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The dispersed character of terrorism as a practice became more coherent to the Western realm through the operationalisation of counter terrorist discourses. The media played a major role in that in the sense that they provided public 'visibility' upon the potentiality of terrorist threat. What this essay would like to discuss is the way such representations of threat negotiate a number of issues evolving around 'civil rights'; discrimination, intensification of surveillance or militarization legitimacy of a state of emergency; and how public discourses of broader issues of 'rights' are contextualized in the aftermath of a terrorist attack. The case study is a documentary produced shortly after a terrorist event that embraces the question 'why bomb London?' regarding the London public transport attacks of 7/7/2005. The analytical paradigm used is based on Critical Discourse Analysis which provides a structure that can respond to different questions of 'how' the signification of emergency is constructed

Cover -- Copyright information -- Dedication -- Preface: The smoking truck driver -- Acknowledgements -- Contents -- Abstract -- 1. Understanding documentary as a political text: state of the research -- 2. Methodology and context -- 2.1 Methodology -- Dialectical and historical materialism -- Hermeneutics -- 2.2 Context -- Reflections on the political origins of documentary -- Power structures in documentary film -- The political dialectic of content and form in documentary film -- 3. The cinematic means as loci of power structures -- 3.1 Social and political power structures in "Even Though My Land is Burning" and "Not Just Your Picture" -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- 3.2 Documentary characters: choice of protagonists as a political narrative -- The political dialectic of characters and society -- "Hoop Dreams" -- "Welcome to Leith" -- Individualism and the neo-liberal structure -- "King of Kong: A Fistful of Quarters" -- "Man on Wire" -- "Love Me" -- Characters and society in my practical work -- Conclusion -- 3.3 Reflexivity and participatory film -- "I'm harboring a murderer in my film" - Reflexivity and participation as content/form dialectic in the films of Avi Mograbi -- "Once I Entered a Garden" -- "Between Fences" -- "Z32" -- "I am a refugee and a filmmaker, and you ask me to choose which?" - experiences of reflexivity and participation in my practical work -- "Even Though My Land is Burning" -- "Not Just Your Picture" -- "Limbo" -- 3.4 The power structures of the interview -- Historical emergence of the interview form -- Aesthetic and form of the interview -- Talking Head -- Vox Pop -- Conversation, dialogue or pseudo-dialogue -- The Masked Interview -- Theoretical approaches to different interview forms -- "The Fog of War" -- The power relations of interviews -- Interviews in my practical work.

The post-war counter-culture encouraged alternative ways of articulating the language of documentary film, contributing to a wider critique of social institutions and the complicity of the mass media in constructing perceptions of authority. In relation to the politics of madness, this era also gave rise to a heightened awareness of psychiatric institutions as sites of symbolic power rather than therapeutic care, informing a growing scepticism towards both traditionally assumed causes and categories of mental illness as well as the everyday concept of rationality itself. This article offers a comparative analysis of different observational filmmaking styles in relation to their respective portrayals of various methods, personalities, and institutions associated with forms of radical psychiatry. It explores the impact and legacy of these cultural developments on films such as: Warrendale (Allan King, 1967); Asylum (Peter Robinson, 1972); San Clemente (Raymond Depardon and Sophie Ristelhueber, 1980); and Every Little Thing/La Moindre des choses (Nicolas Philibert, 1996). Despite their cultural and formal differences, these films are similarly involved in negotiating not only problematic distinctions between observation and intrusion, fiction and documentary, but also constructions of madness and sanity.

1. Introduction -- 2. Farming the Tools of Persuasion.-3. Methods and Approaches to Documentary Influence -- 4. Ecocinema and Semiotic Storytelling -- 5. The Documentary's Digital Turn -- 6. Visible Volume: The Multilinear and Database Documentary -- 7. The Geo-Doc: A Locative Approach to Remediating the Genre -- 8. Conclusion.

None ; There is a clear proliferation of documentary films whose boundaries are blurred and transfigured because of the evolutive process that affects every artistic and social creation. As a consequence of this confusion of genres, a new interpretative approach arises and gives social scientists the necessary freedom to develop their job according to their necessities without emulating any particular scientific model. Regarding to experimental cinema, the requirement of moral objectivity and neutrality disappears, as well as the strict separation between theories and real data. From a transdisciplinary perspective, experimental language might imply a representation mode that allows the exploration of numerous possibilities considering the challenges and complexities of the representation of these realities. In this paper we set out the development of avant-garde and experimental cinema as a possible answer to the narrative challenges imposed by an increasingly complex society: How can we understand this discontinuous world that surround us from a determined mentality riddled with prejudices that were formed in a former social context? This theoretical work is based on documentary analysis, as well as on the authors international professional experience and on teaching innovation in the field of audiovisual communication, which has been founded by institutions such as Santander Bank and Complutense University of Madrid. We provide a solid study of social-political documentary films in its experimental form. As a main result we highlight the bigger freedom for questioning social continuities, allowing the development of new perspectives from a holistic approach. In addition, the limited budget that is required for these films, that are usually self-produced, may result in a bigger autonomy to transmit a discourse with political critique. Moreover, from the receiver point of view, experimental documentary cinema breaks the mechanistic media consumption and expands the audience s aesthetic experience, so they become more aware of the limits of perception and representation that are outside and inside them. Finally, we tackle the best practices and challenges of this mode of representation that combines experimental language and socio-political documentary cinema. In the current context, when mass-production and mass-diffusion media are accumulated in powerful minorities, independent discourses that are diffused by collaborative and non-commercial circles and that evade the control of the industry, gain greater and greater importance. The questioning of social reality can be done from numerous perspectives, however, the documentary cinema and the open-mindedness of its experimental form, really can foster a critical thought, a complementary and diverse point of view facing the continuous and unifier one. In conclusion, a society of human beings which are slightly freer and more aware of themselves and of the outside environment where they can apply their innate capacity of transformation. ; info:eu-repo/semantics/draft

Cover title. ; Bibliography: p. 57. ; Mode of access: Internet.

Cover title. ; Bibliography: p. 47. ; Mode of access: Internet.

Documentary film is a popular resource amongst peacebuilding organisations and practitioners. Despite this popularity, research on documentary film is still emerging in peace and conflict studies. This article explores documentary film's role in the study and practice of peacebuilding by examining the documentary Demons in Paradise and its engagement with issues of peace and conflict in post-war Sri Lanka. This article makes conceptual, methodological, and empirical contributions. Drawing from empirical research, I identify and discuss documentary film's engagement along three analytical angles: documentary film as a text, within social processes, and within research processes. Under each angle, I explore how empirical observations and understanding of peace emerge through the visual, using diverse methods and data, including interviews, participant observation, visual elicitation in post-screening focus groups, and film analysis. I conclude that documentary film can contribute to the study and practice of peacebuilding by offering multiple analytical angles that elucidate plural, disparate understandings of peace in post-war societies.

Since its inception in 2009, the housing movement in Spain, led by the Platform for People Affected by Mortgages (PAH), has confronted a devastating wave of housing foreclosures and evictions. Remarkably, the PAH has enjoyed wide coverage in the mass media. Among the latter, numerous fiction and non-fiction films have portrayed home evictions and the housing struggles opposing them. This article selects four documentaries focused on the PAH and investigates how they represent the context of social and political contention and their contribution to fostering housing activism. In so doing, we mainly use first-hand interviews with the filmmakers and a comparative analysis of the narrative strategies followed by each documentary. As for the context, we present the demands, campaigns and protest repertoires of the PAH in relation to the post-2008 global financial crisis, which frames the political significance of the documentaries. By comparing the examined documentaries, we find that their narrative strategies split into 'direct' and 'lecturing' approaches on the one hand, and 'macro' and 'micro' spheres of the context subject to representation on the other. In addition, the filmmaker's activist engagement substantially shaped the production and dissemination of the films.