Sound Dramaturgy

Most people would agree that films can significantly impact individual attitudes and cultural narratives, but little research has sought to empirically measure these impacts. It is becoming increasingly important for documentary (and other issue-based) films to justify costs by providing data on the social “return on investment”, but care must be taken to ensure that both the questions asked and the methods used to answer them are valid and respectful. This paper introduces an emerging research agenda for the study of documentary film impacts, discussing both why such evaluation is important and key issues relevant to assessing impact. Author Keywords Film, Impact, Evaluation, Social Change INTRODUCTION Documentary film has grown significantly in the past decade, with high profile films such as Fahrenheit 9/11, Supersize Me, and An Inconvenient Truth garnering increased attention both at the box office and in the news media. In addition, the rising prominence of web-based media has provided new opportunities for documentary to create social impact. Films are now typically released with websites, Facebook pages, twitter feeds, and web videos to increase both reach and impact. This combination of technology and broader audience appeal has given rise to a current landscape in which documentary films are imbedded within coordinated multi-media campaigns. New media have not only opened up new avenues for communicating with audiences, they have also created new opportunities for data collection and analysis of film impacts. A recent report by McKinsey and Company highlighted this potential, introducing and discussing the implications of increasing consumer information being recorded on the Internet as well as through networked sensors in the physical world. As they found: "Big data—large pools of data that can be captured, communicated, aggregated, stored, and analyzed—is now part of every sector and function of the global economy" (Manyika et al. iv). This data can be mined to learn a great deal about both individual and cultural response to documentary films and the issues they represent. Although film has a rich history in humanities research, this new set of tools enables an empirical approach grounded in the social sciences. However, several researchers across disciplines have noted that limited investigation has been conducted in this area. Although there has always been an emphasis on social impact in film and many filmmakers and scholars have made legitimate (and possibly illegitimate) claims of impact, few have attempted to empirically justify these claims. Over fifteen years ago, noted film scholar Brian Winston commented that "the underlying assumption of most social documentaries—that they shall act as agents of reform and change—is almost never demonstrated" (236). A decade later, Political Scientist David Whiteman repeated this

Alzheimer's disease, a form of brain degeneration, is an incurable condition where current treatments only delay the progression of symptoms, allowing patients more time to care for themselves before inevitably becoming dependent. Caring for Alzheimer's patients is crucial. In addition, at present there are still few documentaries about dementia that can be viewed, causing the general public to still have the perception that dementia is just general forgetfulness. And through the researcher’s personal experience with a mother who suffered from Alzheimer's disease from 2006 to 2016 at the age of 57, the researcher has gained valuable insights. This first-hand experience not only enhanced his understanding but also fueled his desire to share this knowledge with doctor, nurse, caregivers and the wider public. The paper titled “Memories of My Mother and I Toward an Alzheimer's Documentary Film” aims to achieve several objectives through a creative research approach: 1) to illustrate the progression of Alzheimer's disease using a documentary film, 2) to capture the researcher's memories of living with an Alzheimer's patient within the film, and 3) to assess the documentary's portrayal of these experiences using qualitative research methods. The researcher reviewed pertinent literature and engaged in discussions with those close to the researcher’s mother to gather memories for the documentary script. Subsequently, a 20-minute short documentary film was created, complemented by newly filmed content that adheres to a structured storyline. The film was evaluated by 12 experts in documentary filmmaking and dementia care. The findings according to first objective indicate that the documentary successfully conveyed an understanding of Alzheimer's disease changes through the personal story of the researcher’s mother, reflecting broader societal experiences. The findings, according to the second objective, reveal that the film effectively captured the researcher's memories with his mother, showing the child’s perspective through authentic photographs and footage, which depict the extended journey faced by caregivers and Alzheimer's patients. The findings, according to third objective, show that the evaluation of the documentary revealed its effectiveness in portraying these stories and enhancing understanding of the disease's impact beyond mere forgetfulness, offering valuable insights to audiences, including caregivers. However, the documentary short film could benefit from further improvements, suggesting a need for more skill and experience in short film production.

The scientific relevance. The formation and development of the newsreels and documentary films in Ukraine in the 1920s remains one of the least researched pages in the history and development of Ukrainian cinema. That is why the relevance of this research lies, mainly, in filling a significant gap in the history of Ukrainian cinema. A detailed study of newsreels and documentary films production will allow to reveal trends in the development of the Ukrainian film industry in the 1920s in the field of documentary films. The purpose of the article is to study the specifics of the VUFKU policy on strengthening the material and technical base of Ukrainian film production during the 1920s, to study and analyze the history of the formation and development of the production of newsreels and documentary films in the specified period. The methodology of analysis of the problem consists in using, first of all, the historical-systemic approach, which provides an opportunity to understand the dynamics of the development of newsreels and documentary films at a specific historical stage. The problem-chronological approach made it possible to distinguish by year the main directions of the VUFKU activity in the development of newsreels and documentary cinema within the defined chronological framework. The historical-systemic approach made it possible to understand the dynamics of the development of Ukrainian cinematography in the field of documentary cinema as a system at a specific historical stage. The results of the research are that the article examines the prerequisites that served as an impetus for the emergence of a special technical basis for shooting newsreels. The way of development and establishment of newsreels production is considered. Genre and thematic directions of newsreels, types of newsreels, as well as the circumstances that led to the development of the production of newsreels and documentary films are analyzed. The composition, features and functions of the elements of the Ukrainian organizational and creative model of cinematography have been established. The scientific novelty lies in the fact that the article for the first time, on the basis of a complex analysis, researches the process of transformation of structural elements of Ukrainian cinematography in order to establish the release of newsreels and documentary films. The practical significance of the article lies in the fact that the results of the study will contribute to the filling of the “white spots” in the history of Ukrainian cinematography, in particular, the establishment of newsreels and documentary cinema as a component of Ukrainian cinematography, which contributes to the creation of a holistic concept of the development of domestic cinema, further understanding of the film production process of the past and present. The materials of the article can be used in further scientific and theoretical researches, during the creation of training manuals and separate sections of the history of Ukrainian cinema.

Amplifying the voice of youth through planetary health films

In this paper, I explore three cases from postwar Japanese media history where a single topic inspired the production of both documentary films and magic lanterns. The first example documents the creation of Maruki and Akamatsu’s famed painting Pictures of the Atomic Bomb. A documentary and two magic lantern productions explore this topic through different stylistic and aesthetic approaches. The second example is School of Echoes, a film and magic lantern about children’s education in rural Japan. The documentary film blurs distinctions between the narrative film and documentary film genres by utilizing paid actors and a prewritten script. By contrast, the original subjects of the documentary film appear as themselves in the magic lantern film. Finally, the documentary film Tsukinowa Tomb depicts an archeological excavation at the site named in the title. Unlike the monochrome documentary film, the magic lantern version was made on color film. Aesthetic and material histories of other magic lanterns include carefully hand-painted monochrome films. Monochrome documentary films in 1950s Japan tended to emphasize narrative and political ideology, while magic lantern films projected color images in the vein of realism. Through these examples of media history, we can begin to understand the entangled histories of documentary film and magic lanterns in 1950s Japan.

Belgesel film, ticari zihniyetin egemen olmaya baslamasiyla, sinema salonlarinda gosterim imkani buldugu zamanlardaki popularitesini, ya da sonraki yillarda pek cok ulkede TV ekranlarinda kitleleri etkileyen ve harekete geciren ozelligini kaybeder gibi olmustur. Ancak, son birkac yildir cesitli yarisma ve festivallerde odul alan bazi belgesel filmler, gozlerin yeniden bu ture cevrilmesini saglamis ve belge-sel filmde nesnellik, gerceklik ve yaraticilik gibi kavramlarin, cesitli platformlarda yeniden tartisilmaya baslanmasina neden olmustur. Aslinda her uc kavram da, birbiriyle iliskilidir. Ancak bu calismada, belgesel filmin yaraticilik kavramiyla olan iliskisiyle sinirlandirilarak bu iliski sorgulanmakta ve once-likle teorisyenlerin ve belgesel film yonetmenlerinin konuyla ilgili gorusleri kuramsal alanda tartisil-maktadir. Yani sira da belgesel film tarihinin onemli donum noktasi olan ve yaraticilik konusunda onemli gorulen bazi filmlerden ornekler verilecektir. Calismada, belgesel filmin yaraticiligindaki salt estetik ogelerin ele alinmasiyla kalinmayip, yonetmenin yaraticiliginda etken olan diger faktorler uze-rinde de durulacaktir. Daha sonra da, gunumuz medya ortaminda belgesel film uretiminde yonetmene yeni olanaklar sunan veya yaraticiligi engelleyen faktorler ele alinacaktir. Anahtar sozcukler: Belgesel film, yaraticilik, yonetmen. Abstract: Creativity In Documentary Films: Opportunities And Limitations With the onset of commercialism dominating the sector, documentary films have begun to lose not only the popularity they enjoyed when they were shown in movie theaters but also the ability to affect and move masses when they were shown on TV in many countries. However, some documentaries, which have been winning awards in various film festivals, brought attention to this type of film making again. The renewed attention to documentary films put some of the issues that were discussed earlier back on the agenda; therefore, in-depth discussion of some concepts such as objectivity, reality and creativity on different platforms has begun once again. Although all of these three concepts are related to one another this study is limited to the relationship of creativity and documentary film making, and the questioning of this relationship. In questioning the relationship, firstly, the opinions of theoreticians and documentary film directors will be discussed in the theoretical sense. At the same time, some examples of cornerstone films and their directors in the history of documentary film making will be given. During this discussion and questioning, not only the aesthetic elements but also some other vital elements that affect the creativity of the director before and during the production of the films will be discussed. Then the factors that obstruct creativity in the production of documentary films in today's media environment will be examined. Key words: Documentary film, creativity, director.

‘Visualizing rhythm, transforming relationship: jazz and Seven Songs for Malcolm X’ is the first of two self-sufficient but interconnected articles positioned, collectively, at the crossroads of three areas of study in need of (re)new(ed) theorization and scholarly analysis: independent film-maker John Akomfrah's rich body of work; Afro-diasporic thinker/leader Malcolm X as central subject/‘body’ of (documentary) film representation; and the cross-cultural and cross-/trans-national aesthetics of black documentary film(making) theory and practice. Informed by the question ‘what does Seven Songs for Malcolm X's do for black documentary aesthetics?’, the two articles interconnect this documentary film's production practices and ‘informing logic’—drawn from black aesthetics and Soviet-Armenian film art—in. order to critically examine how Akomfrah un-fixes Malcolm X's representation.In so doing, article one suggests that Akomfrah attempts to transform the way in which jazz music rhythm is visualized in film, while article two, ‘Using framing to un-fix meanings in John Akomfrah's Seven Songs for Malcolm X: early black photography and Sergo Paradzhanov's aesthetics’, shall suggest that Akomfrah attempts, simultaneously, to cross-fertilize within his mise-en-scène still photography and cinematography. The way in which Akomfrah engages with these tools of representation/distinct styles of thinking (black) documentary aesthetics (i.e. jazz, photography, and cinematography) is central to the interconnectedness of the two articles. Therefore, by way of a conclusion to the project, article two shall use these tools of representation/distinct styles to answer the question 'what does Seven Songs for Malcolm X do for black documentary aesthetics?'

ABSTRACTThis article outlines trends in Finnish documentary film industry during the so-called golden era of 1990s and early 2000s based on key variables in documentary film financing and production. This period coincides with global documentary financiers increasing market orientation (‘factual turn’, which has largely broken the ties of documentary film production with filmic modes of craftsmanship and public service [Hogarth 2006. Realer than Real: Global Directions in Documentary. Austin: University of Texas Press, 5]. Public service cinema culture was still largely intact in Finland in the early 2000s and is the main reason for the ‘golden era’. The ‘golden era’ would not have been possible without strong domestic public subsidy organizations, The Promotion Centre for Audiovisual Culture (Audiovisuaalisen kulttuurin edistämiskeskus, or AVEK) and the Finnish Film Foundation (Suomen elokuvasäätiö, or SES). Another crucial factor is that the Finnish Broadcasting Company (YLE) has not given in to the global ‘factual turn’. Finnish documentary filmmakers strongly identify with Aaltonen’s [2006. Todellisuuden vangit vapauden valtakunnassa: Dokumenttielokuva ja sen tekoprosessi [The Prisoners of Reality in the Realm of Freedom: Documentary Film and Its Production Process]. Keuruu: Like, 248] observation that the metanarrative of documentary film is the narrative of itself becoming an art.

Digital technology has influenced the structure of documentary film. Despite the positive effects of digital technology on documentaries, there are also negative effects on it.Today, there is a trend in the production of documentary films that cannot be called documentaries; various videos are perceived as documentary films. This kind of effect of digitalization on documentary film raises the possibility that the main features of the documentary film may be damaged. New media documentary; undoubtedly, new forms are being tried and new narrative possibilities are presented. With new media documentary films; features such as innovation, new forms of expression, diversity in subjects, new approaches and more creativity joining the process are called positive features. The 'main material' of the documentary film is the 'document', and such basic structural characteristics should not be replaced by technology or loss of genre’s chracteristics under the name of technological development. In this study, a descriptive analysis of the general characteristics of the new media documentary is being conducted and the documentary film The Shirt on Your Back (2014), which includes a social issue, is discussed as a sample. Everett Rogers has identified three key characters in the new media, and the documentary film that focuses on the film represents these three characters. The new media documentary, The Shirt on Your Back (2014), has been revealed to represent the new media documentary production at a high level in terms of format and content.

This article compares traditional and new ways of funding documentary film in the UK and asks what crowd financing, pay-if-you-want schemes and online distribution sites mean for documentary films and its industry today. How do online financing models impact on producers, traditional funding models and funders? And following the money, who really benefits? The first section of this article charts trends in British documentary budgets in the last decade and explores how changes in financing impact on the production of documentary films. The second focuses on new ways of funding and distributing documentary films online. Drawing on case studies of crowd investment schemes, crowdfunding and P2P distribution; interviews with documentary and multiplatform producers and commissioners, as well as on statistics and annual reports from broadcasters, lobbyists and regulators, I will argue that in real terms there has been a decline in and a polarization of documentary budgets in the UK. As a result, producers are increasingly looking to the internet to fund their documentaries. However, an online financing market suspended between ad hoc funding and long-term recuperation has consequences for the documentary industry, the kinds of documentaries made, the topics they explore and the ways in which they are produced.

In this article, I explore the representations of perpetrators of human rights violations in post-dictatorial Chilean cinema, specifically in documentary film. My objective is to examine how cultural memory has been produced through several cinematic productions. To this end, I focus on the representation of perpetrators in a corpus of four contemporary documentary films: El Mocito (‘The young butler’, Marcela Said and Jean de Ceartau 2011), Viva Chile Mierda (‘Long Live Chile, Damn It!’, Adrián Goycoolea, 2014), El Pacto de Adriana (‘Adriana’s pact’ Lissette Orozco 2017) and El Colour del Camaleón (‘The colour of the chameleon’, Andrés Lübbert, 2017). I argue that cultural memory has gradually expanded the imagination with respect to what is at stake in encounters with perpetrators in the post-dictatorship. The way in which this encounter is resolved in different documentary films is relevant to acknowledging the narratives and meanings of state violence in the post-dictatorship, as well as the tensions around the implementation of the transitional project and its fractures.

he Soviet Union’s collapse not only had an impact on the sociopolitical situation in the former Sovietrepublics, but also on the state of affairs in science and art, including cinematography. Marked bymany common or similar traits, Soviet cinema, as the unity and synthesis of its national components,disintegrated into purely national parts, finally breaking free from Moscow’s ideological grasp. This alsoled to the cinema art (and its parts) of the newly independent states breaking its decades-long ties with thecinematography of other former union republics, primarily Russia. The difficulties experienced by all thesecountries during the transition to a market economy also took their toll on the national film industry, in-cluding in Uzbekistan, the only post-Soviet republic in which local cinematography has centralized fi-nancial support. (When a film production and rental market is just forming, it is difficult to overestimatethe state’s participation in encouraging and supporting this intricate process.)Specialists and connoisseurs of this type of art have highly praised Uzbek cinema for its profession-alism, national uniqueness, and originality. It is indicative that films began being produced here almost assoon as cinematography was invented. For example, a pioneer of Uzbek cinema, Khudoibergan Devanov,made the first documentary film in Khorezm as early as the spring of 1900. As for feature films, the firstones were made in Uzbekistan during the second half of the 1920s almost immediately after the formationof the Uzbek S.S.R., with the help of Russian masters. During the next decade, local teams of directors,cameramen, scriptwriters, and other creative specialists appeared and began their professional activity.The quality of films gradually improved and their number increased. Whereas at the beginning of the 1950s,three feature films were made every year at the Uzbekfilm studio, by the mid-1980s, during the heyday oflocal cinematography, this number had leaped to twelve. Whereby nearly every year, one of them receiveda prize at prestigious international film festivals. The documentary film industry was also highly praisedin those years, in which well-known director Malik Kaiumov, who won prizes at many festivals, worked.In the mid-1980s, a documentary film by Tashkent documentary film director S. Papazian was awardedthe Silver Dove prize at the International Film Festival in Leipzig. Vibrant masters of Uzbek Soviet cin-ema, such as Sh. Abbasov, A. Khamraev, E. Ishmukhamedov, and M. Abzalov, are well known in the

This paper examines the justifications for using documentary film as a product of academic exercise, using the films "Return of the Biblical Plague: Mosquitoes" and "Bitter Lake" as case studies. Through an analysis of the production and reception of these films, the paper explores how documentary can be used to visually tell stories that follow the replicability of academic research procedures, from the selection of subject matter and site to planning and interviewing subjects to data collection and analysis. The paper also addresses the challenges and ethical considerations associated with using documentary film as an academic exercise, including representation, power, and objectivity issues. Ultimately, the paper argues that documentary films have the potential to enhance academic exercise by providing a compelling, engaging medium through which to explore complex issues and promote critical thinking. The paper is structured into four segments of analysis. The initial segment encompasses the foundational aspects of documentary film production, which involves establishing the core argument and exploring its historical contexts. The subsequent segment delves into research as a reproducible methodology, establishing empirical evidence concerning a particular phenomenon. The third part also examines the essence of the documentary film-making process, accompanied by a comparative analysis juxtaposed with research as a scientific procedural endeavor, including the analysis of two documentary films, "The Biblical Plague" and "Bitter Lake". Using the Auteur film theory, the final segment centers on, culminating in a comprehensive conclusion that substantiates the contention that documentary film-making serves as both a creative output and a valuable tool within the realm of academic exploration.

Documentary film is a language input which is based on writing skills since it consists of the introduction to subject, presentation of ideas, and conclusion of subject. Many studies have highlighted the linguistic, informational, and pedagogical purposes of documentary film in language classrooms as the processing of written texts is required before the production of a documentary film. Although documentary film has a strong relationship with writing skills and having access to these authentic materials are very easy, some educators ignore these authentic inputs. Thus this paper investigates the importance of using documentary film in enhancing the learning of Arabic as a second language with specific focus on writing skills. In addition, this paper examines local experts’ views on the utilization of documentary film in the Arabic as a second language classroom. A set of questionnaire with both open and closed-ended questions were distributed among twelve experts in the field of Arabic as a second language in Malaysian public universities. Feedbacks from the experts were collected and analyzed. The findings indicated strong recommendations from Arabic language experts in Malaysia. Among the recommendations are the types of documentary films to be utilized, the categories of writing skills that can be developed, and the appropriate instructional techniques to be used in the classroom. In general, this study hopes to contribute to the field of Arabic teaching language skills to non-native speakers and a useful reference for curriculum designers, ministry officials, textbook authors, and teachers.

Documentary films occupy a pivotal position in the formation of public opinion and serve as a productive instrument in the practice of investigative journalism. It is of the utmost importance to gain an understanding of the influence that these films have on public discourse and to address the ethical concerns that arise from this. This will ensure that the quality of this genre is enhanced and that responsible journalism practices are upheld. The objective of this study is to evaluate the influence of documentary films on public opinion, with a particular emphasis on their contribution to investigative journalism. Furthermore, the study aims to examine the ethical considerations about the production of such films and their impact on the capacity of the films to engender social change. A combination of comparative analysis and surveys was employed to elicit insights from professionals engaged in the fields of documentary journalism and filmmaking. These methods permitted an examination of filmmaking techniques, ethical issues and public influence across several case studies. The study demonstrates that documentary films exert a considerable influence on public opinion, promote awareness of pivotal social issues, and reinforce democratic values. The results of the survey indicate that filmmakers rely heavily on research and analysis, followed by on-location filming and the use of hidden cameras. However, it is evident that emotional impact and archival materials also play a significant role in the production process. Documentary films serve as an efficacious medium for investigative journalism, influencing public discourse and contributing to social change. Nevertheless, the ethical creation of such films represents a significant challenge that requires attention to both professional standards and emotional labor. The findings offer invaluable insights for content creators, journalists, and filmmakers, enabling the development of more effective and ethically responsible strategies in their documentary projects. This will ensure a greater impact on public opinion and social awareness.