Filmic sociology: theory and practice
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham, Switzerland
Palgrave Macmillan
[2023]
|
| Schriftenreihe: | Social visualities
|
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XXI, 232 Seiten Illustrationen, Diagramme |
| ISBN: | 9783031336959 |
Internformat
MARC
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents 1 Introduction............................................................................................................ 1 2 The Approach of Filmic Sociology.................................................................. 5 Three Interrelated Functions of Filmic Sociology............................. From Text-based to Filmic Sociology.................................................. 2.1 Revisiting the Written Scientific Production Process........... 2.2 Consideration on the Scientific Production Process of Filmic Sociology............................................................... 2.3 Proposals for Making a Sociological Documentary............. What Does the Sociological Documentary Say That Text-based Sociology Might Overlook?............................................................... 3.1 How to Show Stress and Time Pressure on Employees.... 3.2 Showing Domination and Resistance Relationships at Work.................................................................................... 3.3 Representing Proximity Through Transparency.................... 3.4 Associate Interviews with Meaningful Images.................... From the Master’s Degree in Image and Society to the Doctoral Thesis in Filmic Sociology................................................................. 4.1 Creating Convergences Between Sociologists and Film Professionals............................................................................ 4.2 Teaching and Research in Filmic Sociology........................ 6 8 8 1 2 3 4 3 9 12 14 15 21 24 25 28 28 29 From Ethnologist
Photography to Filmic Sociology................................. 31 1 The Documents of Ethnologists and Anthropologists........................ 32 1.1 From Albert Kahn to Anglo-Saxon Anthropologists............ 32 1.2 French Ethnologists in Africa.................................................. 36 XVII
Contents XVIII Documentary Photography and Film.................................................. 39 2.1 Documentary Photography......................................................... 39 2.2 Documentary Cinema.................................................................. 61 2.3 The Documentary and the Invention of Direct Cinema (1960 to the Present)................................................................ 70 Genesis of Filmic Sociology.................................................................. 77 2 3 4 Cinema and Sociology: A Promising Hybridization.................................. 83 1 2 3 5 Thinking with Words and Images......................................................... 84 1.1 Words to Revive Images: The Power of Poetry and Novel . 84 1.2 What Is Thought? Visual Thinking.......................................... 88 1.3 Ideas and Images...................................................................... 92 Are There Sociological Images?.......................................................... 94 2.1 Documentary Photography, a Kingdom of Contraction.... 95 2.2 Sociological Value of Photographs......................................... 101 2.3 From Photography to Sociological Documentaries..............110 2.4 The Sociological Documentary, Kingdom of the Extension of Signifiers............................................... 118 Making a Sociological Documentary: From the Mastery of Signifiers to Film Editing......................................................120 3.1 Learn How to Read Images to Be Able to Design Them... 121 3.2 Documentary
Filmmaking as a Process................................. 129 3.3 Between the Imagined and the Realized Film: The Imperfect of the Sociological Documentary......................... 137 Cinema Enhances Sociological Questions..................................................... 139 1 2 3 4 Filmic Sociology and Interactionism.................................................. 141 1.1 American Interactionism.................................. 141 1.2 An Increased Concordance....................................................... 142 Detachment and Involvement of the Documentary Sociologist.... 144 2.1 Does Detachment Contradict Involvement?................. 146 2.2 The Viewpoint, GeometricalPoint of the Documentary ... 152 Sociological Documentary and “Scientific Residues”....................... 155 3.1 After Logging the Rushes Several Films Are Possible ....156 3.2 “The Circle of Lost Souls in 50 Years of Affirmative Action in Boston...................................................................... 157 3.3 Poverty Makes Me Happier Than Wealth............................... 159 Smartphones and Filmic Sociology................................................... 161
Contents XIX 6 Showing the Invisible in the Sociological Documentary........................ 165 1 On the Representation of Reality........................................................ 166 1.1 Pictorial Representation and the “Reality Effect ............... 166 1.2 The “Real Unreality“ of Photography and Cinema............. 169 1.3 The Visible and the Invisible................................................. 172 2 Representing the Social Invisible........................................................ 173 2.1 A Constantly Renewed Project............................................... 174 2.2 Representing Time in Cinema............................................... 179 2.3 Portraying Relations of Domination: From Metaphor to Archive....................................................................... 181 3 The Filmed Interview.......................................................................... 184 3.1 From Sociology to Filmed Interview..................................... 185 3.2 The Filmed Interview, Producer of Knowledge.................... 188 7 Conclusion..................................................................................................... 203 Bibliography............................................................................................................207 Thematic Index....................................................................................................... 215 Index of proper names.............................................................................................223 Index of films
cited................................................................................................. 229
SOCIAL VISUALITIES Series Editors: Gary Bratchford · Dennis Zuev For the authors, the production of sociological films is much more than a simple shift in the medium used to report on field work, and is actually an alternative way of conducting sociological research. What Sebag and Durand propose is literally to think by images. —Guillaume Sirois, Professor, Université de Montréal, Visual Studies, Vol. 36 1.4-5, 2021 Joyce Sebag and Jean-Pierre Durand deserve all the credit for skillfully leading us through this rich stimuli, showing us the heuristic potential of a complex discipline: images and sounds good for thinking, and to produce an advancement in the direction of a dialogic and polysemic knowledge of the reality. —Gianfranco Spitelli, University of Teramo, Voci (Italia), 2021 This book is an exploration of the intellectual resources offered by the hybridization of sociology and cinema: practicing sociology, or other human sciences, through images and sound. In the age of the image, this volume invites sociological research, not only through the discipline s approach, but also through the joint learning of techniques (shooting and sound recording, derushing, editing, etc.) and film writing. Using concrete examples, the authors analyze what it means to think through the image, explain the different phases of making a sociological documentary, and question, through sociological film, the representations of reality and, more specifically, what remains invisible in the social world. The result is a reflective look at the theories and practices presented, to better
equip the sociologist-filmmaker. Illustrated with numerous photographs that mark the history of documentary photography and film, the book is intended for both teacher-researchers and students in all disciplines of the humanities and social sciences who practice video and photography or wish to discover their uses. Students in documentary and film schools, as well as students in information and communication programs, will also benefit from the book in their studies. Joyce Sebag is Professor Emeritus of Sociology at the Centre Pierre Naville, University of Evry Paris-Saclay, France, where she created the Master Image et Société and supervised several theses in filmic sociology. Jean-Pierre Durand is Professor Emeritus of Sociology at the University of Evry Paris-Saclay, France, where he founded the Pierre Naville Center. He has published several books on sociology of work with Palgrave.
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| adam_txt |
Contents 1 Introduction. 1 2 The Approach of Filmic Sociology. 5 Three Interrelated Functions of Filmic Sociology. From Text-based to Filmic Sociology. 2.1 Revisiting the Written Scientific Production Process. 2.2 Consideration on the Scientific Production Process of Filmic Sociology. 2.3 Proposals for Making a Sociological Documentary. What Does the Sociological Documentary Say That Text-based Sociology Might Overlook?. 3.1 How to Show Stress and Time Pressure on Employees. 3.2 Showing Domination and Resistance Relationships at Work. 3.3 Representing Proximity Through Transparency. 3.4 Associate Interviews with Meaningful Images. From the Master’s Degree in Image and Society to the Doctoral Thesis in Filmic Sociology. 4.1 Creating Convergences Between Sociologists and Film Professionals. 4.2 Teaching and Research in Filmic Sociology. 6 8 8 1 2 3 4 3 9 12 14 15 21 24 25 28 28 29 From Ethnologist
Photography to Filmic Sociology. 31 1 The Documents of Ethnologists and Anthropologists. 32 1.1 From Albert Kahn to Anglo-Saxon Anthropologists. 32 1.2 French Ethnologists in Africa. 36 XVII
Contents XVIII Documentary Photography and Film. 39 2.1 Documentary Photography. 39 2.2 Documentary Cinema. 61 2.3 The Documentary and the Invention of Direct Cinema (1960 to the Present). 70 Genesis of Filmic Sociology. 77 2 3 4 Cinema and Sociology: A Promising Hybridization. 83 1 2 3 5 Thinking with Words and Images. 84 1.1 Words to Revive Images: The Power of Poetry and Novel . 84 1.2 What Is Thought? Visual Thinking. 88 1.3 Ideas and Images. 92 Are There Sociological Images?. 94 2.1 Documentary Photography, a Kingdom of Contraction. 95 2.2 Sociological Value of Photographs. 101 2.3 From Photography to Sociological Documentaries.110 2.4 The Sociological Documentary, Kingdom of the Extension of Signifiers. 118 Making a Sociological Documentary: From the Mastery of Signifiers to Film Editing.120 3.1 Learn How to Read Images to Be Able to Design Them. 121 3.2 Documentary
Filmmaking as a Process. 129 3.3 Between the Imagined and the Realized Film: The Imperfect of the Sociological Documentary. 137 Cinema Enhances Sociological Questions. 139 1 2 3 4 Filmic Sociology and Interactionism. 141 1.1 American Interactionism. 141 1.2 An Increased Concordance. 142 Detachment and Involvement of the Documentary Sociologist. 144 2.1 Does Detachment Contradict Involvement?. 146 2.2 The Viewpoint, GeometricalPoint of the Documentary . 152 Sociological Documentary and “Scientific Residues”. 155 3.1 After Logging the Rushes Several Films Are Possible .156 3.2 “The Circle of Lost Souls" in 50 Years of Affirmative Action in Boston. 157 3.3 Poverty Makes Me Happier Than Wealth. 159 Smartphones and Filmic Sociology. 161
Contents XIX 6 Showing the Invisible in the Sociological Documentary. 165 1 On the Representation of Reality. 166 1.1 Pictorial Representation and the “Reality Effect". 166 1.2 The “Real Unreality“ of Photography and Cinema. 169 1.3 The Visible and the Invisible. 172 2 Representing the Social Invisible. 173 2.1 A Constantly Renewed Project. 174 2.2 Representing Time in Cinema. 179 2.3 Portraying Relations of Domination: From Metaphor to Archive. 181 3 The Filmed Interview. 184 3.1 From Sociology to Filmed Interview. 185 3.2 The Filmed Interview, Producer of Knowledge. 188 7 Conclusion. 203 Bibliography.207 Thematic Index. 215 Index of proper names.223 Index of films
cited. 229
SOCIAL VISUALITIES Series Editors: Gary Bratchford · Dennis Zuev "For the authors, the production of sociological films is much more than a simple shift in the medium used to report on field work, and is actually an alternative way of conducting sociological research. What Sebag and Durand propose is literally to think by images." —Guillaume Sirois, Professor, Université de Montréal, Visual Studies, Vol. 36 1.4-5, 2021 "Joyce Sebag and Jean-Pierre Durand deserve all the credit for skillfully leading us through this rich stimuli, showing us the heuristic potential of a complex discipline: images and sounds good for thinking, and to produce an advancement in the direction of a dialogic and polysemic knowledge of the reality." —Gianfranco Spitelli, University of Teramo, Voci (Italia), 2021 This book is an exploration of the intellectual resources offered by the hybridization of sociology and cinema: practicing sociology, or other human sciences, through images and sound. In the age of the image, this volume invites sociological research, not only through the discipline's approach, but also through the joint learning of techniques (shooting and sound recording, derushing, editing, etc.) and film writing. Using concrete examples, the authors analyze what it means to think through the image, explain the different phases of making a sociological documentary, and question, through sociological film, the representations of reality and, more specifically, what remains invisible in the social world. The result is a reflective look at the theories and practices presented, to better
equip the sociologist-filmmaker. Illustrated with numerous photographs that mark the history of documentary photography and film, the book is intended for both teacher-researchers and students in all disciplines of the humanities and social sciences who practice video and photography or wish to discover their uses. Students in documentary and film schools, as well as students in information and communication programs, will also benefit from the book in their studies. Joyce Sebag is Professor Emeritus of Sociology at the Centre Pierre Naville, University of Evry Paris-Saclay, France, where she created the Master Image et Société and supervised several theses in filmic sociology. Jean-Pierre Durand is Professor Emeritus of Sociology at the University of Evry Paris-Saclay, France, where he founded the Pierre Naville Center. He has published several books on sociology of work with Palgrave. |
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| spelling | Sebag, Joyce Verfasser aut Filmic sociology theory and practice Joyce Sebag, Jean-Pierre Durand Cham, Switzerland Palgrave Macmillan [2023] XXI, 232 Seiten Illustrationen, Diagramme txt rdacontent n rdamedia nc rdacarrier Social visualities Durand, Jean-Pierre 1948- Verfasser (DE-588)171067495 aut Erscheint auch als Online-Ausgabe 978-3-031-33696-6 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034923655&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034923655&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title_sub | theory and practice |
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