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.
Film sound merits study because it is an essential component of cinema. This book considers the ways in which one might come to terms with the materiality of film sound, both beyond and in relation to its semiotic or significatory dimensions. It discusses Michel Chion's proposal that any critical engagement with the film's materiality must be informed by the idea that what people term as 'the film' is marked by a relationship between sound and image. Running alongside the significatory is a parallel universe of materiality, with ways of knowing sound, and ways of registering sonic presences. Between the First and Second World Wars a series of experimental concrete sound mirrors was constructed to serve as an early warning system against airborne attack from mainland Europe. John Smith's work engages directly in a destabilisation of the model of sound-image relations that informs much of classical film practice. The book focuses on optical crackle and ground noise as sounds which signal just a sense of the past, and on the quality of compression that contributes to the sonic signature of older film soundtracks. The materiality of the strange sounds of electronica can be sounded by considering the ways in which tensions between the radical potential of noise, cinesonic codes, and the processes of history weave through the cinesonic text. Whitney Brothers' Five Film Exercises are of particular relevance to a study of the cinesonic. Cartoon sound begins with violence, or rather its threat, as evidenced by the Warner Bros. cartoons.
This book argues that punk and post-punk, whatever their respective internal stylistic heterogeneity, enjoyed 'sociological reality' in Samuel Gilmore's and Howard Becker's sense. It elaborates the concept of 'music worlds', contrasting it with alternatives from the sociological literature. In particular it contrasts it with the concepts 'subculture', 'scene' and 'field'. The book then outlines a number of concepts which allow us to explore the localised process in which punk took shape in a sociologically rigorous manner. In particular it discusses the concepts of 'critical mass' and 'social networks'. The book also applies these concepts to the London punk world of 1976. It considers how talk about punk migrated from face-to-face networks to mass media networks and the effects of that shift. Continuing the discussion of punk's diffusion and growth, the book considers how punk worlds took shape in Liverpool, Manchester and Sheffield. In addition, however, the book offers a more technical analysis of the network structures of the post-punk worlds of the three cities. Furthermore, extending this analysis, and combining qualitative and quantitative forms of analysis, the book considers how activities in different local post-punk worlds were themselves linked in a network, constituting a national post-punk world.
López-Linares’s Storm the Skies in light of their
experimental documentary practice and formulation of an increasingly
transnational projection of Spanish identity. This pairing also argues
for their shared parentage as inspirations for A Glimpse.
See the selected filmography and videography
complied by Czach in
at risk. While appreciating this, it is worthwhile briefing participants beforehand, reminding them not to take photographs or videos in any situations where they do not feel comfortable. Moreover, young people should be instructed to take photographs and videos only in places they usually go, in ways that they habitually would, while being mindful of the risks associated with roads and traffic. Despite these precautions, because photography and videography are a normal part of many young people's nights out, I found that participants in my study did not have any
qualifies as a show that has dominated the zombie genre in the current era, achieving huge popular appeal. Breaking Bad helped to change how television approached the construction of protagonists, the balance between series and episode content, and filmic videography. As well as providing a superb example of original programming by a streaming service, it is an important exploration of contemporary masculinity.
But, then again, so perhaps is Billions . An argument can also be made for the inclusion of shows with blistering first seasons, if weaker follow-ups, such as
Surrealist entertainment during the Greek dictatorship
Tell a Joke or Two: Comedy, Politics and Social Difference. London: Routledge.
5/30/2013 1:41:26 PM
88 Christina Adamou
Ρεπορτάζ χωρίς Σύνορα: ‘Ελλάς Ελλήνων Χριστιανών’ (Reportage Without Frontiers: ‘Greece of the Greek Christians’), episode 3, ET1, tx. 6 November 2006.
Θεματική βραδιά (Thematic Evening), ET1, tx. 6 November 2006.
Εκείνος και… Εκείνος (This One and That One), EIRT, 1972–74.
Εκείνος και… Εκείνος (This One and That One), Remake, ET-2, 1989.
Το σήριαλ των Σήριαλ (The Serial of Serials), ET, July 2003.
beneﬁts of being at hand should be weighed against the compromise in sound and image quality and overall usability.
Some smartphones include high-quality optics, sophisticated menu-based controls and the ability to record in low light using ultra high deﬁnition that can approximate the results of the systems mentioned above. The year 2017 marked a paradigm shift in phone-based videography with the release of Apple’s iPhone X. Other brands soon followed, offering comparative value for money at only a slight reduction in standards. An expensive phone can become a cheap
-opera-ish television religious dramas, and wedding videography. There is even a reflexive shot of David and Judith themselves, standing laden with all their equipment.
(1991). Left, R. S. Sharma, at the doorway of his studio in Mussoorie, specialises in formal black and white portraits, right
Centre, Shanghai, China.
62 Chung Kuo Cina, directed by Michelangelo Antonioni (1972; Milan, Italy: RAI
Radiotelevisione Italiana, 2007), DVD. Over the years, Chung Kuo has been
largely forgotten or mistakenly dismissed as a benign travel documentary.
Recent exceptions include insightful discussions of Chung Kuo in Homay King,
Lost in Translation: Orientalism, Cinema, and the Enigmatic Signifier (Durham,
NC: Duke University Press, 2010); Jerome Silbergeld, “Photography Goes to the
Movies: On the Boundaries of Cinematography, Photography, and Videography
in China,” in