Documentary Filmmaking Research Articles

Francesco Pasinetti (1911–49): Essays on documentary filmmaking

This contribution consists of two new translations of Francesco Pasinetti’s essays on documentary filmmaking. In ‘The meaning of documentaries’ (1934) Pasinetti rhapsodizes on the cinema of Joris Ivens, Dziga Vertov, Robert J. Flaherty, among others, arguing that contemporary Italian documentarians are capable of standing shoulder to shoulder with these remarkable foreign filmmakers. He suggests that the documentary form is an invaluable pedagogical tool and should receive more support from the governing bodies. In ‘The sense of documentary’ (1941), Pasinetti outlines his poetic and practical principles for documentary filmmaking that truly possesses ‘the sense of cinema’. He insists on the need for a central theme, marked figurative continuity, intensive research and planning stages – including best exhibition practices.

Documentary as Memory Archive and Feminist Practice

This essay reflects on the significance of documentary filmmaking in the context of Latin American documentaries, in general, and Chilean films, in particular. It also reflects on how Latinas’ diasporic memories of place affect identity and how we think of the past through language and images. Feminist film activism is a way to build an archive of women’s lives and voices revealing how gender shapes them. The short documentary La chispa en la pradera (Spark in the Meadow, 2023) displays feminist activism and feminist memories that cut across different generations of women fighting for equality and justice in contemporary Chile.

Your Turn As An Example Of Multi-Modal, Ethnographic And Collective Documentary

Documentary cinema is a film genre that aims to reproduce authentic reality and provide awareness to the audience by addressing real events, people or subjects with a claim of objectivity. Such films generally use a narrative language that is not based on fiction and reflect reality as it is. There are several standpoints a documentary film-maker may follow and adopt. These standpoints usually determine the formal characteristics of the film. A documentary may be ethnographic, journalistic, poetic, etc. Likewise, a documentary film-maker may seek to approach reality without any self-involvement and he/she may choose to observe rather than participate in the content or vice versa. Utilizing a number of methods, documentary cinema has flourished in both content and form in recent years. New ways of making documentaries are flourishing and minor realities as well as major ones are brought to the audience. One approach is the ethnographic documentary, where the filmmaker adopts a participant-observer role, immersing themselves in the socio-cultural phenomenon to authentically convey a particular truth. Taking ethnography as a starting point, a film-maker makes numerous stylistic choices and enrich his/her narrative following different patterns. This study aims to interrogate the prospects of documentary cinema in recent years and define the relationship between the film-maker’s standpoint and the stylistic choices he/she makes, using the film Your Turn (Capai, 2019) as a case study. The sample film was chosen via purposive sampling method and a textual analysis was conducted. The results of the analysis shows that Your Turn (Capai, 2019) utilizes ethnography and turn the participant-observation method into a collective practice which contributes to the overall aesthetics of the film as well as its narrative foundation.

“If two people say you are drunk, you better go to bed”: Interview with Gyula Gyulyás

This article explores bio documentary cinema, an often overlooked biographic genre that, unlike its “big brother,” the biopic focusing on the lives, achievements, and legacy of people from the past, prefers to investigate living people through interviews and other forms of interaction. In order to understand the challenges, methods and human dynamic shaping talking heads documentaries, the article prioritizes the first-hand experience of the filmmaker, more specifically, that of Gyula Gulyás, a Hungarian director of documentaries for over five decades. After a general introduction to his career path, preferred topics and shared interests with local and regional documentary filmmakers, the interview covers areas relevant to the biographic documentary such as generic labels, professional standards and the usefulness of cinematic portraits for academic research, choice of subject, methods of interviewing and structuring recorded material, moral responsibility and intimacy as a well as general and specific questions about financing and distributing biographic documentaries, their reception, and the struggle with political and non-political censorship.

South Korean Documentary Cinema and remembrance: the past in the present, at Jeonju Film Festival 2024

ABSTRACT Korean documentary film has historically both been designed as a contribution to political life and also as a creative exploration in the growing film industry. Documentary in the service of political mobilizing, which occupied a large place in early documentary, has evolved into a wide range of expression, without losing the overall character of social commitment. As seen at the Jeonju Film Festival 2024, documentary work continues the longstanding politically-engaged character of South Korean documentary, while demonstrating sophisticated approaches to the challenge of developing narratives of remembrance. This work is undertaken with techniques ranging from animation to strategic use of silence and absence, reflexive archival use and memoir. Documentary choices testify to professionalization and innovation in the field and also to the enduring identity of documentary filmmakers as storytellers of a fraught, contested and still in formation Korean identity.

The impact of documentary filmmaking

In this article, I draw on three documentaries I have made (Growing Up Married [2016], Lifeline [2020], and Left Behind [2023]) on different forms of gendered violence. I use these as examples to discuss ways in which films made within academic contexts can inform and influence policy. While doing so I reflect on how I built a network of policy makers and charities and used film as a potentially useful tool for partnership development. I explore how scholars can consider filmmaking as a form of activism while arguing that strategies developed within the frame of creative practice afford us alternative ways of promoting social, cultural and political change. I examine the relationship between academic research and activism and the specific role that filmmaking can play in enhancing/problematising this relationship, and argue that the cultivation of impact (as activism) goes beyond institutional, and funding imperatives.

Blurring the Lines: Feature News Videos and Documentaries in a New Digital Age

Historically, feature stories in the news have been characterized by their timely and episodic coverage of current events. In comparison, documentaries have been known to be in-depth, thematic explorations of social, political, or cultural issues. As news organizations expand their multimedia offerings and documentary filmmakers are increasingly driven towards creating interactive content, the boundaries between these forms of storytelling have become increasingly unclear. Through a comparative analysis and literature reviews, this paper investigates the creative elements such as narrative structure, visual style, and authorial voice in feature news videos and documentaries have changed within the contemporary media ecosystem, and examines the evolution of non-fictional storytelling. The study situates this inquiry within the broader context of disruption and reimagination in journalism and non-fictional storytelling within our digital landscape. Ultimately, by examining the blurring of the lines between feature news videos and documentaries, this paper provides insight into the changing dynamics of truth-telling and meaning-making in the new media landscape.

Cinematic Activism and Tasmania’s Lake Pedder: How Film Shaped Environmental History

Film has played a seminal role in Australian environmental history, as an instrument of advocacy to shape political disputes and government actions. Such cinematic activism originated in the 1960s with the dispute over the damming of Tasmania’s iconic Lake Pedder. Here, documentary filmmaking was used by the protagonists to influence public opinion and convey rival views of the remote wilderness lake. For conservationists, film helped build an emotional connection and sense of place, whilst for pro-dam proponents, film helped curate an ideology of economic progress. The protagonists’ mutually reinforcing tactics, especially the intermediary role of the Tasmanian Department of Film Production, combined with the outstanding beauty of Lake Pedder, drove the turn to cinematic activism. Understanding how these films were produced and screened is also important to appreciating their significance for cinematic activism.

SATYAJIT RAY AS A DOCUMENTARIAN: A STUDY ON RABINDRANATH TAGORE AND SUKUMAR RAY

Satyajit Ray, renowned globally for his cinematic brilliance, also left an indelible mark as a documentary filmmaker. It is to be mentioned here that the literatures and writings on Ray’s documentary are very less in number. Ray's documentaries on Rabindranath Tagore encapsulate the multifaceted persona of the Nobel laureate, exploring his literary contributions, artistic vision, and philosophical ideologies. Through meticulous research and visual finesse, Ray elucidates Tagore's timeless relevance, weaving together archival footage and dramatic reenactments to present a holistic portrayal of the poet's life and legacy. In his exploration of Sukumar Ray, Satyajit Ray ventures into the whimsical world of children's literature and satire to commemorate the centenary birth anniversary.This paper tries to discuss on documentaries made by Ray with special emphasis on Rabindranath Tagore and Sukumar Ray. Besides reviewing relevant literatures, the researchers have tried to describe two documentaries vividly. In addition to this, they also have taken insightful interviews of three literary and film scholars to understand Ray as documentarian. The interviews were analysed and conclusion have been drawn on the basis of that. The paper shows, beyond mere biographical documentation, Satyajit Ray's documentaries serve as nuanced reflections on the socio-cultural milieu of their respective times, offering profound insights into the artistic legacies of Rabindranath Tagore and Sukumar Ray. The paper serves to highlight the intricate nature of Ray's documentary legacy and its ongoing significance in influencing conversations within Indian cinema.

The dialectical relationship between the authorial and the collaborative in contemporary documentary: Perspectives from three case studies

This article discusses the intersections between authorial and collaborative work in the scope of ethnographic documentary departing from three case studies: two research projects and one citizen collective of participatory media. All case studies were developed in Porto, Portugal, between 2013 and 2020, focusing on the city’s invisibilities and everyday experiences, searching for alternative narratives to the mainstream media when portraying its people and places. This article aims to reflect on how authorial documentary work, followed by self-criticism and self-reflection, can be incorporated into participatory media frameworks in productive ways. The challenges faced by the three cases are intrinsically related and have influenced each other throughout this period, addressing issues related to the representational crisis; the legitimation of subjectivity and the exploration of different styles within documentary; as well as the relationships between the filmmaker, the camera, the subject/character portrayed and the audience. These themes are explored through a series of first-person field reports and the study of authors and directors in the field of documentary filmmaking.

Oral History and the Climate Crisis: Listening in the Aftermath of Disaster

ABSTRACT This article provides an overview of the multiple interrelated facets of the on-campus and university-community climate justice projects developed by individuals at the Oral History Lab/Laboratorio de Historia Oral at the University of Puerto Rico at Mayagüez (UPRM). Beginning with a discussion of our oral history and documentary filmmaking program for students at UPRM and our workshop series for mutual aid organizations across the archipelago, this article explores the value of eyewitness testimony and experiential knowledge in resituating narrators who have been disempowered by disaster and/or marginalization, in contributing to global conversation about the climate crisis, and in developing ethical approaches to postdisaster research that employ decolonial and anti-racist methodologies and trauma-informed approaches. Ultimately, this article frames the qualitative, community-based data sets present in postdisaster oral histories as essential information for members of our frontline communities and the external stakeholders of policymakers, responders, and researchers who are making decisions that directly impact these communities.

Tarpuna: Embodied Engagement in Ecocultural Documentary Filmmaking

Tarpuna: Embodied Engagement in Ecocultural Documentary Filmmaking

Unveiling ‘HEREDIAQUA’: An Exploration of Association Picture Storytelling in Documentary Filmmaking

This study explores the application of the “association picture story” genre in documentary filmmaking, particularly focusing on the film “Herediaqua,” to effectively communicate water sustainability issues. The research employs a three-stage methodology: exploration (field research, observation, interviews, and collection of visual materials), experimentation (applying association picture story techniques in short film formats and testing with audiences), and creation (synthesizing findings to produce a cohesive and impactful film).Results indicate that “Herediaqua” successfully uses strong visual symbolism and narrative to convey messages about the interconnectedness between humans and nature, effectively enhancing audience awareness and understanding of water sustainability issues. The film employs powerful visual language to communicate its environmental message, evoking emotional responses from viewers. Positive audience feedback confirms the film’s success in communicating its message, demonstrating the effectiveness of the association picture story technique in visual narration. The conclusion asserts that the “association picture story” technique is a powerful tool for conveying environmental messages through visual storytelling. “Herediaqua” serves not only as a viewing experience but also as an educational medium and a catalyst for inspiring environmental conservation efforts. By leveraging compelling visual narration and engaging storytelling, the film promotes awareness and encourages concrete actions for sustaining the planet’s life. This research contributes to advancing documentary filmmaking by highlighting the effectiveness of combining visual symbolism with strong narrative techniques.

From academia to a career in documentary film-making

From academia to a career in documentary film-making

(Extra)ordinary images: photography, memory and creative documentary – Rwanda and Argentina

This essay is a reflection on two creative documentary films produced as outputs of projects supported by the British Academy: The Faces We Lost (2017) and (Dis)Appear (2023). Both films focus on the commemorative and memorial functions of domestic and ID photographs – The Faces We Lost in relation to the 1994 genocide against the Tutsi in Rwanda and (Dis)Appear in relation to the civic-military dictatorship in Argentina (1976–1983). The essay outlines the importance of domestic and ID photographs in each context and discusses some of the conceptual, formal and creative decisions behind the two documentaries. But it also attempts to contribute to the conversation about creative documentary filmmaking, and creative practice research more generally, as a form of academic enquiry. Lastly, it asks questions about the opportunities and limitations of making films within the academic rather than commercial environment, especially films made in and about the Global South.

Nostalgic Dimensions of Autobiographical Canonization Generational Canon in Slovak Collective (Self)Portraits: +−90 and Wave vs. Shore

The history of cinema, built on periodization and the canonization of works, tends to favour the interpretation of artistic development as a causal chain in which one stage builds upon the other. Locating a specific author and work within this chain legitimizes their significance in the creation of the canon, just as the canon justifies the importance of a singular author and work. My study focuses on how generational (self)identification through autobiographical documentary filmmaking can contribute to the construction of an authorial canon and how these self-portrayal and memory practices use two different strategies of nostalgia. Through the analysis of two Slovak collective (self)portraits in documentary form, +−90 (Marek Kuboš, 2022) and wave vs. shore (vlna vs. breh, Martin Štrba, 2012), I explore how authors can tell their own stories within a broader framework where personal history intersects with cultural history and how, in the process of writing the history of cinema and photography through the medium of film, it defines the generational affinity of creators.

The ethics of archive in documentary filmmaking

ABSTRACT Although documentary ethics is a fairly well discussed subject, there is a need for discourse on the ethics of working with archives, particularly film-based archives. This paper seeks to encourage discussion as to the ethical ramifications and responsibilities of working with archive material. Arguments on the nature of archive and what archive represents are explored, and the delineation between documentary, journalism, and archive is investigated. Examples of what might be considered ethical and unethical usage of archive material are investigated for insight into what any code of archive ethics might need to consider. The Ethics of Archive in Documentary Filmmaking explores the use of archival materials and the ethical responsibilities inherent in using such a resource, including the challenges posed by the blending of historical truths with artistic representations. It discusses the tension between objectivity and artistic licence, reflecting on the role of documentary as a mediator of reality. By raising these ethical questions and emphasising the importance of understanding the meaning and purpose of an archive, Ethics of Archive in Documentary Filmmaking prompts media practitioners to consider the broader implications of their work in a world where the line between fact and fiction can become blurred.

Equity, Diversity and Inclusion: Class Inequalities within the British Documentary Film Industry

While there is a considerable amount of scholarship and grey literature about social exclusions within the UK cultural industries, the sociology of cultural labour has paid little attention to documentary film-making as a relatively elitist occupation that is maintained by systemic inequalities. Based on semi-structured interviews with several independent documentary film-makers about their own labouring subjectivities, and qualitative analysis of relevant academic literature and cultural policies, this article critically explores how class inequalities are understood, reproduced, negotiated or resisted within contemporary British documentary film-making. The research findings demonstrate that documentarians from socially disadvantaged backgrounds are more likely to face significant obstacles in the film-making sector than their privileged counterparts. While the majority of respondents are aware of structural disadvantages, champion more inclusive forms of creativity and are committed to improving discriminatory working conditions, a small number of participants believe that the social relations of documentary film production are meritocratic, can be characterised by their celebration of neoliberal values and a willingness to defend the industry's employment practices. The article concludes with a series of recommendations for creative organisations, government and policymakers.

Not Your Model Minority

This roundtable offers a conversational case study of how a film retrospective on Asian American documentary filmmaker, producer, and activist Renee Tajima-Peña turned into a series of community care and coalition-building events, co-curated by precariously employed faculty at San José State University, California. The curators behind Not Your Model Minority: The Art and Activism of Renee Tajima-Peña had envisioned the retrospective as a way of showcasing Tajima-Pena’s hidden legacy, particularly the way in which her archival work in documentary practice connects the struggles of Asian Americans with African Americans and Latinx communities, essentially curating solidarity among aggrieved communities. Moved by the turn of events brought by the COVID-19 pandemic and the spike in anti-Asian violence unleashed by it, the curators remade the film retrospective into a deeply needed time-space for feminist-oriented communal sharing and caring, fostering acts of intersectional intimacy and promiscuous care.

The Kashmiri Pandits’ 1990s exodus: An interview with Siddhartha Gigoo

ABSTRACT In this interview, Indian multi-genre author and documentary film-maker Siddhartha Gigoo describes the alienation and trauma experienced by Kashmiri Pandits following their exodus from Kashmir in the 1990s. The interview explores the insurgency in Kashmir, which led to the exile of the Kashmiri Pandits, referring to his 2010 novel, The Garden of Solitude. Gigoo elaborates on the challenges faced by Kashmiri Pandits post-migration in an alien land, where they struggled for food and shelter in the camps and as one-room tenants while also bearing the traumatic past as a heavy load. He discusses the growing sense of insecurity which the Kashmiri Pandits endured as a disconcerting consequence of forced migration and genocide. Underscoring their silent trauma, which had a deep impact on their physical and mental health, he concludes that after 33 years of exile, Kashmiri Pandits still cling to the hope of returning to their homeland.