Documentary Production Research Articles

Animated Documentaries in Modern Cinematic Art: Specifics of Production

The purpose of the article is to analyze the peculiarities of animated documentary films’ production in the modern film process. It also aims to investigate the specifics of the combination of real facts and events with the animation of the storyline sequence in films, reveal modern animation techniques and the specifics of their combination with footage, determine their impact on the viewer, and identify the peculiarities of using storyboards for organizational and filming processes. Research methodology. It consists in applying of the following methods: theoretical-comparative – comparison of foreign animation-documentary films of the last century with modern ones; practical – disclosure of the peculiarities of work on “animadocs” and plagiarism in author’s and studio projects; analysis – the influence of audiovisual means of expression on the audience’s perception of animation style, sound accompaniment, and counterpoint in animated documentary cinema. Scientific novelty. For the first time the influence of stylistic features of animated documentaries on the viewers’ perception of the depicted events has been analyzed, the importance of using storyboards during the organizational and shooting process in Ukraine has been systematized, the main aspects of working with film dramaturgy have been revealed and the problems of using non-linear dramaturgy in animated films have been considered, the differences in story presentation between feature films and animated documentaries have been revealed. Conclusions. The peculiarities of animated documentary film production in the modern film process have been analyzed, the peculiarities of combining real facts and events with animation of the sequence of storylines in films have been investigated, and modern animation techniques and the peculiarities of their combination with film frames have been revealed, the specifics of film production and their impact on the viewer through audiovisual means of expression have been determined.

Perancangan Film Dokumenter “Parsan” Sebagai Apresiasi terhadap Sosok Parsan, Pelukis Poster Manual Bioskop Rajawali Purwokerto

As technology develops rapidly from era to era, who would have thought that there would still be people who maintain the traditional style in conveying their messages. Parsan, is a traditional poster painter at the Rajawali Cinema, Purwokerto, who has been dedicating himself as a film poster painter for decades. The planning of this documentary film is an effort to appreciate the figure of Parsan. Documentary Film is a film that contains data, facts and actual events about the life and daily life of Parsan, a 57 year old man at Rajawali Cinema Purwokerto which has been established since 1980. The research method used is a qualitative method with 5W+1H data analysis to determine the point of view and perspective used in the storyline. The stages of documentary film production start from research, data collection, data analysis, creating a story synopsis, writing a treatment script, production and then the editing process for the Parsan film. This research aims to design a documentary film that depicts Parsan's life, as the figure behind the manual film poster paintings at the Rajawali Cinema, Purwokerto. The film aims to be a medium for appreciation of the figure of Parsan, who so far not many people know about his dedication. This documentary film has been screened at several film festivals, one of which was nominated at the NETPAC-Jogja Asian Film Festival and received a screening contract with BioskopOnline.id.

دور الأفلام الوثائقية الفلسطينية في معالجة قضايا الأسرى والمعتقلين الفلسطينيين: دراسة تحليلية

This study aims to know the role of Palestinian documentaries in addressing the issues of Palestinian prisoners by identifying the most important producers and financiers of Palestinian documentaries, the most important topics they deal with in relation to the issues of Palestinian prisoners, the nature of the audience targeted by them, and ways to address the issues of Palestinian prisoners, in addition to Monitoring the elements of the image, the types of constructivism and the language used in the interviews in these films. It is a descriptive study that followed the method of content analysis of a group of 16 Palestinian documentaries dealing with prisoners' issues. The study reached a number of results, the most important of which is that those responsible for the production of Palestinian documentaries that deal with prisoners’ issues are mostly private companies or NGOs, at a rate of (64.7%), and that most of the topics covered by Palestinian documentaries that deal with prisoners’ issues are the ones related to (neglect). The medical prohibition of visiting prisoners) at a rate of (52.9%) for each, and in the second degree (methods of torture, nostalgia and longing for prisoners) at a rate of (41.2%). Which deals with prisoners' issues, uses both emotional and logical methods, and that the target audience is primarily the Arab public, with a percentage of (88.2%). The study recommended intensifying production and enhancing the role of government institutions in supporting and financing Palestinian documentaries, and the need to work on increasing documentaries dealing with issues of administrative detention, medical and scientific experiences on prisoners, migration after prison, forced deportation, and increasing Palestinian documentaries that address the global audience (foreign) in various international languages, and the need to spread a culture of interest in documentaries production among the Palestinian public, and that it is a culturally important industry, and helps spread facts. تهدف الدراسة إلى معرفة دور الأفلام الوثائقية الفلسطينية في معالجة قضايا الأسرى والمعتقلين الفلسطينيين من خلال التعرف إلى أهم الجهات المنتجة والممولة للأفلام الوثائقية الفلسطينية، وأهم الموضوعات التي تتناولها فيما يتعلق بقضايا الأسرى والمعتقلين الفلسطينيين، وطبيعة الجمهور الذي تستهدفه، وطرق معالجتها لقضاياهم، إضافة إلى رصد عناصر الصورة وأنواع البنائية واللغة المستخدمة في المقابلات في هذه الأفلام، وهي دراسة وصفية اتبعت منهج المسح، من خلال أدة استمارة تحليل المضمون لمجموعة من الأفلام الوثائقية الفلسطينية التي تتناول قضايا الأسرى والمعتقلين الفلسطينيين وبلغ عددها 16 فيلماً. وتوصلت الدراسة إلى مجموعة من النتائج أهمها أن القائمين على إنتاج الأفلام الوثائقية الفلسطينية التي تتناول قضايا الأسرى والمعتقلين الفلسطينيين معظمهم من الشركات الخاصة أو المؤسسات الأهلية وبنسبة (64.7%)، وأن أكثر الموضوعات التي تتناولها الأفلام الوثائقية الفلسطينية التي تتناول قضايا الأسرى والمعتقلين الفلسطينيين هي الموضوعات التي تتعلق في: (الإهمال الطبي، منع زيارة الأسرى) وبنسبة (52.9%) لكل منهما، وفي الدرجة الثانية (أساليب التعذيب، الحنين والاشتياق للأسرى) وبنسبة (41.2%)، أما موضوع الاعتقال الإداري فقد تم تداوله بشكل قليل بنسبة (11.8%)، وأن جميع الأفلام الوثائقية التي تتناول قضايا الأسرى والمعتقلين الفلسطينيين تستخدم الأساليب العاطفية والمنطقية معاً، وأن الجمهور المستهدف بالدرجة الأولى هو الجمهور العربي بنسبة (88.2%). أوصت الدراسة بتكثيف الإنتاج وتعزيز دور المؤسسات الحكومية في دعم الأفلام الوثائقية الفلسطينية وتمويلها، وضرورة العمل على زيادة الأفلام الوثائقية التي تتناول قضايا الاعتقال الإداري، والتجارب الطبية والعلمية على الأسرى، والهجرة بعد السجن، والإبعاد القسري، وزيادة الأفلام الوثائقية الفلسطينية التي تخاطب الجمهور العالمي (الأجنبي) بمختلف اللغات العالمية، وضرورة نشر ثقافة الاهتمام بإنتاج الأفلام الوثائقية لدى الجمهور الفلسطيني، وبأنها صناعة مهمة ثقافياً، وتساعد على نشر الحقائق.

Interview with APPLE Lecture Speaker Dr. Walt Wolfram

On March 3, 2023, the Studies in Applied Linguistics and TESOL (SALT) journal interviewed Dr. Walt Wolfram, an invited speaker for the 2023 APPLE Lecture Series hosted by the Applied Linguistics and TESOL Program at Teachers College, Columbia University.
 Walt Wolfram is William C. Friday Distinguished University Professor at North Carolina State University, where he also directs the Language and Life Project. He has pioneered research on social and ethnic dialects since the 1960s and published 23 books and more than 300 articles. Over the last two decades, he and his students have conducted more than 3,500 sociolinguistic interviews with residents of North Carolina and beyond. In addition to his research interests, Professor Wolfram is particularly interested in the application of sociolinguistic information to the public, including the production of television documentaries, the construction of museum exhibits, and the development of innovative formal and informal materials related to language diversity for different institutions. He has received numerous awards, including the North Carolina Award (the highest award given to a citizen of North Carolina), Caldwell Humanities Laureate from the NC Humanities Council, the Holladay Medal at NC State, the Board of Governor’s Holshouser Award for Excellence in Public Service, and the Linguistics, Language and the Public Award from the Linguistic Society of America. He has been inducted into the American Academy of Arts & Sciences and served as President of the Linguistic Society of America, the American Dialect Society, and the Southeastern Conference on Linguistics. We thank Dr. Wolfram for his participation in this interview.

Messy Knowledge-Making with Korsakow

This paper explores interactive documentary production's power dynamics and knowledge-making practices through the ethnographic case study of Christoph, a white media scientist and trained film editor from a Western European country. Christoph's research project, conducted as part of an international and multidisciplinary team, dealt with discourses surrounding a specific restitution case in an African country. The study focuses on Christoph's use of the Korsakow software to create an interactive documentary, examining the complexities he encountered in the field and his efforts to represent them in a powercritical manner. Throughout the production process, Christoph attempted to address power relations by making himself visible in the documentary and ensuring that his authorial influence remained minimal during the film's assembly. He employed a two-fold strategy that included acquiring shaky footage without a tripod and utilizing materials that might be deemed unusable in traditional production environments. Christoph's use of Korsakow as a tool for assembling his interactive documentary served to represent the complexities he found in the field. Despite Christoph's powercritical aspirations, he acknowledged the potential bias inherent in the keywording process, stressing the importance of actively pursuing powercritique as a practice. Korsakow, as an interactive and nonlinear tool, offered an experimental environment in which Christoph could explore alternative ways of filmmaking and knowledge-making. This environment facilitated the development of open, complex, and messy practices, challenging conventional filmmaking norms. This case study raises questions about the knowledge-making practices found in interactive documentaries and how they can inform visual research methodologies. Further research may delve into the methodological implications of these findings and the potential for interactive documentary software to serve as a laboratory for experimental filmmaking practices. By examining Christoph's use of Korsakow and his efforts to navigate power dynamics in creating an interactive documentary, this paper contributes to the broader understanding of knowledge-making in non-linear and interactive film environments.

The Impact of Documentaries: The Image of Hsiung-nu in Chinese Documentaries

As a powerful supporter of mass media communication, documentary films bear a deeper social or historical responsibility than fictional images. However, historical documentaries run the risk of not being able to take on too much responsibility due to the spatial and temporal interval, for example, the comments under the documentaries on some platforms will reveal that the Hsiung-nu documentaries have not fully succeeded in guiding spectators to think about historical events with a dialectical attitude. This paper considers the causes of the biased evaluation of Hsiung-nu by the Chinese public from the perspective of documentary ontology and social factors. It concludes that ontological quality and multiple social responsibilities have stretched public trust in historical documentaries beyond their capacity; the factors like historical dilemmas, political demands, and the documentary production process make the Hsiung-nu non-objectively restored in some documentaries, leading the Chinese public away from a sufficiently dialectical view of the past. The re-examination and analysis in this paper are conducive to promoting the pursuit of realism among documentary filmmakers and cultivating dialectical thinking among spectators in documentary viewing.

Precarious Sociality, Ethics and Politics: French Documentary Cinema in the Early Twenty-First Century. By Audrey Evrard

This book aims to showcase and analyse a wide range of French social and auteur documentaries from the past two decades that focus on ‘precarious subjects’: people who are in one way or another confronted by the damage inflicted on ‘resources, bodies, and time’ by late-stage capitalism (pp. 107, 13). It is, of course, a book about film, and it is also a book about the effects of globalization on workplaces and workers in metropolitan France. A central contention of the argument is that the work that documentary filmmakers have been doing to chronicle the human consequences of the changing workplace is a praxis of solidarity, of community-building, of ethical resistance. As the book reveals, the filmmakers discussed — consistently engaged on the side of the workers — have not necessarily been working in the same mode as earlier practitioners of militant cinema. Instead, they use an innovative collection of new documentary forms to bear witness, express care, and resist the ‘dissolution, dislocation and disjunction’ that lead to precarious forms of existence (p. 15). This book does not aim to present a general overview of documentary production in France over the past two decades; instead, it offers the lens of precarity as ‘one suggested entry point among many more available’ into a vast and expansive archive (p. 22). It is organized into chapters that share a central thematic concern (vanishing factories; migrant labour in the shipyards and the cleaning industry; filmmakers’ homecomings to post-industrial towns; workplace suffering; and journeys around rural France) as well as some commonalities in documentary approach and praxis. A wide variety of filmmakers, both well-known and emerging, are showcased here. This is one of the book’s important strengths: in addition to providing new takes on a few of the more familiar works, it also offers an initiation to many films that readers will be eager to discover after reading Audrey Evrard’s fulsome descriptions and carefully articulated analyses. Clearly demonstrating a wide-ranging knowledge of French documentary and its history, Evrard effortlessly draws out useful echoes with, and distinctions from, earlier periods and documentary practices, including worker films from the 1930s and militant films from the 1960s through the 1980s. Whether or not readers are persuaded by all of the book’s critical claims, they will likely be compelled by the central thread: these films’ consistent attention to the voices and experiences of individuals from all walks of life, to the pain and shared humanity of their subjects. Of great interest, as well, is the attention to ethics, and particularly the ethics of care in documentaries (also the focus of Ethics of Care in Documentary Filmmaking since 1968, a recent issue of French Screen Studies ed. by Grace An and Catherine Witt (2022)). If occasionally the throughline temporarily seems to digress via its simultaneous engagement with multiple theoretical strands, most of the book reads tightly and fluidly, with a clear focus on its central concerns. Overall, Evrard’s book is a welcome addition to a growing body of English-language scholarship devoted to recent French documentary production.

Shama, an insider looking in: a community-centred collaborative documentary production

ABSTRACT In this article, we analyse and reflect on the complex interweaving of documentary strategies and the five levels of performance that we designed in a small-scale community-centred collaborative documentary project entitled Shama. Shama Ethnic Women’s Trust is one of the first NGOs in New Zealand established and run by ethnic migrant women for ethnic women and their families. Applying a filmmaking-as-research methodology, the project’s aim was to respond to the scarcity of screen representation of ethnic NGOs. The purpose was not only to convey information about Shama’s activities and services but also to convey a sense of the internal culture of the NGO and its community spirit. The portrayal of minority groups in community production often leads to an outsider-looking-down approach. We felt that providing an insider view was more important than simply conveying the facts efficiently about the organisation. This goal led us to apply a collaborative documentary practice, avoid an expository style, characterised by a single authoritative voice, and opt for a mix of performative and observational strategies, in which multiple voices and modes of address are featured. By shifting modes of address, we explored the ways in which a short, no-budget documentary could represent the complexity of this NGO.

New Journalism in Documentary Script Writing

The authoring of documentary scripts is frequently overlooked when judging a documentary’s quality. This could be because the documentary script is regarded as merely a tool that has little impact on the final output of the film. Documentaries in Malaysia are considered as sluggish, with a “soft culture” approach to documentary production, despite the fact that the world of documentary production has evolved to a “dramatic entertainment” approach. Researchers propose a literary device-based writing style called as New Journalism as a possible option for documentary writers across the country. In comparison to traditional types of writing, this style combines factual and fictional writing to produce literature that is more creative, new, and alive. It is intended that by using a new type of journalism to write documentary scripts, scriptwriters will modify their approach to producing works, resulting in documentaries that are more skilful, competitive, and relevant to the demands of today’s audience.

Producing Indigenous Media

AbstractThe following dialogue—with Indigenous filmmakers and anthropologists Dr. Angelo Baca (Diné/Hopi), Teresa Martinez‐Chavez (Zapotec), Dr. Teresa Montoya (Diné), and Dr. Ikaika Ramones (Kanaka ʻŌiwi)—charts the ethical protocols and decisions undertaken in the production of documentary films with and within Indigenous communities. These films underscore the significance of prioritizing culturally specific protocols about knowledge production and its attendant impacts on media circulation. Each filmmaker considers the broader colonial legacies that have shaped various representations of Indigenous life and what refusing certain media conventions, such as digital distribution, might mean for theorizing Indigenous media practices in broader anticolonial frameworks.

Audiovisual Warfare: Music and International Persuasion in Documentary Films during the Spanish Civil War

AbstractDuring the Spanish Civil War, cinema became one of the most powerful weapons of propaganda. The music of the films, full of anthems and political references, was an essential tool for displaying the documentary's intentions and for influencing spectators’ reactions. Between 1936 and 1939, there was a surge in the production of documentaries targeting international audiences, as they were an invaluable resource for engaging the European countries that had signed the Non-Intervention Agreement against involvement in the Spanish conflict. The objective of this article is to analyse the music of the documentaries set in Spain that were exhibited internationally during the years of the war. We will study the politically tendentious uses of anthems and popular songs on the soundtracks, as well as the importance of the figure of the composer – for those documentaries with original music – attending to the social and political circumstances surrounding their participation in the production.

Proposed basic timetables for expedited arbitration

Abstract This article sets out two basic procedural timetables for the hearing of arbitration within 6 months after the constitution of the Tribunal and rendering of an award within 30 days thereafter. Two of the key complaints about international arbitration relate to time and costs. In the author’s view, these can be addressed by moving away from what have become the default timetables for international commercial arbitration. In this respect, the most obvious issue is the 2-month documentary production period. However, that is not the only issue, and documentary production has a role in arbitration. Another issue relates to expert evidence. A further issue relates to defining the issues and having input from the Tribunal regarding the issues prior to the evidentiary hearing. Yet another issue relates to the conduct of the evidentiary hearing itself. And a final issue is the time to finalize the Award. These expedited procedural timetables are based on the adversarial rather than the inquisitorial approach, although with the active participation of the Tribunal in the evidentiary hearing. They are intended to be used for mid-sized or larger arbitrations with a three-member Tribunal, although they could be used for smaller arbitrations or with a Sole Arbitrator.

Aural Authenticity and Reality in Soundscape of VR Documentary

The documentary concept is a 'notoriously slippery eel,' or even the slipperiest one in the history of cinema (Kahana, 2016). With the involvement of virtual reality in the production of documentaries, the dialectic between virtuality and authenticity makes this concept even more elusive. Does documentary exist in VR films? When the spaces and mise-en-scène of the documentary are all artificially created through computing software, can it still be considered an authentic form of a documentary? How can this sub-genre of documentary continue to exist as a kind of proclaimed ‘non-fiction’ when the film is based entirely on fictional visual input? This paper aims to put the discussion on visual realities aside and provides a perspective for understanding how real auditory characteristics are built up in virtual environments (VE) of virtual reality documentaries. We develop this argument in three parts. In the first part, we define a virtual reality documentary and distinguish it from other virtual reality films based on Bill Nichols’s analysis of the boundary between traditional documentary and other types of films. Then, we describe the design and implementation of the aural simulation systems with HRTF (Head-Related Transfer Function) in virtual reality documentary sound design to illustrate how it could reproduce realistic physical hearing for viewers. In the final part, we explore the concept of ‘soundscape’ as it applies to VR documentaries, attempting to show that the sense of authenticity in the audition is related to generating the genius loci (spirit of place) of the viewers based on the case analysis of Anne Frank House VR. Such a spirit of place is embedded in the hearing experience of those who experienced it.

КіноСковорода: кінематографічна актуалізація біографії

The article concerns the relevance of the issue of genre heredity between literature and cinema. The cinematography actively turned to the genre of biography even in the first decades of its development, in the era of the silents. It did not disappear from the view of cinematographers throughout the 20th century. Recently, this genre has been activated both in cinema and on television, which increased the interest of researchers. Hence, the receptive problematics of the Ukrainian philosopher, theologian, poet and teacher Hryhorii Skovoroda’s biography (1722–1794) is analysed in the cinematographic discourse. It was noticed that the figure of the outstanding philosopher did not attract the proper attention of cinematographers either in Soviet period (only one feature film and one documentary film were shot) or in the time of Ukraine’s Independence. However, even those few films only partially represent the “Ukrainian Socrates” to the viewer. It is stated that documentary production, in contrast to the feature films, is represented by a number of films about Hryhorii Skovoroda, which, of course, differ in their quality and creative potential. However, having an aesthetic and cognitive value, they all present a certain way of processing biographical material (letters, memories, stories of contemporaries), his writings and creative works (philosophical, literary, musical works) and perform an important function of popularizing this outstanding personality and his creative heritage. It is concluded that the cinematographic actualization of the philosopher’s biography and works in recent decades is due to the new historical situation, to the desire to perceive his legacy in a new light, to debunk the existing biographical myths. Skovoroda’s philosophical ideas not only remain relevant in the 21st century, but also appear as markers of Ukrainian identity in the modern reality.

임득의 장군 유적 활용의 현황과 과제

Several research papers have been published in Korean literature and folklore about the “Rebellion of Lee Mong-Hak,” which was suppressed for Cheongnan-Gongsin, including General Lim Deuk-Euy, but research on General Lim Deuk-Euy has not been conducted academically.
 After Lim Deuk-Euy portrait was donated to the Chungnam History Museum, basic research on the Cheongnan-Gongsin was conducted, including a special exhibition in 2007 and a history documentary production (Daejeon KBS) in 2008 and an academic research service for Lim Deuk-Euy general cemetery maintenance (Hongseong-gun).
 However, there was no in-depth academic paper. In 2015, there was a simple research presentation data, and in 2017, a degree thesis and academic thesis were published by Lim Soon-hwan, a descendant of General Lim Deuk Euy In addition, General Lim Deuk-Euy appearance in the academic world is only one example of the “Portrait of Lim Deuk-Euy” among dozens or 100 portraits of the research subjects in the art history field studying portraits (Gongsinsang) of the Joseon Dynasty.
 This paper introduces the ruins related to General Lim Deuk-Euy by period or connection, followed by how the remains of Hongseong area (Seoboo-myeon) have been preserved and maintained and developed since the 2000s. And it is a simple suggestion on how to proceed to utilize the remains of Lim Deuk-Euy general in the future.

Corona Haikus

When I moved from linear documentary production to the newly emerging field of interactive storytelling in early 2000, I was excited by the potentialities of the Web, especially the possibility of co-creation in factual storytelling. Looking back, I can clearly see that what attracted me was the exploration of how factual narratives could make use of two unique affordances of digital media: user agency and interactivity. More than twenty years later, I am still experimenting with ways to use interactivity to facilitate co-creation of reality and move away from the representational tendency of linear documentaries (Gaudenzi 2013). In this paper, I will use the Corona Haikus project (2020) to question the current understanding of user agency in participatory interactive narratives. I have chosen such project because I have personally been involved in it as a co-author, but also as a participant, and therefore I have both co-designed its user’s agency, and experienced it as a user. I will argue that agency in interactive documentary (i-doc) should be considered as a space of user empowerment that does not always have to affect the interactive narrative itself, because it can also be placed outside of the narrated story. The Corona Haikus example will be used to demonstrate that, in participatory narratives, deep individual and societal impact can be designed by mixing different types of mini-agencies and by orchestrating them as a journey of empowerment that is gradual and evolutive. Reflexive and evolutive agencies will be defined and presented as new ways to approach impact design in interactive narratives.

Co-creative practice reconciling theory and practice in tertiary student documentary production

ABSTRACT Accommodating theory and practice is a significant pedagogical challenge for screen programmes in higher education. Integrating theory and practice within the pedagogy of documentary screen production raises specific issues related to its ethical obligations and social change remit. Designing screen studies programmes that effectively support students to become critically aware and reflexive practitioners requires historical and theoretical knowledge to underpin and inform production skillsets [Wayne 2003. “Reflections on Pedagogy.” Journal of Media Practice 4 (1): 55–61; de Jong 2006. “From ‘Doing’ to ‘Knowing What You are Doing’: Kolb's Learning Theory in Teaching Documentary Practice.” Journal of Media Practice 7 (2): 151–158]. Prompted by the reaccreditation of our degree, this article critically reflects on the suite of practice and theory-based units that collectively strengthen student understanding and skillsets in factual screen storytelling. Mezirow’ three forms of reflection are framed within Kreber and Cranton’s scholarship of teaching model, to guide reflection on curriculum, pedagogy and three student documentaries as exemplars of aspirational learning outcomes. Our reflections identify how co-creative processes embedded in a spiral curriculum course structure supports opportunities for students to innovate fundamentals of praxis within a community of practice.

Digital Curation and Contemporary Documentary Filmmaking

AbstractDocumentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.

Getting Real

FQ contributing editor Brian Hu interviews Grace Lee about her distinctive brand of first-person nonfiction filmmaking, suggesting that her insider-outsider perspective has made her a unique yet exemplary voice in Asian American cinema. At the same time, Lee’s career challenges an auteurist framework to instead emphasize the institutional practices that shape film production and reception. What makes Grace Lee a pivotal author in Asian American documentary isn’t just her significant body of films, but also her vision in seeing documentary production as a form of institution building

Política de preservación de documentos digitales: análisis de la estructura y la propuesta de un procedimiento operativo

This article includes a compilation of guidelines from national and international institutions on the development of digital preservation policies. The proposals presented are the result of practical actions developed by the agencies in implementing digital preservation actions. The development of effective practices requires a prior planning and structuring process, which are currently defined in the digital preservation policies, documents that include a set of guidelines and commitments to be assumed by the institutions, ensuring investments and support from senior management and engagement of members involved in the production of documentaries. After the analysis carried out, an operational procedure related to the development of the digital preservation policy directed to Higher Education Institutions is presented. The conception of this procedure is to guide the institutions on the way forward, aiming to minimize efforts in the planning stage of actions for the preservation of digital documents. .