Documentary Work Research Articles

La química en el contexto de la inclusión de personas con discapacidad cognitiva Chemistry in the context of inclusion of people with cognitive disabilities Química no contexto da inclusão de pessoascomdeficiência cognitiva

The objective of this work is to explore the contribution of chemistry didactics in the teaching-learning of this subject in students with cognitive disabilities. It is a documentary work that aims to know what are the lines of research in which the publications found are framed and that relate the teaching of chemistry with inclusion, specifically for this population. To classify the documents found, the one suggested by Carriazo and Saavedra (2004) is taken as a basis. It should be noted that the results found are few

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.

Implementasi Tangga Dramatik Dalam Dokumenter “Dua Sisi” Edisi “Kami Dan Rumah Singgah Kebaya”

HIV or Human Immunodeficiency Virus is a type of virus that infects white blood cells which causes a decrease in human immunity. It had established a Rumah Singgah Kebaya. It is a non-governmental organization (NGO) in Yogyakarta that cares to HIV/AIDS patient. The NGO presents as a transgender empowerment center that provides shelter and assistance for People with HIV/AIDS (ODHA). In order to make visual documentary of the NGO, it was decided to create a television documentary program entitled "Dua Sisi" Edition of "Kami dan Rumah Singgah Kebaya". The methods used in the creation of this television documentary work are research methods, field observations, interviews with source persons, as well as television documentaries. This documentary applies the four stages of Aristotle's dramatic structure and to attract the attention of the audience through the dramatics implemented in the script so it is not monotonous. The dramatic structure has four stages as follows: Protasis Stage, Epitasio Stage, Catastasis Stage, and Catastrophe Stage. The type of this documentary work is a portrait documentary and its duration is about 22 minutes 35 seconds. Based on the analysis, it can be concluded that the dramatic structure is successfully implemented in the creation of this television documentary “Dua Sisi” Edisi “Kami dan Rumah Singgah Kebaya”.

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.

한국 독립 다큐멘터리 영화의 역사의식 제4단계에 대한 고찰 －사회갈등과 통합의 역학관계를 중심으로

This paper aims to redefine Korean independent documentary films as historical documentaries and explore their historical consciousness. To achieve this, Agnes Heller’s theory of historical consciousness stages was applied, and various independent documentary works were analyzed, classified by era, theme, and style, to meticulously delineate the historical consciousness of Korean independent documentary films into four stages. In the first stage, ‘General History’was transformed into ‘People’s History’, while the second stage reexamined ‘Grassroots History.’The significance of ‘Reflective Self and Historical Interpretation’was sought in the third stage, and the meaning of ‘Historical Participation and Action from Below’was found in the fourth stage. Through this process, the identity of Korean independent documentary films was further expanded into historical documentaries, laying the groundwork for diverse historical discussions. Consequently, Korean independent documentary films now offer opportunities for deeper understanding and exploration of historical aspects.

For an Anarchist Decolonial Agenda: New Perspectives on Anarchism, Marronage, and Indigeneity from Brazil/Pindorama

AbstractThis paper proposes new perspectives on anarchism, indigeneity, and Afro‐descendent struggles, by discussing the case of Brazilian anarchists’ commitment to luta afroindígena. They mean by this term the intersection of indigenous and Afro‐descendant resistances for the recognition of land, against the violence of states, agribusiness, and extractivism. I argue that this case offers key insights to radical geographies, and to the broader field of decolonial scholarship, to challenge cultural and racial essentialisms by connecting different militant traditions. I also argue that, taking inspiration from indigenous thought and socio‐territorial practices of broader Latin American social movements, these cases enhance decolonial bids for “decolonising methodologies” by showing the importance of starting from practices before theory. My arguments are based on documentary work on past and present relations between anarchism and decoloniality in Latin America/Abya Yala, on personal militant work in Brazil/Pindorama, and on a sample of qualitative interviews with activists.

Encountering Mudi Yahaya’s Nina Fischer-Stephan’s Respectful Gaze in Lagos

ABSTRACT Mudi Yahaya’s film Nina Fischer-Stephan’s Respectful Gaze (2022) is a reconstruction of Nigerian history presented through a meta-representational forcefield of images. The film is a documentary work that explores the resurgent vitality of the German photographer’s archive from the early 1960s. In the Nigerian context, this film explores how forms of historical mediality are conditioned by a multiplicity of aesthetic and creative modes that strengthen the power of moving images to document historical memory. Drawing on social media archives such as the Nigerian Nostalgia Project, a Facebook account where Fischer-Stephan’s historical photographs circulate, I examine the ways in which the film engages the critic in reading a film derived from photographic texts that have been mediated in multiple ways.

Tapping on Collective National Trauma

Tapping on Collective National Trauma

Walking With A Camera

In his work, the author primarily focuses on the urban landscape and its impacts on human life. His entire documentary work is linked by a unified authorial idea. In the “Jungle City” cycle, he works with the visual counterpart of the current form of the Bratislava metropolis, full of transportation routes, dense modern development, and concrete surfaces. The means to create unexpected views of the city for him are carefully selected locations on the urban peripheries surrounded by dense vegetation – trees and wild grasses. He thus achieves a completely new view of Bratislava, in which it returns to the wilderness. The project “Quiet Sunday Afternoons in the Town by the Refinery” is the author’s reflection on the impacts of industry in the rural surroundings. The focal point is the technical structure of an oil factory, which covers a significant part of an otherwise tranquil landscape of a small Austrian town. However, through austere visual expression, Korček delivers an urgent message about the adverse impact of the factory on the ecosystem. As part of the series “Here Is Our Paradise”, which unifies the theme of lawns and trees, Korček addresses the disruption of the stereotype of urban housing estates through the small self-help interventions of their residents. While walking with a camera, he supplements these plants with various found mixtures of folk interventions placed in front of panel buildings. In the “Searching” series, he adopts the position of an observer of urban movement, consisting of figures of pedestrians in narrow rays of the low-lying sun. This time he works in the environment of New York, but unlike the previous series, he does not specify this location, only utilizing its elemental potential. Korček does not work with photographic effects; he fully utilizes the poetics of the chosen locations. He skillfully works with perspective, multiple plans, or the selection of a location. Through their specific combination, he succeeds in creating authentic images of the location, in which we still find a lot of personal fantasy.

Photography between Publicity and Politics

Georgina Karvellas was one of the few women photographers documenting apartheid South Africa for several decades. She produced work for the fashion and music sector next to striking documentary work with a clear stance against the government’s segregationist policy. Inscribing Karvellas into the histories of photography, film and art, this article highlights the intersections of her work between commercial and political photography as well as between issues of gender, race and class through a careful reading of the various frameworks into which it has been placed and the reasons for them. As she worked at a time when the freedom of movement of South Africa’s majority population was severely restricted, a particular focus is on Karvellas’s transnational approach and the question to what extent her choice of commercial photography might have closed doors for her, such as inclusion in the artistic canon, while giving her greater freedom in crossing borders.

La integración de conocimientos teórico-prácticos desde la experiencia de profesionales del Trabajo Social en la formación del estudiantado a través de metodologías activas y participativas

In undergraduate studies in social work, a series of competency objectives related to the theoretical, methodological and attitudinal knowledge contemplated in the discipline’s educational curriculum are established, as set out in the White Paper on the Degree in Social Work. The incorporation of active and participative methodologies in the teaching-learning processes favours student acquisition of these contents. Likewise, in the teaching-learning processes, the use of didactic resources that connect theoretical knowledge with the exercise of professional practice favours student understanding of the curricular subjects. This study aims to analyse the impact that theory has on social intervention for active social workers in order to create theoretical-practical content for the subject of Introduction to Social Work Models at the University of Granada. The methodology applied incorporates documentary work and the development of three discussion groups, in which 18 active social work professionals participated. The analysis of the speeches generated in these groups has served as a resource for the development of a flipped-classroom with students taking the Introduction to Social Work Models course at the University of Granada. The analysis has been conducted around three categories: the value of theory in professional practice; roles, purposes and theoretical models underlying social work; and the social work of the future. The results show how social work professionals attach great importance to theory as a guide in their professional practice, preferably approaching it from systemic and humanist theoretical models and opting for the recovery of community and critical-transformative theoretical approaches.

Pengembangan Ide Kreatif dalam Produksi Dokumenter Televisi “Ruang Asa: Kisah Difabel Kulon Progo, Sang Penggugah Harapan”

Disability according to the World Health Organization (WHO) is a loss or abnormality whether it is physiological, psychological, or an abnormality of anatomical structure or function. This documentary work tells the story of a person with physical disabilities from Sidorejo Village, Lendah, Kulon Progo, namely Wahyu Adi Nugroho who lives with great hope and enthusiasm so that he can benefit the environment around him. Nugroho is the only hamlet in the Special Region of Yogyakarta with disabilities. The writer as a producer aims to eliminate discrimination and society's stigma against people with disabilities, inspire people with disabilities, and encourage the government to realize an inclusive Indonesia through the creation of a television documentary entitled Development of Creative Ideas in the Production of Television Documentary “Ruang Asa: The Story Of Kulon Progo Diffability, Invoking Hope”. Through observation, interviews, and documentation the authors develop creative ideas in accordance with the theory, namely an idea that has developed which results in innovation. The author applies the concept of expository-style portrait documentary, gender-different narrator, detailed subtitles, and motion graphics to clarify specific information in the documentary. Through the implementation of the development of creative ideas by the writer as a producer, he has implemented the development of creative ideas that are inspiring, educative, and entertaining.

Pendekatan Subjek pada Produksi Program Dokumenter Televisi Bingkai Inspirasi Edisi “Menerjang Batas, Sang Disabilitas”

The creation of television documentary production “Bingkai Inspirasi” edition of “Menerjang Batas, Sang Disabilitas” was motivated by a sense of concern for people with disabilities who are often considered helpless and marginalized from social interactions in society. Triyono is an empowered person with disabilities who succeeded in building Difa Bike, an online motorbike taxi specifically for disabilities to help accessibility of transportation for people with disabilities. The author used observation and interview methods to collect data related to Triyono's life story. To support more in-depth data collection, the author also took a subject approach to the sources persons by combining interpersonal communication and non-verbal communication, through persuasive techniques and passive participant observation. The subject approach to the source persons aims to generate emotional closeness, so that the source persons is more comfortable and confident in telling their life story. The subject approach was successfully applied at every stage of production, thus resulting in a portrait documentary work with a story line, and an interesting visual combination. This work could inspire, motivate and arouse the hearts of the audience.

Radical understanding: reflections on knowledge production, power, positionality, and practices of refusal within academic research

By looking at scholarly research as well as my own experience of practicing refusal in my research and documentary work, this article focuses on how refusal practices can challenge dominant methods of knowledge production and lead to what I want to conceptualize in this paper as radical understanding; a way of practicing and relating to research otherwise. I propose radical understanding as methodological and epistemological tool to contest the imperialist and capitalist -dominant machinery of knowledge production.

Presentation of Chinese Rural Society in Documentary Films on Rural Revitalization: An Analysis

On January 1, 2011, in order to promote a better global understanding of China, China Central Television’s Documentary Channel began broadcasting 24 hours a day worldwide. With the launch of the documentary channel, documentaries officially entered the field of vision of ordinary Chinese citizens, serving as a medium to record the lives of the Chinese populace and presenting their authentic everyday lives and personal stories to the world. This also left behind precious social memories in the rapidly developing China (Wu Haili, 2013). As an agricultural powerhouse, rural areas constitute a significant component of Chinese society, retaining rich historical and cultural traditions. Farmers carry immense spiritual strength and touching narratives, prompting numerous socially responsible documentary filmmakers to turn their cameras towards China’s countryside and its people. This effort has led to the creation of a substantial number of outstanding documentary films centered on Chinese rural themes. Chinese rural-themed documentary films have emerged as prime artistic samples reflecting rural societal conditions and transformations. This paper focuses on the rural society portrayed in documentary films with rural themes and analyzes how these films depict various aspects of China’s rural society, such as economic production, living environment, education, and employment, within the context of rural revitalization documentaries. Through the analysis and examination of this theme, the paper elucidates the genuine face of China’s rural society and its monumental changes depicted in these documentary films, providing a comprehensive perspective and a macroscopic view for the creation of related documentary works (Mao Yurong, 2022).

Water sustainability expectations in the face of COVD-19

The objective of this work lies in the modeling of the psychology of sustainability understood as a paradigm of knowledge, explanation and prediction of behavior in risk scenarios and contingent situations, but with a propensity for the future. A documentary work was carried out with a selection of sources indexed to international repositories, considering the keywords, as well as the publication period from 2019 to 2022. The specification of the model shows three axes of research developed from the inter and multidisciplinary, but with a clear hegemony of studies oriented from positive psychology; well-being, satisfaction and happiness, although other factors can be included considering other subdisciplines such as health, educational or social psychology.

PECULIARITIES OF IMAGE MODELING OF KYIVAN RUS PRINCES IN "THE LEGENDS OF THE OLD KYIV" BY NATALENA KOROLEVA

The article focuses on the collection of texts "The Legends of the Old Kyiv", where Natalena Koroleva rethought the history of Kyivan Rus turning it into a metahistory and synthesizing the historical past of the Ukrainian people, myths and legends. The author also refers to the literary sources of her predecessors (especially to "The Tale of Bygone Years") forming a kind of intertextual space. The reader doesn’t deal with a documentary work but an artistic one with an original interpretation of events and their participants within three thematic groups (Scythian legends, legends of Kyivan Rus and legends related to the Kyiv-Pechersk Monastery). However, the last two legends fall out of context: about Samson's well in Kyiv and the birth of the Count Charles St. Germain, a friend of Voltaire ("Appearing Water", "Godson of Pope Ivan"). Modeling the images of prominent statesmen Natalena Koroleva only partially goes beyond the traditional vision, and also resorts to folklore stylization. Prominent figures of Prince Volodymyr and Princess Olha, Prince Yaroslav the Wise and his wife Iryna, Princes Askold and Mstyslav, son of Volodymyr Monomakh, Princess Lybid appear on the pages of the collection. The writer restores the European "face" of the Ukrainian nation intertwining different cultural codes including ancient Ukrainian and European ones. In the literary chronotope "The Legends of Old Kyiv", the adoption of Christianity becomes a point of bifurcation that opened up new opportunities for the Ukrainian medieval state. That is why a strong emphasis is placed on the stories of the Christianization of Rus, the construction of churches: the Christianization of Prince Volodymyr and Princess Olha ("Volodymyr's Silver", "Shynkarivna"), the idea to build St. Sophia's Cathedral by Prince Yaroslav the Wise ("The Curse of Perun"), the zealous struggle for the Christianization of Prince Askold and the construction of the Mykolaiv Church ("Askold's grave").

Penerapan Color Grading dalam Proses Editing Program Dokumenter “Doctive Persona”

The development of digital television technology was also followed by the rapid growth of audio-visual media including YouTube, Netflix, Instagram, Tiktok and many other digital platforms. Programs that present information and entertainment include documentaries. The author produces a documentary biography of an artist engaged in puppets or dolls. One of the things that can improve video in editing is color grading. When observing documentary works, there are several works that ignore the application of color grading resulting in color jumping. The purpose of creating this production work is to apply color grading techniques using basic correction, color wheels and HSL Secondary. The results of the analysis show that basic correction techniques are used to maintain white balance, exposure, contrast, highlights, shadows, blacks, and saturation in images so that they have balance and continuity between images. Furthermore, the application of color wheels is applied to create the mood or atmosphere that the story wants to build so that it can add dramatic and aesthetic elements to the documentary. Then HSL Secondary is applied using a circle of color elements and a luma slider so that the skin tone or skin tone of the sources and talents looks more real and comfortable for the audience to see.

Cenotaph and Tumulus – Ethics and Memory. The Micronovel Dora Bruder by Patrick Modiano and the Fiction of Herta Müller

"The present study approaches the micro-novel Dora Bruder by Patrick Modiano from the perspective of memory (and post-memory) which, through documentary work, restores the identity of the victims definitively annulled by the Nazi regime (victims who have no grave). Our hypothesis is that Modiano is building a literary cenotaph for Dora Bruder. For her part, Herta Müller tries, in at least two of her novels (The Land of Green Plums and The Appointment), to build for the victims of the Securitate (the Political Police in Communist Romania, during the neo-Stalinist regime under Nicolae Ceaușescu), a memorial, a literary tumulus. In this case, it is about victims who have a grave, but the author is building a second grave from an ethical point of view."

Литературные портреты М. А. Врубеля и М. А. Булгакова в творчестве К. Г. Паустовского

The study aims to identify the specifics of the individual style of the Russian Soviet writer K. G. Paustovsky demonstrated by him in the process of recreating literary portraits of his contemporaries, the geniuses of the Silver Age – the Russian painter, modernist artist M. А. Vrubel and the outstanding playwright, mystic of the last century M. А. Bulgakov. The scientific novelty of the paper is accounted for by the authors’ attempt to identify the psychological techniques and language markers used by the writer to recreate the literary portraits of his heroes, contemporaries – the “messenger of other worlds” M. A. Vrubel and the talented master of the printed word M. A. Bulgakov, to analyse the origins of their talent and to assess the artistic heritage of the geniuses from the writer’s point of view by examining K. G. Paustovsky’s fiction documentary works. As a result of the study, it has been proved that in order to recreate the literary portraits of M. A. Vrubel and M. A. Bulgakov, K. G. Paustovsky employs the artistic visual-expressive power of describing the details of their appearance, way of talking, features of their creative work. For these purposes, the writer uses colour vocabulary, which helps him communicate his own fleeting impressions of interacting with the geniuses, shed light on certain psychological features of his literary characters, recreate their personalities, convey a complex range of feelings, experiences and anxiety from situations or events important for them, try to provide insight into the nature of their talent.