Documentary Filmmakers Handbook
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So I made sure that the women explained to their families what they were doing and how their footage would be used in my research. This Paper also cites both Pink Pink, S. Visual Methods in Social Research. London : Sage. Such practice will involve showing participants and allowing them to comment on images prior to wider publication or presentation Pink Pink, S.
The Future of Visual Anthropology.
Oxford : Routledge. I followed this principle in my own research by sending cuts of the film before completion for their comments and feedback. Pink Pink, S. Home Truths.
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Oxford : Berg. This is one of the benefits of participatory research as by operating their own cameras, the women themselves decided what to reveal about their lives. Another important ethical issue to be addressed was whether, and how, to compensate the women for sharing their lives on camera. It is customary in television documentary to pay contributors a small amount of money, sometimes significantly more if they have lost wages through having to take time off for the film.
Therefore, financial contributions are seen as an adjunct to the filmmaking process; contributors need to, and usually do, have other reasons for agreeing to be filmed. Remuneration has always been an issue for anthropologists, too. Barbash and Taylor identify another concern that anthropologists have with remuneration: They the subjects are providing a service for you, rather than continuing to live their lives as they otherwise might; they begin to wonder what services you want, what they should be doing for you, how they should act, what kinds of images or scenes you may be after.
Therefore you may want to compensate people only after the fact. London : University of California Press.
The documentary filmmakers handbook (Book, ) [cranisectosal.ga]
Financial compensation, itself, can also bring issues in developing countries. Rollwagen , 1 — New York : Harwood Academic. So before starting this research project, I sought advice from Meera Shenoy, the Sneha Praja Video project co-ordinator, and she suggested I paid the women the same amount they were given for working on that project so that is what I did. There may be a continuous flow of information and objects between the ethnographer and informants.
This might include the exchange of images, of ideas, emotional and practical exchanges and support, each of which are valued in different ways. Doing Visual Ethnography. I did in fact take pictures of my children and partner with me because I thought it important to share something from my own personal life with the women. After all, I was expecting them to allow me into their personal lives and was meeting their husbands and children. Indira was very interested to hear that I was divorced and wanted to know how I had managed to leave my husband; it was clear that she was in an unhappy marriage and her questions confirmed this.
The old adage, that a film is only as good as the relationship between the subject and the filmmaker usually holds true but it is also important to keep professional boundaries. I think it important to remember that the researcher and researched are in a working relationship. London : Routledge. Interestingly, the same is true for some forms of documentary production and this research project could be similarly assessed.
Crawford and D. Turton , — Manchester : Manchester University Press. One of the earliest recorded uses of participatory filmmaking was by the American documentarian, Robert J. Flaherty, who, while making Nanook of the North Flaherty, R.
Nanook of the North. The Odyssey of a Filmmaker. Urbana : University of Illinois. In the s, anthropologists Worth and Adair Worth, S. Through Navajo Eyes. Bloomington : Indiana University Press. Navajo Film Themselves. This example of participatory cinema was motivated, exclusively, by academic research interests; however, at the same time, other participatory work had a more political motive, such as helping indigenous people express their demands. Kenya Boran. Taylor , — Village Tales Sudbury, S. I discuss the reasons for this later in the article. I have used video diaries before in Britain when making a charity-funded video about families experiencing domestic violence Moving On, Sudbury, S.
Moving On. Richard Chalfen collaborated with Michael Rich, using a method called Video Intervention Assessment VIA a research method in which children and adolescents with a chronic medical condition are given the opportunity to create video diaries of their everyday lives with illness.
About The Documentary Filmmakers Handbook
Chalfen and Rich in Pink Pink, S. For this research project, I was keen to see if I could use this collaborative way of working with women in another culture, to explore their daily lives and allow them to reveal their inner thoughts and perhaps even emotions. For me, it was important that the women were in control of image production; individually they decided what to film and how to film it. However, when I asked the women if they would record video diaries it soon became clear that they were unfamiliar with this convention of using the camera like a personal diary. So I decided to ask them to talk straight to camera while I was still there and able to ask them questions about certain subjects.
I filmed them while they did this to pick up the necessary cutaways. Though the subjects the women talked about were in response to my questions, they had control over the main camera and would switch it off when they had nothing more they wanted to say. The technique meant that though they were always aware they were being recorded, they often appeared to forget my presence; their answers became soliloquys rather than the other half of a conversation Figure 3. Lathe recording a video diary interview. Waldman and J.
Walker , — Minneapolis : University of Minnesota Press. Inventions and distortions emerge; neither party remains the same. Turner and E. Bruner , — Urbana : University of Illinois Press. I made my presence known to the audience at the beginning of the film through the use of narration to set up the research and help the audience navigate the different filmic layers that my documentary consists of.
Like Probyn Probyn, E. Barbash and Taylor Barbash, I. A Passion for Difference. Oxford : Polity Press. Vinodha filming herself outside her house. It felt appropriate to ask the women to collaborate by self-shooting, as they then had total control over what to show and when to record.
Jennifer Fox similarly dismisses observational techniques as a method for capturing intimacy when talking about the making of Flying, Confessions of a Free Woman Fox, J. Flying: Confessions of a Free Woman. Fox Fox, J.