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.
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
-live, part-screened adaptation.
One of the conceits of Intermedial Play was the idea that the audience would gradually be seduced into identifying with the camera itself. The videography, designed by Néill O’Dwyer, referenced both Karmitz's Comédie and Beckett's SDR adaptation of Was Wo at the beginning of the piece, using a static, wide-angle shot, with the lights picking out the heads of the actors, perhaps initially lulling the audience with the ‘film-of-a-play’ aesthetic. Only from the first meditation did the camera begin to move, zooming in
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
Ball, Shakespeare on Silent Film ,
Kenneth S. Rothwell and Annabelle Henkin Malzer,
Shakespeare on Screen: An International Filmography and
Videography (New York: Neal Schuman Publishers Inc., 1992 ), 249. See also Rothwell, A History of