Documentary in practice: filmmakers and production choices
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Polity
2007
|
| Ausgabe: | 1. publ. |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XV, 166 S. Ill. |
| ISBN: | 074563611x 9780745636115 0745636128 9780745636122 |
Internformat
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Datensatz im Suchindex
| _version_ | 1804136294837649408 |
|---|---|
| adam_text | DOCUMENTARY IN PRACTICE FILMMAKERS AND PRODUCTION CHOICES JANE CHAPMAN
POLITY DETAUEED CONTENTS 1 THINKING CREATIVELY 1 THE ARGUMENT 1
INTRODUCTION: THE DOCUMENTARY CREATIVE IDEA 1 DEFINITION S AND CHOICES 2
FINDING AN IDEA 4 REPRESENTING A SUBJECT 7 TRYING TO BE OBJ ECTIVE /
SUBJ ECTIVE? 10 INSERTING AN AUTBORIAL VOICE 12 TAKING REFLEXIVITY INTO
ACCOUNT 14 CONSIDERING AUDIENCES 17 ASSESSING THE ETHICA! IMPLICATIONS
21 CONCLUSION: THE MOST IMPORTANT REQUIREMENTS FOR A DOCUMENTARY PROJECT
23 SUMMARY 23 2 FUNDRAISING AND BUDGETING 24 THE ARGUMENT 24
INTRODUCTION 24 BEGGING AND BORROWING - INDIVIDUAL DONATIONS 25 DEFICIT
FUNDING VIA BANKS: A PERSONAL EXPERIENCE 28 GIANT-AIDED FUNDING:
ANALYSING THE LANDSCAPE 29 WRITING FUNDING APPLICATIONS, PROPOSALS AND
TREATINENTS 32 INDUSTRIAL AND CORPORATE CONIMISSIONS: USAGE AND
TREATMENTS 35 REIMBURSING THROUGH SALES OR ACQUISITIONS AND
DISTRIBUTION FUNDING 37 CINEMA CHALLENGES 33 ANALYSING THE BROADCAST
SCENE 39 JUMPING HURDLES FOR A TELEVISION COMMISSION 42 COPYRIGHT AND
STEALING OF IDEAS 45 FONNULATING A BUDGETARY PLAN 47 CONCLUSIONS 50
SUMMARY 51 3 RESEARCHING AND PIANNING 52 THE ARGUMENT 52 INTRODUCTION:
PIANNING AND SCRIPTING AT VARIOUS LEVELS 52 DETAILED CONTENTS VII
RESEARCHING IN DETAIL AND ADAPTING THE TREATMENT 53 CONSIDERING
AUTHORIAL VOICE AND OBJECTIVITY 56 FOCUSING ON THE ELEMENTS OF
REPRESENTATION 58 SELECTING INTERVIEWEES AND PARTICIPANTS 61 DECIDING ON
LEVELS OF REFLEXIVITY 65 ARRANGING PERMISSION TO FILM, ETHICS, RELEASE
FORMS AND INFORMED CONSENT 67 RESPONSIBILITY TOWARDS THE AUDIENCE 71
FILMING ABROAD AND SCHEDULING THE SHOOT 73 CONCLUSIONS 79 SUINMARY 79 4
SHOOTING AND COLLECTING 80 THE ARGUMENT 80 CONSIDERING THE ROLE OF
DIRECTOR 80 REPRESENTATION: AESTHETICS AND PRACTICALITIES OF SOUND AND
SHOTS 85 THE OBSERVATIONAL MODE/HIDDEN CAMERA? 93 REFLEXIVITY 96
INTERVIEWING, AUTHORIAL VOICE AND USE OF PRESENTERS 9.9 OPERATING SOLO
ON LOCATION 103 OBJECTMTY/SUBJECTMTY? 106 CONCLUSIONS: ETHICS, GOOD AND
BAD FAITH DURING FIIMING 107 CHALLENGING THE BORDERS OF DOCUMENTARY
DURING THE SHOOT 109 SUMMARY 109 5 SHAPING AND EDIRING 110 THE ARGUMENT
110 TNTRODUCTION 110 REPRESENTATION 110 OUTLININGTBE EDITINGPROCESS 111
WORKING WITH AN EDITOR J 13 DECIDING ON AUTHORIAL VOICE, SUBJECTIVITY
AND OBJECTIVITY 114 ASSEMBLING, STRUCTURING AND FINE CUT 116
RESPONSIBILITY TOWARDS THE AUDIENCE 121 WRITING VOICE-OVER NARRATION 125
CREATING PACE 131 USE OF MUSIC 133 TIME PRESSURES 136 SHOWING ROUGH
EDITS TO CLIENTS, SPONSORS AND AUDIENCE TRIAIS 136 ONLINE EDITS 137
CONCLUSIONS: ETHICS, EDITING AND MANIPULATION 138 CHALLENGING THE
BORDERS OF DOCUMENTARY IN EDITING 138 SUMMARY 140 VUEI DETAILED CONTENTS
6 OBTAINING PUBLIC REACTION 141 THE ARGUMENT 141 INTRODUCTION 141
COMMISSIONS: REACTIONS FROM TELEVISION AND CORPORATE SPONSORS 141
FESTIVALS 143 RIGHTS CLEARANCE 144 AUDIENCE RESPONSES 145 SUPPORT
LITERATURE AND INTERNET USAGE 146 MARKETS AND TELEVISION SALES 146 MEDIA
RESPONSES 149 CINEMA 149 LEGAL PROBLEMS, CENSORSHIP 151 CONCLUSIONS 154
SUMMARY 154
|
| adam_txt |
DOCUMENTARY IN PRACTICE FILMMAKERS AND PRODUCTION CHOICES JANE CHAPMAN
POLITY DETAUEED CONTENTS 1 THINKING CREATIVELY 1 THE ARGUMENT 1
INTRODUCTION: THE DOCUMENTARY CREATIVE IDEA 1 DEFINITION S AND CHOICES 2
FINDING AN IDEA 4 REPRESENTING A SUBJECT 7 TRYING TO BE OBJ ECTIVE /
SUBJ ECTIVE? 10 INSERTING AN AUTBORIAL VOICE 12 TAKING REFLEXIVITY INTO
ACCOUNT 14 CONSIDERING AUDIENCES 17 ASSESSING THE ETHICA! IMPLICATIONS
21 CONCLUSION: THE MOST IMPORTANT REQUIREMENTS FOR A DOCUMENTARY PROJECT
23 SUMMARY 23 2 FUNDRAISING AND BUDGETING 24 THE ARGUMENT 24
INTRODUCTION 24 BEGGING AND BORROWING - INDIVIDUAL DONATIONS 25 DEFICIT
FUNDING VIA BANKS: A PERSONAL EXPERIENCE 28 GIANT-AIDED FUNDING:
ANALYSING THE LANDSCAPE 29 WRITING FUNDING APPLICATIONS, PROPOSALS AND
TREATINENTS 32 INDUSTRIAL AND CORPORATE CONIMISSIONS: USAGE AND
TREATMENTS 35 REIMBURSING THROUGH SALES OR 'ACQUISITIONS' AND
DISTRIBUTION FUNDING 37 CINEMA CHALLENGES 33 ANALYSING THE BROADCAST
SCENE 39 JUMPING HURDLES FOR A TELEVISION COMMISSION 42 COPYRIGHT AND
STEALING OF IDEAS 45 FONNULATING A BUDGETARY PLAN 47 CONCLUSIONS 50
SUMMARY 51 3 RESEARCHING AND PIANNING 52 THE ARGUMENT 52 INTRODUCTION:
PIANNING AND SCRIPTING AT VARIOUS LEVELS 52 DETAILED CONTENTS VII
RESEARCHING IN DETAIL AND ADAPTING THE TREATMENT 53 CONSIDERING
AUTHORIAL VOICE AND OBJECTIVITY 56 FOCUSING ON THE ELEMENTS OF
REPRESENTATION 58 SELECTING INTERVIEWEES AND PARTICIPANTS 61 DECIDING ON
LEVELS OF REFLEXIVITY 65 ARRANGING PERMISSION TO FILM, ETHICS, RELEASE
FORMS AND INFORMED CONSENT 67 RESPONSIBILITY TOWARDS THE AUDIENCE 71
FILMING ABROAD AND SCHEDULING THE SHOOT 73 CONCLUSIONS 79 SUINMARY 79 4
SHOOTING AND COLLECTING 80 THE ARGUMENT 80 CONSIDERING THE ROLE OF
DIRECTOR 80 REPRESENTATION: AESTHETICS AND PRACTICALITIES OF SOUND AND
SHOTS 85 THE OBSERVATIONAL MODE/HIDDEN CAMERA? 93 REFLEXIVITY 96
INTERVIEWING, AUTHORIAL VOICE AND USE OF PRESENTERS 9.9 OPERATING SOLO
ON LOCATION 103 OBJECTMTY/SUBJECTMTY? 106 CONCLUSIONS: ETHICS, GOOD AND
BAD FAITH DURING FIIMING 107 CHALLENGING THE BORDERS OF DOCUMENTARY
DURING THE SHOOT 109 SUMMARY 109 5 SHAPING AND EDIRING 110 THE ARGUMENT
110 TNTRODUCTION 110 REPRESENTATION 110 OUTLININGTBE EDITINGPROCESS 111
WORKING WITH AN EDITOR J 13 DECIDING ON AUTHORIAL VOICE, SUBJECTIVITY
AND OBJECTIVITY 114 ASSEMBLING, STRUCTURING AND FINE CUT 116
RESPONSIBILITY TOWARDS THE AUDIENCE 121 WRITING VOICE-OVER NARRATION 125
CREATING PACE 131 USE OF MUSIC 133 TIME PRESSURES 136 SHOWING ROUGH
EDITS TO CLIENTS, SPONSORS AND AUDIENCE TRIAIS 136 ONLINE EDITS 137
CONCLUSIONS: ETHICS, EDITING AND MANIPULATION 138 CHALLENGING THE
BORDERS OF DOCUMENTARY IN EDITING 138 SUMMARY 140 VUEI DETAILED CONTENTS
6 OBTAINING PUBLIC REACTION 141 THE ARGUMENT 141 INTRODUCTION 141
COMMISSIONS: REACTIONS FROM TELEVISION AND CORPORATE SPONSORS 141
FESTIVALS 143 RIGHTS CLEARANCE 144 AUDIENCE RESPONSES 145 SUPPORT
LITERATURE AND INTERNET USAGE 146 MARKETS AND TELEVISION SALES 146 MEDIA
RESPONSES 149 CINEMA 149 LEGAL PROBLEMS, CENSORSHIP 151 CONCLUSIONS 154
SUMMARY 154 |
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| index_date | 2024-07-02T16:50:27Z |
| indexdate | 2024-07-09T20:54:07Z |
| institution | BVB |
| isbn | 074563611x 9780745636115 0745636128 9780745636122 |
| language | English |
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| title | Documentary in practice filmmakers and production choices |
| title_auth | Documentary in practice filmmakers and production choices |
| title_exact_search | Documentary in practice filmmakers and production choices |
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| title_full | Documentary in practice filmmakers and production choices Jane Chapman |
| title_fullStr | Documentary in practice filmmakers and production choices Jane Chapman |
| title_full_unstemmed | Documentary in practice filmmakers and production choices Jane Chapman |
| title_short | Documentary in practice |
| title_sort | documentary in practice filmmakers and production choices |
| title_sub | filmmakers and production choices |
| topic | Filmproduktion (DE-588)4124971-9 gnd Dokumentarfilm (DE-588)4012653-5 gnd |
| topic_facet | Filmproduktion Dokumentarfilm |
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