This handbook is intended for those wanting to use documentary filmmaking as a research method to explore subjects and also as a way of expressing ideas. Its focus is practical rather than technical, aiming to complement the many handbooks that already exist covering filmmaking, digital videography, sound recording and video editing. It concentrates on aspects of filmmaking for research purposes at an introductory level that are not so well documented elsewhere, such as the practical stages involved in the production of an ethnographic film. The underlying principal of this handbook is to broaden the application of ethnographic filmmaking to suit a wide range of research areas and documentary expression, encompassing sensory, fictive, observational, participatory, reflexive, performative and immersive modes of storytelling. I have chosen to avoid detailed discussion of technology as this dates quickly. This handbook aims to assist individuals in their personalised searches using online facilities to develop research methods and also teaching, by decoding technical terminology and explaining filmmaking workflows.
Precarious objects is a book about activism and design. The context is the changes in work and employment from permanent to precarious arrangements in the twenty-first century in Italy. The book presents design interventions that address precarity as a defuturing force affecting political, social and material conditions. Precarious objects shows how design objects, called here ‘orientation devices’, recode political communication and reorient how things are imagined, produced and circulated. It also shows how design as a practice can reconfigure material conditions and prefigure ways to repair some of the effects of precarity on everyday life. Three microhistories illustrate activist repertoires that bring into play design, and design practices that are grounded in activism. While the vitality, experimental nature and traffic between theory and praxis of social movements in Italy have consistently attracted the interest of activists, students and researchers in diverse fields, there exists little in the area of design research. This is a study of design activism at the intersection of design theory and cultural research for researchers and students interested in design studies, cultural studies, social movements and Italian studies.
There is no soundtrack is a specific yet expansive study of sound tactics deployed in experimental media art today. It analyses how audio and visual elements interact and produce meaning, drawing from works by contemporary media artists ranging from Chantal Akerman, to Nam June Paik, to Tanya Tagaq. It then links these analyses to discussions on silence, voice, noise, listening, the soundscape, and other key ideas in sound studies. In making these connections, the book argues that experimental media art – avant-garde film, video art, performance, installation, and hybrid forms – produces radical and new audio-visual relationships that challenge and destabilize the visually-dominated fields of art history, contemporary art criticism, cinema and media studies, and cultural studies as well as the larger area of the human sciences. This book directly addresses what sound studies scholar Jonathan Sterne calls ‘visual hegemony’. It joins a growing body of interdisciplinary scholarship that is collectively sonifying the study of culture while defying the lack of diversity within the field by focusing on practitioners from transnational and diverse backgrounds. Therefore, the media artists discussed in this book are of interest to scholars and students who are exploring aurality in related disciplines including gender and feminist studies, queer studies, ethnic studies, postcolonial studies, urban studies, environmental analysis, and architecture. As such, There Is No Soundtrack makes meaningful connections between previously disconnected bodies of scholarship to build new, more complex and reverberating frameworks for the study of art, media, and sound.
staff to run it and the set or other design elements with all those teams, lighting equipment and all post-production facilities and staff. ‘Resources’ could sometimes also be taken to include the production office and team.
It would be reasonable to refer to ‘technical resources’, ‘design resources’ and ‘post-production resources’. In each case, there would be materials, equipment and personnel in the costs. Usually, the word would not include ‘talent’; that is, performers or scriptwriters.
This book is about working in a multi-camera television
somehow rooted in a broader reality the results can otherwise be surprising. Whereas the two processes are materially different, I was struck by a similarity in intent between this and videoediting, which also relies on textures of engagement to develop a route towards the final expression. Using videoediting as a method to understand fieldwork reminds us that in ethnography, theory and structure are more comfortable when they arise through our experience of a location rather than when they are imposed onto it from a distance.
In order to analyse material thoroughly
and writing. We had to imagine alternative ways to represent and share learning, and for that we utilised new modes of expression, such
as podcasts (digital audio media), voicethreads (media using video, voice and text
commenting), iMovie (videoediting software) and Prezi (web-based presentation
application and storytelling tool that uses a single canvas) presentations, melding
voice with visual and written texts. The required course assignments included:
1) regular engagement on Moodle1 (which became more ‘oral’ in nature as the
the relatively new and expensive Quantel digital
videoediting machines in an exploratory way, in order to achieve some
patently non-naturalistic effects. However, the decision to experiment with
new video technology raised the cost of production beyond that available for
a single play. Consequently, the play was divided into two, in order to spread
the cost across two budgets. While Quantel had been used for other television programmes, such as Top of the Pops, the technology had been littleused in drama. It was McGrath’s interest in exploring its potential for
alternatives! This principle applies to a huge range of circumstances.
There is not room in this book to discuss videoediting fully, but it is worth saying that using even a four-frame cross-fade of soundtracks intended to appear continuous, especially dialogue, will generally help improve the illusion. The audience will be less aware of the fact that the track has been edited. These tiny mixes can be performed at the edit or at the dub, if there is one.
There’s more on dubbing later in this chapter.
Mounts for microphones, including booms
As shown in chapter 1
was fantastic, I made a video of the day’s events
which I edited to music. It was shown to David Tennant and he
was impressed, which made me feel very proud. 25
Far from being simply
‘wowed’ by the theatre, the child in this testimonial
turns his experience of visiting Stratford into the new, creative
product of a videoedited to
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters
, especially through the quotidian tools which are most likely to be taken for granted.
Improvements in hardware, such as the standard desktop computer, can make techniques such as videoediting or 3D work much more widely available than previously, because the processing power or graphics capabilities required were not available on office equipment. Any move from specialist hardware to general equipment will make casual experimentation more likely. For example, some digital humanities centres or ‘labs’ are now able to buy 3D printers for exploratory work rather than with