Suchergebnisse

From the late 1970s rising interrelated interests in Japanese mountain asceticism, Esoteric Buddhism and "New Age" spirituality and healing were spurred by oil shocks and concerns about the fragility of human and ecological health during a time of unprecedented economic prosperity. When the bubble economy burst in the 1990s, certain individuals shifted focus to inner rather than outer wealth and to greater quality of life over income. They found a growing body of print, audio-visual and on-line media produced by charismatic Shugendō priests Tanaka Riten and Tateishi Kōshō, who condensed and abbreviated traditional ascetic mountain initiation rituals of Shugendō (literally "The Way of Acquiring Power"). They adapted these practices to suit the needs and work schedules of busy urban lay participants. In 2007 filmmaker Jean-Marc Abela and I traveled to Yoshino and Shingu (south of Kyoto) to create a participatory documentary film, Shugendō Now. By disseminating research about the experiences of Shugendō priests and lay practitioners in an accessible documentary and Ph.D. thesis, we have sought to contribute to a new understanding of how a mountain ascetic tradition is being creatively reinvented in the 21st Century. Bringing a camera and professional filmmaker into the field and seeking direction and feedback from research co-participants enabled unanticipated discoveries and my most productive and collaborative fieldwork experiences to date.

As a subset of food media meant to tantalize palates, food documentaries typically sensationalize the impoverished state of the entire food supply. This essay focuses on the food documentaries Hybrid (2000), King Corn (2007), Sunú (2015), and OMG OMG (2013), which variously treat "industrial food" as not an object of scorn but a useful category of resistance and engagement. When read through queer ecocritical and feminist materialist lenses, such films create an opening for ways of accounting for and living with the monstrosities of nature that typically arrest the gaze of sensationalism. These food films consider the family and the household not merely as units of passive consumption but as sites of considered provisioning that struggle to account for issues of food justice, food sovereignty, and ecological awareness in a world of ongoing environmental degradation.

Phetmixay Means Fighter is a short documentary film that seeks to explore Lao American refugee resiliency narratives through the life of my father, Phoutone Phetmixay. As the central character, Phoutone's poetic remembrances of his commitment to the Lao Royal army, displacement from Laos, and resettlement in the United States all serve to consider the complex history of Lao Americans in the geopolitical context of U.S. invention and the socialist Lao government. The film is invested in creating a space to validate a part of my own family's history by way of mourning, healing, and building community amongst other Lao American refugee families.

The Twelve Percent examines U.S. Samoan college students and the unique set of obstacles they have to overcome. By highlighting the lives, struggles, and successes of these students, my thesis film enables a critical examination of the social, political, and economic issues facing Samoans living in the continental U.S. It provides a powerful and uplifting narrative of Samoan youth navigating different paths than those illustrated in scholarly and community research and popular cultural representations.

Sociologist John A. Stover III highlights the significant impact documentary filmmakers can have on social movement agendas and frames via their production, distribution, and outreach strategies. New Day Films, a cooperative collective of social issue filmmakers, is spotlighted as particularly effective in promoting social change and justice.

The growing presence of subjects narrating their lived experiences in documentaries implies their involvement in the making of their own histories. This thesis explores this subjective dimension by examining the formal methods employed by filmmakers in documentaries in which personal stories are performed and/or narrated by subjects. -- Abstract'tan. ; Belgesel filmlerde geçmiş deneyimlerini anlatan öznelerin varlığındaki yükseliş kendi tarihlerini oluşturma süreçlerine olan katılımlarına işaret ediyor. Tezim kapsamında, öznelerin kişisel hikayelerini sahnelediği ve/veya anlattığı belgesel filmlerde yönetmenlerin uyguladığı biçimsel yöntemleri inceleyerek bu öznel alanı araştıracağım. Patricio Guzmán'ın Nostalgia for the Light (2010), Boglárka Edvy (canlandırmacı) ve Sándor Silló'nun (yönetmen) Diary Film: I was 12 in '56 (2006) ve Péter Forgács'ın The Notebook of a Lady (1994) adlı belgesel filmlerinde uyguladıkları estetik stratejiler üzerine odaklanarak, bu stratejilerin yönetmenlerin estetik ve politik yaklaşımlarını gösterme şekillerini ve tarihin bilgisini nasıl biçimlendirdiklerini tartışacağım. Bu yönetmenlerin, bir disiplin olarak tarihin geleneksel varsayımlarına meydan okuduğunu ve geçmişin temsiline yönelik olasılıkları işaret ettiğini öne sürüyorum. Öznelerin anı ve anımsamalarından geçmişin temsilleri olarak yararlanarak, tarih ve bellek arasındaki ilişkiye başvuruyorlar.