Suchergebnisse

The film-book The First Sail: J. Hillis Miller is based on the documentary film of the same name made in 2010. The political, academic and environmental contexts surrounding this film since its release prove with more and more urgency the need to read and listen to J. Hillis Miller, and would require revisiting everything that has been said and seen. Together with the film transcript and an interview with Miller conducted by Taryn Devereux, the essays in this volume have been gathered from several international events devoted to Miller's works. With essays by Henry Sussman, Sarah Dillon, Charlie Gere, Nicholas Royle, Éamonn Dunne and Michael O'Rourke, Dragan Kujundžić, Julian Wolfreys and J. Hillis Miller, The First Sail in itself thus forms a vast network of references, operating as an installation and network of emerging projects.

Although Onions Edionwe's films, such as Echoes of a Kingdom, Arousa N'ohuan-ren, and Aisiokuoba, are notable documentaries, they represent an "insignificant" component of the total number of movies that have been made in the Benin or Edo language film section of the Nigerian film culture (Nollywood). A critical review of the Benin video culture indicates that a majority of the Benin film content creators tend to ignore the documentary genre. This article explores the reasons Benin filmmakers do not produce documentaries. Perhaps, what evidences the tendency is the observable preference of Benin filmmakers to make historical, musical, comic, or social movies because they fear that the audience might find documentary films uninteresting and distasteful. This is an unpleasant trend in spite of documentary film's potency as a narrative medium and its potentialities for developing the human-mind and society. It is against this background that I used a complementarity of the emic and etic approaches to canvass the need for Benin cineastes to increasingly turn their creative radars towards the documentary genre, which can be a powerful developer and re-enforcer of Benin socio-cultural practices in the age of globalisation. Towards this end, Benin filmmakers should be provided with requisite grants and/or production funds by relevant governmental organizations, nongovernmental organizations, and organised private groups from within and outside the Benin locality to make films in the documentary format.

Released in 1954 by the National Film Board of Canada, Corral was Colin Low's debut as a director. Low later became identified with the landmark Challenge for Change films using documentary film as a catalyst for community organizing. Although local folk knowledge is frequent in discussions of documentaries made by the French branch of the NFB, it has been more common to treat the English projects of NFB as romantic evocations of place. Corral is often the exemplary case. This article uses paradigms of performance and practice to consider the embodied knowledge and traditional skills depicted in Corral. The place that Corral performs is characterized by the popular diffusion of traditional vaquero skills from California mixed with embodied practices of ranching in southwestern Alberta.

[Extract] With the financial support of Asialink in 2012 and additional support from the Ian Potter Cultural Trust and the International Documentary Festival Amsterdam (IDFA) fund, and in-kind support from the Bophana Centre in Phnom Penh I was able to return to Cambodia to work with independent Khmer artists and filmmakers who are pushing the boundaries of creative self expression and exploring new forms of articulating their culture for Cambodian and international audiences. With a long history of violent repression of media and independent, creative self-expression Cambodia has struggled to re-capture the extraordinary cultural capital that blossomed in the 1960s before war, the Khmer Rouge and more than 20 years of political instability destroyed the vibrancy of both traditional and contemporary Cambodian art and culture. Access to and interest in all aspects of media and screen culture is expanding rapidly, but is hampered by a lack of opportunities that encourage participation and cultural and governmental censorship. My residency sought to build on more two and a half years work in using media and art for development in the Cambodian context. I had moved to Cambodia in 2009 and returned to Australia in mid 2011. During that time I worked across a variety of participatory media projects for UN agencies, international NGOs and produced digital media projects with the support of media institutions including National Film Board of Canada, EU Media and Screen Australia. Much of my work focused on working with emerging filmmakers and artists -young people under 30 who are expanding conservative views of Cambodian culture and history and seeking to define their identities beyond the tragedies of the past 40 years. The majority of this work was concerned with exploring new platforms for creative expression with the use of online a focus. In addition a focus was on building or supporting collective, creative endeavours and structures. Over the course of this work I have developed a series of close relationships with some inspiring individuals and collectives - some of whom will be profiled in this report - and who were key creative collaborators on the variety of projects undertaken. Whilst a large amount of content was produced over the course of the residency, and structures were put in place for continued creativity beyond the scope of the residency, I believe that consolidating these relationships with key collaborators has been the most important outcome of the residency.

This article examines the discursive construction of Vietnamese communities in Czechia and Poland via narratives of the communities' ordinary members in documentary films. The theoretical framework employed is critical discourse analysis (CDA), and, in particular, the Discourse-Historical Approach (DHA). I focus on two full-length documentary films, Banana Children in Czechia and Warsawers in Poland. These films are assessed and compared regarding their overall style and regarding the discourse topics. I analyse the referential and predicational strategies within the discourse topic of identity. Finally, I link the analysis of identities with the general social and legislative situation of the immigrant communities in the two host countries. ; Tento článek se zabývá vietnamskými komunitami v Česku a Polsku a jejich diskurzivní konstrukcí v dokumentárních filmech prostřednictvím narativů běžných členů. Teoretickým rámcem je kritická analýza diskurzu (CDA), konkrétně diskurzivně-historický přístup (DHA). Soustředím se na dva celovečerní dokumentární filmy, Banánové děti v Česku a Warszawiacy v Polsku. Tyto filmy zkoumám a srovnávám z hlediska celkového stylu a z hlediska diskurzivních témat. V rámci diskurzivního tématu identity analyzuji referenční a predikační strategie. Nakonec analýzu dávám do souvislosti s obecnou společenskou a legislativní situací přistěhovaleckých komunit v hostitelských zemích. ; 11 ; 46

This article examines the discursive construction of Vietnamese communities in Czechia and Poland via narratives of the communities' ordinary members in documentary films. The theoretical framework employed is critical discourse analysis (CDA), and, in particular, the Discourse-Historical Approach (DHA). I focus on two full-length documentary films, Banana Children in Czechia and Warsawers in Poland. These films are assessed and compared regarding their overall style and regarding the discourse topics. I analyse the referential and predicational strategies within the discourse topic of identity. Finally, I link the analysis of identities with the general social and legislative situation of the immigrant communities in the two host countries. ; Tento článek se zabývá vietnamskými komunitami v Česku a Polsku a jejich diskurzivní konstrukcí v dokumentárních filmech prostřednictvím narativů běžných členů. Teoretickým rámcem je kritická analýza diskurzu (CDA), konkrétně diskurzivně-historický přístup (DHA). Soustředím se na dva celovečerní dokumentární filmy, Banánové děti v Česku a Warszawiacy v Polsku. Tyto filmy zkoumám a srovnávám z hlediska celkového stylu a z hlediska diskurzivních témat. V rámci diskurzivního tématu identity analyzuji referenční a predikační strategie. Nakonec analýzu dávám do souvislosti s obecnou společenskou a legislativní situací přistěhovaleckých komunit v hostitelských zemích.