Reframing Ethnographic Film

Book description: From a boom in theatrical features to footage posted on websites such as YouTube and Google Video, the early years of the 21st century have witnessed significant changes in the technological, commercial, aesthetic, political, and social dimensions of documentaries on film, television and the web. In response to these rapid developments, this book rethinks the notion of documentary, in terms of theory, practice and object/s of study. Drawing together 26 original essays from scholars and practitioners, it critically assesses ideas and constructions of documentary and, where necessary, proposes new tools and arguments with which to examine this complex and shifting terrain. Covering a range of media output, the book is divided into four sections: * Critical perspectives on documentary forms and concepts * The changing faces of documentary production * Contemporary documentary: borders, neighbours and disputed territories Digital and online documentaries: opportunities and limitations

We control it on our end, and now it\u27s up to you -- Exploitation, Empowerment, and Ethical Portrayals of the Pornography Industry

Documentaries about pornography are beginning to constitute an entirely new subgenre of film. Big Hollywood names like James Franco and Rashida Jones are jumping on the bandwagon, using their influence and resources to invest in a type of audiovisual knowledge production far less mainstream than that in which they usually participate. The films that have resulted from this new movement are undoubtedly persuasive, no matter which side of the debate over pornography these directors have respectively chosen to represent. Moreover, regardless of the side(s) that audience members may have taken in the so-called “feminist porn debates,” one cannot ignore the rhetorical strength of the arguments presented in a wide variety of documentaries about pornography. However, the ways in which these filmmakers use audiovisual rhetoric to convey their respective arguments are far from simple. My research explores and analyzes the various types of rhetoric that filmmakers use when creating documentaries about pornography. I also investigate precisely how these types of rhetoric are used, and why viewers find them so persuasive. My visual analysis focuses primarily on Jill Bauer and Ronna Gradus’s Hot Girls Wanted (2015), Bryce Wagoner’s After Porn Ends (2012), and Christina A. Voros’s Kink (2013) – the first offers a particularly negative view of pornography, the second a nuanced view, and the third a particularly positive view

Friends of Musselman Library Newsletter Spring 2004

Table of Contents: From the Director: Events By the Library (Robin Wagner, Janelle Wertzberger, Larry Marschall, Andrea Harries ’04); ONE BOOK Come to Gettysburg (Ursula Hegi); Friends Join Friends for Spring Event April 20th, Featuring Transit of Venus (Larry Marschall); New Book on Stephen H. Warner \u2768 (Arthur J. Amchan, Stephen H. Warner ’68); Library Combats Waste; Scholarly Study Stuckenberg Maps (James Myers, Dan DeNicola, John Docktor); It Takes More Than Two to Tango: Students Paint Library Walls (Nancy Cushing-Daniels, Cassandra Cochran, Ashley Gilgore, Lisa Hinkel, Shianne Settlage); Students Organize WWII Exhibit (Bill Bowman); Emler and Light Named Fortenbaugh Interns (Meggan Emler ’04, Stephen Light ’05) Spotlight on Collections (Jacob Yingling ’52, Keith Swaney ’03); County Histories Come Alive as eBooks (Milton Burgess ’22); Colorful Children’s Toys Exhibit; Klos Gift Transforms Collection (Sarah Wolf Klos ’48, Reverend Frank W. Klos Junior ’46, Reverend G. Edgar Wolfe ‘09); Foreign Films in English (Nancy Johnson); Notable Recent Purchases in Special Collections; Rare Slavery Materials Available; Friends Fundraiser Features Frankenstei

The Thesis: texts and machines

This opening chapter focuses on how research knowledge is represented in the dissertation as a textual format. It sets the dissertation in two contexts. Borg discusses its historical formation within the technologies of the pen and the typewriter; Boyd Davis analyses the changes produced by digital technologies, offering counter-arguments to the claim that the predominantly textual thesis is a poor representation of research knowledge. He advances evidence-based arguments, using a synthesis of recent technological developments, for the additional functionality that text has acquired as a result of being digital and being connected via international networks, contrasting this with the relatively poor forms of access available even now using pictures, moving images and other non-textual forms. The chapter argues that the dissertation is inherently contingent, changing and changeable. While supervisors may expect their students to produce a dissertation that resembles the one they wrote themselves, changes both in the available technologies and in the kinds of knowledge the dissertation is expected to represent are having a significant effect on its form as well as its content. Boyd Davis is co-editor of the book in which this chapter is published, which has its origins in an ESRC-funded seminar series, ‘New Forms of Doctorate’ (2008–10), that he co-devised and co-chaired. The work grew out Boyd Davis’s questioning of methods and formats for research knowledge in his introduction to, and editing of, a special issue of Digital Creativity, entitled Creative Evaluation, in 2009. This followed a peer-reviewed symposium on evaluative techniques within creative work supported by the Design Research Society and British Computer Society, which he devised and chaired. Related work on forms of knowledge in interactive media appears in an article with Faiola and Edwards of Indiana University–Purdue University, Indianapolis, for New Media and Society (2010)

Need for narrative

What do consumers need from a narrative? How can videographers satisfy those needs? Through semi-structured interviews with 55 Eurostar passengers from 14 countries, this film documents how people define narratives, why they need them, and how they experience the effects of need for narrative. The adjoining commentary contributes to the development of videography as an attractive method by introducing the videographer’s perspective and elucidating key story elements that can help satisfy viewers’ needs for narrative. The suggested approach maintains the vivid quality of videography and respects its methodological rigour, while increasing its effectiveness in close alignment with a consumer society that visual communication increasingly permeates. As such, the commentary and the film jointly unveil videographers’ etic and viewers’ emic use and evaluation of the videographic method

Proviola: A Tool for Proof Re-animation

To improve on existing models of interaction with a proof assistant (PA), in particular for storage and replay of proofs, we in- troduce three related concepts, those of: a proof movie, consisting of frames which record both user input and the corresponding PA response; a camera, which films a user's interactive session with a PA as a movie; and a proviola, which replays a movie frame-by-frame to a third party. In this paper we describe the movie data structure and we discuss a proto- type implementation of the camera and proviola based on the ProofWeb system. ProofWeb uncouples the interaction with a PA via a web- interface (the client) from the actual PA that resides on the server. Our camera films a movie by "listening" to the ProofWeb communication. The first reason for developing movies is to uncouple the reviewing of a formal proof from the PA used to develop it: the movie concept enables users to discuss small code fragments without the need to install the PA or to load a whole library into it. Other advantages include the possibility to develop a separate com- mentary track to discuss or explain the PA interaction. We assert that a combined camera+proviola provides a generic layer between a client (user) and a server (PA). Finally we claim that movies are the right type of data to be stored in an encyclopedia of formalized mathematics, based on our experience in filming the Coq standard library.Comment: Accepted for the 9th International Conference on Mathematical Knowledge Management (MKM 2010), 15 page

PLACE Events 2016-2017

This document describes PLACE events at Linfield College for 2016-2017

Summary of IMLS NLG Collections

The creation of a collection registry for digital collections developed with funding from the IMLS National Leadership Grant (NLG) program from inception to date has provided an opportunity to observe commonalities and differences among and between these collections. Initial analyses of collection characteristics and the different approaches taken by NLG projects to collection definition inform us regarding current practice and have suggested avenues for fruitful research.IMLS National Leadership Grant LG-02-02-0281unpublishednot peer reviewe