جستجوی مقالات مرتبط با کلیدواژه « documentary film » در نشریات گروه « علوم اجتماعی »

The goal of this research is to draw dimensions of documentary cinema in the form of presenting clear and precise definition of that to yield the possibility of studying, knowing and classifying the works. At present, several definitions exist which are not comprehensive. The main issue is the disambiguation of these definitions. The root of the disagreement is the ambiguity of the concepts used in the definition of documentary cinema. This research has been conducted with the qualitative method and using deep interviews. The data was collected through interviews and documentary method. These data cause the extraction of obvious and hidden concepts in different definitions of documentary cinema. The analyses show that there does not exist an acceptable definition that is comprehensive. These definitions have been based on the concepts of truth and reality and which are not considered credible concepts to express the identity of the documentary cinema, per se. Other concepts, such as narration, should be added to the definition to attract the agreement of most of the experts, in addition to the induction of transparency. As a result, documentary is the film-maker’s cinematic narration of the world made on the basis of the evidence and documents and what he/she believes in as the real matter.

History and documentary cinema are both artifacts faithful to reality but dependent on narrative. The historical documentary film is not a reflection of history, but a representation of perceptions of it. These constructions for documentary makers are more important than the historical information they display; Because they are effective in forming the historical perception and, as a result, the cultural and political judgments of their audience. The research was conducted to identify the documentary maker›s strategies in constructing meanings from historical issues using semiotics of the two documentaries «Mr. Prime Minister» and «Mossadegh, Oil and the Coup». Finally, the research considered the use of «historical analogy» and «attracting the maximum trust of the audience» as the two main mechanisms in the studied documentaries to create social meanings. The results showed that the two main mechanisms of «historical analogy» and «attracting the maximum trust of the audience» were used in the studied documentaries to construct social meanings. Also, the results showed that the historical analogy through the inclusion of cultural and political expressions and concepts in the speech of the text and historical reference to them in the documentary «Mr. Prime Minister» has led to the creation of messages about trusting America and confronting sanctions. In the documentary «Mossadegh, Oil, Coup», the strategy of creating social meanings is to gain the maximum trust of the audience by presenting different readings of historical events.

Presenting documentary films is a fundamental strategy for attracting an audience in order to explain the Islamic revolution discourse. The goal of this research is to recognize the competitive advantages of the Ofogh TV network in the documentary film realm. The present research is qualitative and has been done by in-depth interview methodology. The sampling mode is purposeful and the statistical population consists of 3 groups: Academics of Media & Documentary Film, Documentarists & Media Managers of Ofogh TV Network. The sample size was 12 people according to the theoretical saturation. Categorization of the obtained data in regard to the competitive advantages of the network can be divided into 3 groups of Media Validity, Structural Differentiation, and Organizational Communication. The mentioned facts are among the outcomes of the research. Effective & interactive connection with institutions outside the IRIB domain, easier fundraising & content providing, existing structure, TV schedule, and special think tank for documentary films are competitive features of this network.

The present era envisages the glob’s image in which the visual culture is the dominant trend. Hence, the scientific approach of cognition & academic research about various subjects is changing by moving towards visual research methodologies. This is because visual data makes description faster, more attractive & believable rather than plain text. The present research is trying to survey on the role of documentary film on temporary visual culture - not exclusively as an art discipline - but as a visual research method in joint with some scientific disciplines which is already in process and its outcomes will be published. This research is qualitative and applies the customary method of studying library documents while giving descriptive analysis of scientific documents. These will include the information about the phenomena & the subjects that this research is opt to study. This article declares how & why we can use documentary film to do visual research on subjects such as Anthropology, Historiography, Naturalism and generally the Worldview. This also reminds us of the necessity of documentary film as a tool of research approved & accepted by scientific community, researchers & filmmakers. This will led to explaining the importance & role of documentary film in social, cultural and research activities. Consequently, a new era of research activities can be planned with the documentary film.

The purpose of this research, which is an observational-documental library approach, is to explain the model of interactive- educational documentary film production based on the new teaching-learning theory of David Azubel. View instructional videos used in the country's education system and content-producing sites of these videos such as Faradars site as targeted sample site and documentary films "Man with a Camera" (1929), the world wide web Documentary "Man with a Camera" (2010), "The Journey to the End of Coal" (2008), "Living in a Day" (2011), have been studied as targeted examples in the interactive documentary film group. Criterias for instructional film production, interactive documentary style, audience psychology, and meaningful instruction in David Azov's New Teaching-Learning Theory have all been studied and discussed to explain the teaching-interactive documentary film production model based on the new teaching-learning theory so that the proposed model can be used in interactive educational documentary film as a teacher in education. Watching movies according to the criteria stated suggests that the audience's attention is on films that are focused on meaningful learning. As a result, observing what is said in the interactive educational documentary film, in addition to providing meaningful learning for the audience in every time and every places no longer needs to be teacher for them. Keywords: "Documentary Film", "Educational Documentary Film", "Interactive Documentary Film", "Learning and Educational", "Teaching Learning" "Audio Visual Education"

Expository mode in documentary film making emerged from Grierson documentary movement in the 1930s and by adopting “Voice of God” commentary model, it served educational and propaganda purposes. This mode of documentary film, being both in rhetoric or argumentative form, addresses its viewer through a narrator. Due to technical and aesthetic developments in the process of television’s evolution, it has been widely used as a popular mode for documentaries since late 1950s. In Iran, however, this mode has not been very well known; most cinema and television producers and directors who approached this kind of documentary, have failed in appealing to a broad audience because they were not familiar with capacities and trends of this documentary mode. Therefore, they have maintained to archetype methods. Hence, the aim of this research is to take a new look at the structure of "Expository Documentary” and propose ways on how can this mode be appropriately applied in TV. This research has been done with the aim of recognizing structural and aesthetic features of expository documentary, considering its content wise capacities and how to utilize them in episodic and non-episodic TV programs. Beside the mentioned aspects, some up to date & eminent samples of expository documentaries produced by distinguished TV networks have been observed & studied through their structure.

The present research aimed to investigate the impact of documentary films (with the content of abusing substance and psychotropic drugs) on the youth attitudes toward addiction. The statistical population included all adolescents in Bandar Abbas, of whom 20 were selected by convenient sampling method. First, all participants were taken pretests by using the Opium Attitude Questionnaire (OAQ), then six documentary clips regarding narcotics and psychotropic drugs were shown for participants in six sessions along with questions and answers. At the end of six sessions, participants again responded to the OAQ. The results of t-test showed that there is a significant difference between the mean of posttest pretest and posttest scores of participants. In other words, after showing documentary clips, the participants’ attitudes were changed and their attitudes toward addiction became largely negative. Overall, it seems that showing documentary films affects the attitude of adolescents toward substance abuse and the broadcasting organization can make the adolescent attitudes negative toward addiction, and also can reinforce their negative attitudes toward addiction

The main issue of this essay is to survey on the various modes of television documentary and examines the documentary strategies of intervention, visualization, and representation of reality which documentary filmmakers have practiced. The goal of this essay is also to suggest a theoretical framework in order to recognize and distinguish among documentaries and suggest a framework for discussing , and making distinctions among documentaries by a descriptive method.
The framework of this article outlining is based on a theoretical platform . The primary goal is to advance parameters for an analytical engagement in documentaries .This must be the right place for integrating framework; We can make a distinction between two fundamentally different offerings, and correspondingly two oppositional motivations.
on the one hand that which is “ closed Documentary“ , exclusive , and embracing in its dealing with knowledge. Which is argumentative , persuasive and heavily concerned with proving its conviction of certainty. And on the other hand is “opened Documentary " which wants to expand and open up the territory of signification by triggering off a metaphorical, associative, emotional or poetic reflection .
The degree of intervention will be determinant in relation to the kind of aesthetics found in the program .It might be helpful to visualize this parameter as a continuum stretched out between a low and a high degree of intervention . A strategy of low intervention means giving high priority to the pro- films in itself .Doing as little as possible in terms of intervention means trying to catch reality out there as it unfolds without disturbing it too much.
We can say that primary representation is the kind of representation exercised when the degree of intervention is low. Secondary representation has to do with talking about and referring to reality without showing it . An open documentary could then either be the non-interventional type , or the interventional type relinquishing the rhetorical tools of explicitly and authority and the propositional advantage of the direct mode of address.

“City of women” has been Produce in 1988, by Ataollah Hayati, that indicate “Barf-e-chal” ritual in a fiction form. Ritual was represented in a dramatic form in this film. Due entering the rituals scope, folklore culture of real people and using some documentary films, I suggest that we can classify this film in the category of “Middle films”, the films that are not prepare to be Specially an “ethnographic film” but they mentioned to an ethnographic subject. So I will critic this film by the critical method of ethnographic films. It seems that Director did not pay attention to folk beliefs and represented the ritual in a trifle mode. It seems that he did not pay attention to importance of ethnographic researches before producing the film, as a result of this inattention, he could not to represent the real social context and ritual details, and because of his inattention to considering the context the film submits a large number of wrong data and false details about this ritual and this people. as well as this we can categorize this film in mockumentary genre. This genre borrows the documentary form elements to pretend that is representing a real event or any real subjects that is not true. So this essay is about how to critic a” middle film” by ethnographic critical methods and importance ofconsidering th ظe right genre of a film before critic.