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Born in Auschwitz is Cseke and S. Takács’s first full-time documentary film that follows the story of Angela Orosz, who was born in Auschwitz in December 1944 and survived miraculously. The article asks how various visual representations of space are combined in the film to document Angela Orosz’s survival in the past and her relationship with her daughter in the present. The paper claims that Born in Auschwitz plays with the film lexicon of Holocaust documentary films in that it constructs visual representations of spaces related to the Holocaust by involving diverse modes of graphic spatial constructions along with traditional settings and frames. At the same time, the film also advances its female protagonists’ ability to reflect on their relationship to the Holocaust and realize the ways it is present in their daily lives 70 years later. The film not only documents but arguably also triggers an intergenerational healing process of reflection on the legacy of the Holocaust in the protagonists’ daily interactions.

The article describes a post-platform model of managing a documentary film ecosystem using the example of the Master of the Game project, interpreting the film itself as an active node of circulation of cultural and transgenerational memory. The theoretical framework combines the ideas of ecosystem management, the field of cultural production, social and communicative memory, historical locations, as well as practical narrative engineering and the logic of hybrid media distribution. The methodological sequence of stages is described: semantic mapping and ordering of sources, the use of narrative techniques of mirror comparison and rhyming of motifs, ethical filtering with recording of decisions and transparency of the use of artificial intelligence tools, formative assessment through an agreed system of metrics at the level of the scene, work and the wider cultural environment, and then re-enrichment of the archival array based on the audience’s reaction. The use of generative AI is limited by cognitive support and is accompanied by directorial control, increasing the accuracy of semantic and visual narration. The director’s competency model includes and is consistent with current trends in digital transformation, digitization of heritage, impact measurement and personalized cognitive media consumption.

Documentary film is a medium used to present reality through visuals recorded based on existing facts. In its presentation, this film can include human thoughts, referring to documentary film theories that depict subjects in the form of real people, events or situations. This study aims to analyze the cinematographic aesthetics of the documentary film entitled "Ice Cold: Murder, Coffee, and Jessica Wongso" which depicts a horrendous murder incident in Indonesia several years ago. Using qualitative methods based on literature studies from various sources, this study found that this film uses direct recording methods and reconstruction of events to convey information and build the audience's opinion regarding the events discussed. The research results show that "Ice Cold: Murder, Coffee, and Jessica Wongso" is included in the conventional expository category, which is often used in television documentary production. This type places more emphasis on narrative and logical argumentation, with a single narrator who is often dubbed the "voice of God".

: Taking the documentary film "Youth(Spring)" directed by Wang Bing as the object of study, this article applies Baudrillard's theory of mimesis, Aleida Assmann's theory of cultural memory and Appadurai's theory of global cultural mobility to explore the construction of authenticity of documentary images in the postmodern perspective. The article focuses on three aspects: the decentring of individual experience, the plurality of group memory, and the postmodern presentation of documentary authenticity.

ABSTRACT Independent Chinese documentaries began to garner critical attention at international film festivals in the 1990s. While existing studies have illuminated the importance of domestic and Asian film festivals in supporting this film culture, the influence of prominent European festivals, especially those with a business-oriented focus, has been less directly considered. This article addresses this gap by exploring interactions between such festivals and this culture, focusing on the history of Chinese documentaries’ participation in the International Documentary Film Festival Amsterdam (IDFA), between 1996 and 2017. It demonstrates that this engagement reflects a deep process of transculturation, involving multidimensional interactions – cultural, industrial, and economic. Such a perspective offers a more nuanced understanding of the complex mechanisms involved in Chinese documentaries’ global exposure through key overseas business festivals.

The documentary film Surak Kuantan portrays the cultural identity of the Kuantan Singingi community by centering its narrative on pacu jalur, a traditional longboat race that symbolizes collective pride and togetherness. Beginning with the community’s preparations, the film illustrates how every stage of the tradition from selecting sacred wood for the boat to collaborative rowing practices reflects deeply rooted social values and spiritual beliefs. This study employs an ethnographic and documentary analysis to examine how the film constructs meaning through visual composition, symbolic elements, musical arrangement, and cinematographic choices. The results indicate that the documentary does more than depict the tradition; it demonstrates the community’s strong intergenerational involvement, highlights the spiritual significance attached to each ritual, and showcases how teamwork serves as the core of cultural resilience. The film is found to effectively preserve local heritage, reinforce communal identity, and provide an accessible medium for transmitting cultural knowledge. Ultimately, Surak Kuantan emerges not only as a visual archive but also as a narrative of cultural continuity that connects historical practices with contemporary forms of expression.

Throughout its history, documentary film has undergone significant transformations, largely influenced by technological advancements that have played a crucial role in shaping its production and distribution methods. From the early days of cinema, the development of filmmaking equipment has expanded the capabilities of documentary filmmakers, enabling them to depict reality with greater accuracy and impact. With the advent of the digital era, advancements in cinematography, editing, and sound technology have enhanced the depth and interactivity of documentary storytelling. The digitization of documentary filmmaking has provided filmmakers with more efficient and cost-effective tools, leading to increased production and global accessibility. The internet and streaming platforms have revolutionized distribution, surpassing the limitations of traditional screenings. Documentary cinema has evolved beyond its informative role, becoming a space for artistic experimentation and audience interaction, especially with the rise of interactive documentaries that offer viewers a more active role. This article aims to examine how technological advancements have redefined the narrative and aesthetic structures of documentary cinema. It also explores the impact of digital platforms in expanding audience reach and reshaping the filmmaker-audience relationship.

This paper examines the intersection between documentary filmmaking and theatre, arguing that this fusion transcends traditional objective representations of reality. By incorporating elements of theatre, such as narrative structure, performance, and audience interaction, documentaries can offer deeper, more artistic explorations of complex realities and the human condition. Through the analysis of several films that exemplify this approach, the study demonstrates how theatrical techniques in documentary not only broaden the genre’s artistic possibilities but also provide unique insights into historical, social, and personal contexts. This approach transforms documentaries into powerful tools for emotional and intellectual engagement, capturing the transformative journey of performers and their impact on both the film’s subject and the audience, ultimately expanding the scope of documentary filmmaking. Keywords: theatre, documentary, social impact, trauma representation, history revisited.

In August 2008, I undertook a 36-hour oral history with renowned Shanghai-based bamboo flute master Dai Shuhong (b.1937), with whom I had studied since 1987. His almost photographic memory and skills as a raconteur opened up for me not only the story of a remarkable life lived at a time of rapid musical transformation in socialist China’s most cosmopolitan city, but also an unprecedentedly granular view-from-the-ground of how major aesthetic, social, pedagogical and policy changes came about, and what it was like as an individual musician to witness, experience, and contribute to them. My path to writing a biographical monograph based on our oral history took a detour when a filmmaker colleague, inspired by the oral history, proposed a documentary on Dai’s life. We filmed for two weeks in September 2016, and the film, Playing the Flute in Shanghai: The Musical Life of Dai Shuhong, was completed in 2019. This article describes how the originally unanticipated film project transformed the inprogress monograph, in particular how photovoice techniques, emphasis on the visual, and creative ways of capturing interviews and conversations created new types of firsthand materials and fresh ways of conceptualizing the entire book project.

This article analyzes Brazilian documentaries from the last decade, investigating their narrative and visual strategies and relating them to emerging video activism practices. Referred to here as ‘documentary cine-activism’, this set of films belongs to the context of militant cinema, updated by contemporary social activism and new image broadcasting technologies via the internet. It is divided into two trends: the first one resulting from the events of June 2013, which street demonstrations are elaborated imagetically, questions the political disputes that occurred through these images. The second trend refers to the developments of the aforementioned event, focusing on the student strikes of 2015 and the 2016 coup d'état, in which Workers’ Party (PT) President Dilma Rousseff — in office since 2011, and reelected in 2014 — was ousted. The conclusion examines how new technologies are transforming militant cinema, emphasizing the individual perspectives and narrative approaches of political actors directly involved in the events. It explores the diverse ways in which these actors engage with and recollect archival images, contrasting their use with hegemonic media, thereby integrating them into an active political strategy.

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This article aims to recall Jadwiga Plucińska – a pre-war actress, during the Second World War, a secretary in the Warsaw office of Die Deutsche Wochenschau, and between 1946 and 1959, a director of some twenty documentaries and features for the Polish Newsreel, showing the social, cultural and moral changes first in Poland recovering from the devastation of war (especially in the so-called Recovered Territories), and then during the ‘56 October Thaw. Her career was interrupted in 1959 by her arrest and subsequent five-year imprisonment on a charge of spying for US intelligence. As a result, Plucińska was almost completely forgotten and erased from the pages of Polish cinema history, and her work, withdrawn from distribution since the late 1950s, remains virtually unknown.

This paper examines the audiovisual artwork Prosomoíosi (Simulation) to critique how successive simulation technologies overwrite cultural memory. Grounded in media-archaeological thinking, the study argues that concepts must be articulated through media whose operative logic remains visible, thereby transforming viewers from passive spectators into active witnesses of algorithmic decision-making. A transparent live diffusion pipeline serves as both method and message, enabling audiences to observe how text prompts, stochastic noise, and performer input co-evolve on screen. By tracing precedents from early interactive installations to contemporary AI-driven works, the paper positions Prosomoíosi within a lineage that challenges tool-centric spectacle and renegotiates authorship at the human-machine frontier. Medium alignment thus emerges as a transferable design heuristic for artists seeking to move beyond technological virtuosity toward works that explicitly reveal, rather than conceal, their underlying political dimensions.

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Abstract The Soviet campaign in support of the Democratic Republic of Vietnam in the Vietnam War saturated Soviet public culture in the late 1960s and early 1970s. It was the longest solidarity action in Soviet history and the first to reach mass television audiences. This article examines the production and reception of a televised documentary film about the Vietnam War made by Konstantin Simonov – a celebrity writer who played a crucial role in Soviet culture during World War II, and then, in the post-war period, in the struggle to come to terms with terrible truths about Stalinism and the chaos and trauma that war had rendered. Simonov's film presented the Vietnam War in lyrical rather than analytical terms, calling upon viewers to draw connections between the suffering of the Vietnamese and the Soviet wartime experience and to enact their solidarity with the Vietnamese in terms of feeling. The film proposes a solidarity of pain and an understanding of war and wartime suffering as elemental and overwhelming. In dozens of letters to Simonov, we find an understanding and appreciation of this vision, which decentres Vietnam and instead sends viewers on a journey back to Soviet history and trauma.

Documentary films are a medium for crafting a message and getting that message out to the broader community. The philosophical value of cultural roles and responsibilities can be presented through visual and verbal messages, and documentaries are one of the most accessible digital educational media. The presentation of the documentary Mesatya – Telusur Puputan Badung is a historical story that happened in 1906. It was inspired by the National Museum of Badung royal heritage collection, which the Dutch confiscated during the Military Expedition in 1906. This film depicts Bali with its beautiful nature and culture and the story of the bloody tragedy that ever happened to maintain self-respect and country. Focuses on sequences described in terms of the opening, central, and closing scenes, including the cultural and inspiring values presented in the film through visual and linguistic information. Also, most visuals of Mesatya – Telusur Puputan Badungdocumentary film represented a reconstruction photography technique. We can see that the story runs from the perspective of a young photographer who wants to find inspiration from the event. Audiences are invited to enjoy every shot and scene with a visual aesthetic full of meaning. We can see a detailed description of the meaning of the photographer's journey.

Abstract Dance has been shown to support empowerment, sociability, and creative self-expression; however, it is rarely adopted with the explicit intention to support these aspects of engagement in the context of dementia care. Instead, dance is primarily adopted as a form of therapy to improve cognitive and physical health outcomes. This is far too narrow given there is research that demonstrates the power of dance to increase social inclusion by supporting embodied self-expression, creativity, and social engagement of people living with dementia. In order to foster broad community awareness building and education about the value of dance for life enrichment and the importance of supporting this in dementia care settings, we developed a short documentary film – Dancer Not Dementia. To evaluate the impact of the film, we conducted focus groups and/or interviews with people living with dementia, family carers, government policy makers, formal care providers affiliated with long-term and community-based dementia care, members of the dance community, and the general public. Data were collected within one week of watching the film and then again 8-12 weeks later. Our analysis illustrates the effectiveness of Dancer Not Dementia in reducing stigma by demonstrating changes in understandings of dementia and changes in practice. Our analysis also includes attention to how the film, as a form of cultural production, deepened engagement and facilitated transformation. This research contributes to a growing understanding of how the arts may challenge entrenched and oppressive attitudes and social relations, and support more inclusive and relational approaches to caring.

The novelty of the present scientific study resides in the complex analysis of the ways of conceiving and making the event documentary film, which, as far as we know, has only rarely been under the analytical eye of specialists in the field. In this context, a theoretical framing of the circulating notions: event, event documentary, poetics, narratology and narrative strategies, was undertaken. Usually, the writing of the verbal discourse of a documentary is done after the montage (editing) operation, when the selected images are compiled into an attractive and coherent story. The narrator’s comments strengthen the suggestive potential of the images (a sequence of real events) and represent the final stage of the creative process. The narrative text ensures the transition between ideas; a matter more difficult to achieve only through visual material. As for the narrative strategies (the set of media discourse construction techniques), we will show that the classical poetics, often linear, which exactly observes the moments of the subject (introduction, plot, unfolding of the action, climax, denouement and conclusion) is replaced by modern compositions in which dilemma situations, spatial-temporal reversals, subtle comments predominate, so that the revelation of meanings occurs gradually, through fine accumulations of relevant facts.

As the result of a documentary film that highlights the meaning of Noken for the Papuan tribe, "Noken Rahim Kedua" experienced many challenges, both in the production, distribution and exhibition processes. This research aims to determine the challenges faced in the production, distribution and exhibition process of "Noken Rahim" Kedua documentary film. This research is a qualitative descriptive research with a case study research method that focuses on in-depth data collection interviews. In addition, the data analysis process in this research is using the Miles and Huberman model, which divided by three stages: data reduction, data display, and conclusion drawing. The research results show three important points. First, the production process of this film experienced various limitations, both in terms of time, costs, and personnel in the shooting process. Second, the distribution process of this film experienced many challenges because it could not be screened en masse because it was considered sensitive so there needed to be discussion during the screening. Third, the exhibition process is carried out through film festivals and screenings in alternative screening rooms. Keywords: documentary; film; film production; noken rahim kedua

Abstract:The coming of sound in the late 1920s ended the standard practice of continuous live musical accompaniment of the silent era, as the human voice soon came to dominate the soundtrack. In the case of the music, there was a period of transition that lasted for several years during which different practices existed side by side. By the early 1930s, the conventions of film music as we understand them today were beginning to find their form. One of the trademarks of classical narrative cinema is its transparent style: the audience is not supposed to notice the fact that the movie is narrated. For the documentaries of the 1930s, however, this was not always the case. On the contrary, it was a conspicuous, nontransparent narrative style that distinguished many of these movies, which was also true for their music, which in many instances seems to have been conceived precisely to be heard. There are several reasons why this happened, and this article will examine the major causes in detail, using documentary film music by the composers Hanns Eisler, Benjamin Britten, and Virgil Thomson as examples.

In recent years, public emergencies represented by the outbreak of Corona Virus Disease 2019 have occurred frequently, and the world is undergoing profound changes unseen in a century . As the most authentic and timely image form, documentary film, which focuses on the documentary expression of public emergencies, plays a competitive, original, powerful, influential and leading role, has been widely concerned and affirmed by the industry and beyond. Taking the documentary film "The Front Line" as an example, combined with the author's personal thinking as the executive chief director of the film, this paper analyzes the film from the perspective of creation, argumentation, narrative means and speech methods, and conducts in-depth thinking and theoretical analysis of the documentary image expression in public emergencies.

Not only recording reality, the form of documentary films today has undergone significant development. One of the drivers of development is the digital phenomenon. Digitalization is not an impact, but a phenomenon that must be adapted as best as possible and addressed as wisely as possible. The purpose of this development is to provide innovation in the form of documentary films that are more innovative and creative. Qualitative method is used as the epistemology of data collection through research to validate the truth of the subject. Meanwhile, the principle of cross-disciplinary collaboration between film directors and digital collage artists is used as a foundation to produce a visual identity for the film to be more innovative and creative. As a result, the short film "Nasida Ria: Sun Stage" is not only a film that records the history of Nasida Ria, but also a contribution to the evolution of the documentary film form. Through an archive of texts, photos and videos arranged using digital collage techniques and moved linearly.

The debate around realism in documentary cinema has evolved significantly over the years reflecting broader shift in filmmaking techniques, compositional forms, audience expectation, cultural and political contexts. The realms of realism and compositional documentary have been in a constant state of flux, each genre pushing the boundaries of what is considered truth, authenticity, and artistic expression thereby blurring the lines between reality and fiction, and challenging the traditional notions of documentary filmmaking. Several Manipuri documentary films have made endeavors of recreating the reality through their representation on cinematic canvas. Depicting Manipur’s cinematic journey and its socio-political context in a compositional form, the documentary film “Fried Fish, Chicken Soup, and a Premier Show” (2012) relies heavily on editing with found footage and presents an even greater challenge with the inclusion of historical narratives. It intricately combines observational account of a film crew at work during the filming of the Manaobi MM’s Manipuri feature film “21st Century Gee Kunti” (2010) with intertitles, archival footage etc. to depict the history of Manipur. This paper explores the realism and compositional representation of reality in the film which skillfully blends diverse elements to document the trend of change and transformation within the cinematic landscape and the lived reality of Manipuri society in transition.

Abstract The focus of this article is contemporary documentary film culture in Lithuania. Through the case study of the Vilnius Documentary Film Festival (VDFF), I would like to argue that documentary culture has been going through a process of hybridisation in recent years. Firstly, I will outline the context of the global situation of documentary cinema, then I will show the origin and importance of VDFF in that context. I will use postcolonial studies and decoloniality to explain the process of contemporary documentary film culture in Lithuania. My research is contextualised in the new field of film festivals research in film studies. The article is based on a few semi-structured interviews, detailed analyses of catalogues of few events in Lithuania before VDFF and catalogues of VDFF, and an analysis of international festivals’ research texts.

The Mekepung tradition in Jembrana, Bali, particularly in the form of buffalo racing, is a deeply rooted cultural spectacle representing joy and celebration for agrarian communities. This research aims to explore this tradition and create a documentary film to preserve and promote its significance. Employing a qualitative descriptive method and utilizing the documentary film structure approach, the study incorporates observation, interviews, and documentation to gather authentic data. The documentary follows a three-part story structure, capturing the essence of Mekepung through genuine visual presentations and a well-structured narrative flow. Embracing a performative documentary style, the film emphasizes captivating packaging and meticulous craftsmanship. The creation process encompasses pre-production, production, and post-production stages. Ultimately, the Mekepung Jembrana documentary not only showcases buffalo racing but also serves as a vital tool for cultural preservation and awareness for future generations, ensuring the continuity of this cherished tradition.

The subject of this master’s thesis is the folk dances presented in the documentary Rhythm and Sound, directed by Trajche Popov. The film was released in 1955 as a Vardar Film production and constitutes one of the first Macedonian documentaries with a story revolving around the Macedonian intangible cultural heritage, here in the form of traditional dance and music. The objective of this film is to portray the traditional dances, their essence, and their meaning through select examples typical for certain Macedonian ethnographic regions. The filmmaker chooses the National Folk Dance Ensemble Tanec as the only performer of the folk dances. The entirety of the dances presented in the documentary were part of the ensemble’s standard repertoire and therefore constituted its base program, which was performed during the ensemble’s beginnings.

This article explores the interplay between public spaces, urban art, identity, and local memory, engaging with new audiovisual formats such as the micro-documentary within the Lira Arte Público audiovisual project. The primary aim of this study is to delve into the themes, spaces, and dialogues that interconnect the city, urban art, and micro-documentaries. Employing a mixed-methods approach that integrates qualitative and quantitative tools, complemented by an analytical-synthetic framework and a narratological perspective, the research analyses the documentary series ‘Muros con Historia-Edición Barrio Arte’. This series consists of six short documentaries, each ranging from four to five minutes in length. The findings elucidate the dual functionality of the series: firstly, as a documentary record enhancing the visibility of the artistic process; and secondly, as a platform for the testimony and affirmation of the identities of the collectives inhabiting the spaces transformed by the mural projects. The study conclusively identifies and discusses how audiovisual language, through both content and form, constructs and conveys the characteristics of the city, mural art, and the Latin American identity of the involved artists.

ABSTRACT In the 1980s, the French documentary field opened up to a number of autobiographical practices which redrew the frontiers of the cinematic landscape. L’Heure exquise (‘The exquisite hour’) (René Allio, 1980), Lettres d’amour en Somalie (‘Love letters in Somalia’) (Frédéric Mitterrand, 1982) and Mourir à trente ans (‘Dying at thirty’) (Romain Goupil, 1982) are the notable signs of this change. This shift was confirmed in the years that followed, as borne out by La Pudeur ou l’Impudeur/Modesty and Shame (Hervé Guibert, 1992), Rome désolée/Desolate Rome (Vincent Dieutre, 1995) and Je suis venue te dire (‘I came to tell you’) (Laetitia Masson, 1997), to name but a few. These films are investigations and confessions that tell stories of love or sickness, happiness or sorrow. Faced with grief and reparation, the act of creation is motivated by a quest and a recovery of the self. In the 2000s, initiatives diversified, based (sometimes politically) on the societal context of the period within which the filmmakers worked (family, genre, etc.). In this article, the author assembles a three-stage filmic cartography and defines issues at stake in this intimate autobiographical dimension forged over 40-odd years by French documentary films.