Double Exposure examines the role of film in shaping
social psychology's landmark postwar experiments. We are told that
most of us will inflict electric shocks on a fellow citizen when
ordered to do ...so. Act as a brutal prison guard when we put on a
uniform. Walk on by when we see a stranger in need. But there is
more to the story. Documentaries that investigators claimed as
evidence were central to capturing the public imagination. Did they
provide an alibi for twentieth century humanity? Examining the
dramaturgy, staging and filming of these experiments, including
Milgram's Obedience Experiments, the Stanford Prison Experiment and
many more, Double Exposure recovers a new set of
narratives.
The article discusses methods of designing strategic narratives in teledocumentaries created by various production teams and distributed through the YouTube platform. The authors underline the ...important role of teledocumentaries in creating an emotional and intellectual response to geopolitical topics among television viewers and attempt to analyse six documentaries focusing on the current war in Ukraine. The aim of the research was to determine key narrative patterns that are presented by production teams from various countries in the context of the armed aggression of the Russian forces in Ukraine. From this research, we can outline three main narrative templates: identity issues (“Us” vs. “Them”), temporal cognition and feeling of “stopping the time”, the image of enemy inter-twined with death, unforgiveness and fear.
Sámi Identity across Generations Dancus, Adriana Margareta
Journal of critical mixed race studies,
01/2022, Letnik:
1, Številka:
2
Journal Article
Recenzirano
Odprti dostop
Following histories of racism and abuse at the hands of Norwegian and Swedish authorities, many Indigenous Sámi have chosen to disconnect from everything Sámi and instead pass for ethnic Norwegians ...and Swedes. As a result, their children and grandchildren have grown up with no or little knowledge of their Sámi heritage. In the 2000s, several of these children and grandchildren, who were born after the Second World War, are eager to reconnect with their Sámi identity. This article fleshes out the entangled road back to Sáminess through a close analysis of two Norwegian documentaries—Suddenly Sami (Min mors hemmelighet) (2009) and My Family Portrait (Familiebildet) (2013)—in which the women directors discover their Sámi identity in front of the camera. A central point in the discussion is how the directors use discourses of biology and genetics to recuperate their Sámi identity in the 2000s. The article raises several explanations as to why they retreat to these discourses by putting the two Norwegian documentaries in conversation with the Swedish feature film Sami Blood (Sameblod) (2016).
Interactive documentary (i-docs), an innovative hybrid form at the intersection of film, journalism, and digital games, has matured beyond its first wave of experimentation, gaining distinction among ...the most highly evolved immersive media of the twenty-first century. The latest generation of i-docs is currently winning accolades at both major film festivals and game design summits. This study charts the evolutionary trajectory of North America’s most recent and influential wave of i-docs in works mostly appearing since 2015. It culturally situates i-docs as immersive media that extend experimentation with narrative journalism into the realm of fine art and social activism. Building on the foundation of activist, highly empathic news experiences established in the early 2010s, the most recent advances in i-docs range from live action VR to animated digital games. Such works include the Canadian National Film Board’s 2018 AR (augmented reality) experience East of the Rockies, Occupied’s 2019 Cannes entry The Holy City VR, Roger Ross Williams’ 2019 Tribeca debut Traveling While Black, and iNK Stories Verité VR Series’ 2017 Blindfold and Hero, winner of the prestigious Storyscapes Award at Tribeca in 2018. The vanguard of i-docs has expanded collaboration between film, news, and digital game industries to provide new forms of citizen engagement through advocacy journalism aimed at social and political change. Through the use of John Pavlik’s (2019) critical framework for understanding immersive journalism, this article examines the texts, producers, and industrial contexts of the most recent and influential North American i-docs, as one branch of the form defined by Gaudenzi, Aston, and Rose. Principles of transparency, social responsibility, and a commitment to veracity in i-docs epitomize the esthetic and political potential of digital journalism as an empathic alternative to traditional news coverage.
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