebte es eine Art Wiederauferstehung, bis es dann durch steigende Produktionskosten, die Verfügbarkeit von billigen DVD Raubkopien und das Schließen vieler Kinos wieder zerstört wurde. Heute entsteht aber eine neue und spannende Filmszene um junge Filmemacher_ innen, die preisgekrönte Dokumentarfilme produzieren." (Seite 18)
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"This guide is designed to help facilitators and educators to engage with audiences. The aim is to deepen the understanding of the underlying causes of poverty and inequality as explored in the Why Poverty? films. Why Poverty? uses documentary film to get people talking about poverty. The collection
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is made up of eight long films and thirty-four shorts by award-winning filmmakers, as well as new and emerging talents. The stories, originating from twenty-eight countries, are moving and thought-provoking as they tackle big issues and pose challenging questions. In November 2012, these films were screened worldwide on more than seventy national television networks and are now available online and on DVD. It has been said that, in this century, we have the tools and potential to overcome extreme poverty. But poverty persists, and the gap between the poor and the wealthy continues to widen. The demographics of poverty are also changing, with new poverty emerging in the North and new wealth emerging in the previously poorer South. Poverty and inequality is global, and the causes for its continued existence are largely structural. The long films explore these structural causes, whether they are tax evasion by multinational companies, lack of land rights for the poor, unequal access to health care, or gender imbalance. The short films provide glimpses into people’s lives as they try to deal with poverty and inequality. All the films can be watched as separate and complete stories. But as a collection, they provide a great platform from which to delve into questions about why poverty still exists in a world of plenty." (Introduction)
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