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This book is a collection of edited theoretical essays on the power of contemporary documentary film to voice the social agency of Latin American immigrants to the United States and Europe, and to reveal some of the global systemic conditions that generate mass migrations and lead to the dehumanization of undocumented immigrants. Linking the function of documentary to represent immigrants as performing agents whose voices generally are not heard publicly, this volume also features interviews with prominent documentarians whose films and videos respond to conditions of migration from a variety of perspectives

Cover -- Half-Title -- Title -- Copyright -- Dedication -- Contents -- List of Figures -- Preface -- Acknowledgements -- Introduction -- Part I -- 1 Constructing the Self, Constructing Others: David MacDougall's Observational Films on Institutions for Children in India -- 2 New Boys at the Doon School -- 3 Gandhi's Children -- Part II -- 4 An Arrested Eye: Trauma and Becoming in Desire Machine Collective's Documentary Installations -- 5 Passage -- 6 Residue -- Part III -- 7 A Turn Towards the Classical: the Documentaries of Kumar Shahani -- 8 The Bamboo Flute -- Epilogue -- Notes

von European Theatre Convention, Théâtre de Liège (Hrsg.)

42 Seiten, Englisch oder Französisch, PDF (388 KB).

über www.europeantheatre.eu

European Theatre Convention (ETC) 2022

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In all his art, Anar turns to the genre of literary portrait as one of the forms of artistic and documentary narrative of memorial-biographical literature. Anar's task is to create complete and reliable impression about any outstanding person, his character, place in society, shown in the context of a certain time and space. The hero of literary portrait of Anar is real person with real biography, whose personal and creative fate the writer produces through his perception, using both documentary and artistic means. Literary portraits of Anar make it possible to study this genre as independent one, consisting in the experience of genre synthesis, where the author's concept of the world and human is expressed most clearly

There are 13 nationalities currently dwelling within the boundaries of the Xinjiang Uygur Autonomous Region (XUAR), China's most westerly and largest unit at provincial level. The most populous nationality is the Uygur, a Turkic people, who at the end of 1982 numbered about 5,986,800 out of Xinjiang's total population of 13,159,000. Others include the Han, at 5,287,000 people, the Kazakhs (913,900), the Hui (575,500), the Mongolians (117,200), the Kirghiz (114,200), the Xibo (27,500), and Tajiks (27,100).

There are 13 nationalities currently dwelling within the boundaries of the Xinjiang Uygur Autonomous Region (XUAR). The most populous nationality is the Uygur, a Turcic people. The article focusses on the performing arts (song, dance, balladry, song opera and musical plays) of the Uygurs. Continuing influence of Islam among the Uygurs. Cultural policy of the CCP (Chinese Communist Party) and the Chinese government in respect of national minorities. (DÜI-Sen)

The post-war counter-culture encouraged alternative ways of articulating the language of documentary film, contributing to a wider critique of social institutions and the complicity of the mass media in constructing perceptions of authority. In relation to the politics of madness, this era also gave rise to a heightened awareness of psychiatric institutions as sites of symbolic power rather than therapeutic care, informing a growing scepticism towards both traditionally assumed causes and categories of mental illness as well as the everyday concept of rationality itself. This article offers a comparative analysis of different observational filmmaking styles in relation to their respective portrayals of various methods, personalities, and institutions associated with forms of radical psychiatry. It explores the impact and legacy of these cultural developments on films such as: Warrendale (Allan King, 1967); Asylum (Peter Robinson, 1972); San Clemente (Raymond Depardon and Sophie Ristelhueber, 1980); and Every Little Thing/La Moindre des choses (Nicolas Philibert, 1996). Despite their cultural and formal differences, these films are similarly involved in negotiating not only problematic distinctions between observation and intrusion, fiction and documentary, but also constructions of madness and sanity.