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The tasks of documenting and narrating stories of climate change and border environments have become increasingly urgent in recent years, and discussions around effective approaches to environmental storytelling have intensified accordingly. The film Char…The No Man’s Island (2012), directed by Sourav Sarangi, is a noteworthy example of a work that seeks to represent one such unstable environment that exists on the border between India and Bangladesh and to explore the daily lives of the beings who inhabit it. Although the documentary has a specific regional focus, its scope is far from limited, as the film examines various dimensions of life in this border environment as well as the historical and political factors that have led to the current realities of the space and the communities established there. In this paper, I examine how Sarangi’s inclusion of a multitude of distinct human and non-human perspectives throughout the film signals a move towards a form of environmental storytelling grounded in the notion of a collective, wherein narrative agency is distributed amongst multiple entities rather than invested in a single individual. Moreover, the paper argues that the usage of these various perspectives also enables Char to depict alternate temporalities and experiences of time which contrast heavily with ideas of linear time and progress and invites audiences to consider the multifaceted temporal and spatial realities of life in a precarious border environment.

This article considers how recent French documentary filmmaking has engaged with the representation of masculinities in some of Paris's most emblematic banlieues . Focusing on Alice Diop's sixth film Vers la tendresse (2016), which brings to the screen testimonies of straight and gay men from La Courneuve, Aulnay-sous-Bois, and Montreuil, this article examines how the documentary form offers new ways to interrogate men's experiences of love and relationships in the French peripheries. Drawing on an interview with the filmmaker, this article argues that Diop's conversation-based performative documentary filmmaking, with its detaching of image from sound, destabilizes viewer assumptions and challenges cultural clichés about men and emotion. By emphasizing the universal characteristics of the men's personal accounts, this article suggests that Diop's film reclaims the banlieues from the stereotype of a marginal space of “otherness” and offers instead singular narratives, voicing poignant portraits of masculinities that resonate widely in twenty-first century France.

The impact of digital global media, geopolitical changes and migration demands new theorizations within memory studies. Despite the growing field of media memory studies, the impact from film and media studies has been scarce within memory studies. This unique study offers new theorizations of three crucial concepts for media memory studies: remediation, transculturality and the archive. This book takes a closer look at the media specificity of archival footage and how it is adapted, translated and appropriated. In its original approach this work reflects upon the role of documentary film images for the construction of memory. By merging film and media studies with memory studies the work offers multiple theoretical and methodological approaches for everyone interested in the heritage of audiovisual media: film and media scholars, memory scholars, historians, art historians, social scientists, librarians or archivists, curators and festival programmers alike.

American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism's focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.

Drawing on video data collected between June and September of 2020, this piece reveals the unique challenges presented by COVID-19 frontline domestic abuse workers in the UK and provides critical reflections from the authors in the form of a collective interview. This innovative study uses participant-led data collection (in the form of self-recorded video diaries) and filmed focus groups with CEOs of UK charities, parliamentarians, the police and NHS professionals. The authors produced a film, Lifeline , drawing on the knowledge produced from these focus groups and video-diaries, foregrounding the voices of the women who work in this sector. The conversation presented here unpacks the complexities of representing domestic violence provision both in creative and academic outputs. Furthermore, the conversation reveals the epistemological challenges that come with representing and understanding the impact of COVID-19 on the domestic violence sector.

Increasing research attention is being given to former felons, or returning citizens, after their release from prison. This paper contributes to that dialogue by exploring the documentary-making process of a grassroots organization founded by and for returning citizens and their families, and the contributions it made when it was completed in 1996, and continues to make today. Little is known about how community organizations can use the making of an organizational documentary to build the capacities of the organization, its affiliates, a neighborhood, and social change. By exploring the collaborations and challenges that took place during the local reintegration process back into family and community, the start and completion of the documentary in the mid-1990s was quite innovative. This article analyzes reciprocal tensions of service (Simmel 1908) reflected in the documentary when it was completed in 1996, and its continuing relevance to the growth of returning citizenship today.

The Mojo Handbook: Theory to Praxis offers a detailed and engaging crash course on how to use mobile tools to create powerful journalistic stories. Drawing on both theoretical underpinnings and practical techniques, the book outlines the fundamentals of mobile journalism methods, by placing mobile storytelling within a wider context of current affairs, documentary filmmaking and public relations. The book offers expert advice for how to use storytelling skills to transform mobile content into engaging and purposeful user-generated stories for audiences. Topics covered include tips for recording dynamic video and clean audio, conducting interviews on your phone and editing and post-production processes, as well as advice on how to handle copyright issues and a primer on journalistic ethics. The book also includes a comprehensive glossary of terms to help students navigate the video production and mobile journalism world. The Mojo Handbook is a valuable resource for aspiring multimedia professionals in journalism, strategic and corporate communication, community and education, as well as anyone looking to incorporate mobile into their visual storytelling tool kit.

This review article offers a critique of Boarding House, a Hungarian ethnographically-based documentary film about a formerly Hungarian mining-settlement in Vintondale, Pennsylvania. In the film two researchers from Hungary introduce this settlement via interviews, old photographs and stories about a general store that in addition functioned as a boarding house for miners. Also featured in the film is the acquisition process of some thousand items of this store by the Open Air Museum of Szentendre, Hungary, in order to replicate the boarding house in the museum and thus illustrate some aspects of Hungarian-American immigrant life in this United States coal-region during the 1920s and 1930s.

Film correspondences as soon as paper is an object of particular semiotic interest as a witness, testimony or evidence. This article focuses on the analysis of the film matches August without you (2014, audiovisual collective Pasaik Girls). Imbricated in private space, film correspondences, travel journals, or self-portraits settles in the intimate, emotional and confessional, this is why we will emphasize in the configuration of a particular device in which a time, a voice (\"I\") and a space are located by narrative resources.

En 1970, el director argentino de documentales Raymundo Gleyzer viajó con autorización del gobierno de México para reportar sobre la campaña presidencial de Luis Echeverría. Sin embargo, decidió permanecer en forma clandestina para filmar los fracasos de la Revolución de 1910. Este ensayo analiza el discurso documental de Gleyzer. El gobierno mexicano intentó suprimir el documental que se produjo, y éste podría haber sido un factor en su desaparición a manos del golpe militar argentino de 1976. In 1970, the Argentine documentary filmmaker Raymundo Gleyzer traveled to Mexico, authorized to cover the Luis Echeverría presidential campaign. However, he stayed on clandestinely to film the failures of the 1910 Revolution. This essay analyzes Gleyzer's documentary discourse in this clandestine undertaking. The Mexican government sought to repress the resulting documentary, and the latter may have been a factor to his disappearance in 1976 at the hands of the Argentine military coup.