Search

Originally produced in 2000. 56 minutes, 30 seconds. Contains the following files of the presentation: Windows Media 1000 kbps, Windows Media 300 kbps, Quicktime 300 kbps, Real Player 300 kbps, and a Podcast link: rtsp://tinder.uoregon.edu/media.uoregon.edu/audio/channel/ODP/2007/roll-on-columbia.mp3, A VHS copy of this video is available through the UO Libraries under the call number: VIDEO COLL VIDEOTAPE 05138, In spring 1941, the cusp of the Great Depression and Pearl Harbor, a 28 year old, unemployed Dust Bowl balladeer, Woodrow Wilson Guthrie took a one month, temporary job with the U.S. Department of the Interior's Bonneville Power Administration (BPA) on the Columbia River. The BPA needed a folksinger to promote the benefits of building dams to produce cheap electricity. Guthrie, and his wife and 3 kids needed the paycheck. He wrote 26 songs in 30 days - classics like Roll on Columbia and Pastures of Plenty. This documentary is the story of the most prolific moment in Guthrie's extraordinary career. For much more information and purchasing instructions, visit the official web site.

Based on primary sources collected in the archives of the specialized agencies of the United Nations Organization (UN), the article explores the articulation of educational cinema and documentary photography to the global communications program with which they disseminated their model of development and technical assistance in the postwar years. Although both expressions were valued positively for their massive scope, the integration of each one into the institutional structure of the agencies faced particular vicissitudes that reveal the adaptive capacity of the development discourse and multilateralism to turbulences of the period such as the Cold War and the decolonization processes in the Global South., A partir de fuentes primarias acopiadas en archivos de las agencias especializadas de la Organización de Naciones Unidas (ONU), el artículo explora la vinculación del cine educativo y la fotografía documental al programa global de comunicaciones con el que estas difundieron su modelo de desarrollo y asistencia técnica en la segunda posguerra. Aunque ambas expresiones fueron valoradas positivamente por sus alcances masivos, la integración de cada una al engranaje institucional de las agencias sorteó vicisitudes particulares que merece la pena tematizar, pues revelan la capacidad adaptativa del discurso desarrollista y del multilateralismo a agitaciones del periodo como la Guerra Fría y los procesos de descolonización en el Sur Global.

Las sucesivas revisiones en torno a Antoni Gaudí apenas se han interesado por la mirada audiovisual hacia su obra. La situación es un tanto paradójica, si tenemos en cuenta que estamos ante uno de los arquitectos más mediáticos de la historia reciente. Mientras la fotografía, y su variante del fotoscop, han despertado un cierto interés, el cine documental ha sido desatendido e incluso despreciado por parte de los especialistas. Esta comunicación recorre el camino, poco transitado, que nos lleva de la cámara al arquitecto en un tiempo de euforia y deriva en el que, a pesar de los esfuerzos, ni los logros del fotoscop ni la nueva visión de Gaudí llegaron a las pantallas cinematográficas. The successive reviews about Antoni Gaudí have hardly paid any attention to the audiovisual look into his work. The situation is somewhat paradoxical if we consider that we are dealing with one of the most mediatic architects in recent history. Whereas photography, and its variant of the fotoscop, have aroused a certain interest, documentary cinema has been neglected and even despised by specialists. This communication follows a less travelled path that takes us from the camera to the architect in a time of euphoria and drift in which, despite the efforts, neither the achievements of the fotoscop nor the new vision of Gaudí reached the cinematographic screens., Postprint (author's final draft)

This video documents the preparation for Governor Spencer J. Cox's 2023 State of the State Address.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) Actress and model BROOKE SHIELDS. She's the subject of a new documentary Pretty Baby (on Hulu) about her career as a child model and actor, and the sexual objectification she experienced in Hollywood, as a teenager and young woman. Shields became famous at the age of 12 when she played a child prostitute in the 1978 movie Pretty Baby. (INTERVIEW BY GUEST INTERVIEWER TONYA MOSELY) (2.) Rock critic KEN TUCKER reviews Lana Del Ray's new album Did You Know That There's a Tunnel Under Ocean Blvd. He says it's her ninth collection, and her longest, filled with dense compositions about family lore and romantic entanglements.

Aquest treball de final de grau consisteix en la creació a tots els nivells de producció d’un clip animat en 3D, amb un acabat fotorrealista que mostri fauna i flora de finals del Juràssic amb l’objectiu de poder ser utilitzat com a tràiler per a un hipotètic documental d’història natural. Es tractaran conceptes i es treballaran en totes les fases de la producció estàndard (Preproducció, Producció, Postproducció). Degut a la naturalesa del projecte, totes les desicions de representació i elaboració es prendran desde un punt de vista rigurosament científic, procurant de tenir en compte els últims coneixements paleontològics, així com intentant tractar i proposar certa especulació necessària per a la realització del mateix. Es treballaran aquests àmbits paral·lelament al coneixement popular que es té dels dinosaures i altres animals del passat, amb l’objectiu d’intentar crear una peça que pugui generar questions i nous punts de vista sobre la paleontologia a possibles espectadors menys instruits. La major part del desenvolupament del projecte se centrarà en la preproducció i la producció, ja que segons el workflow escollit la postproducció hauría de ser la mínima possible. Dins de la preproducció es conceptualitzaran els animals i l’entorn així com les diferents tècniques audiovisuals per poder representar-los en format vídeo per un tràiler. La producció consistirà en l’elaboració dels diferents animals amb el màxim nivell de detall possible com també presició científica. Aquí entrarà el modelatge, el texturitzat i el rigging. Posteriorment s’animaran els dinosaures i s’afegiran en un escenari. En la postproducció es renderitzaran les diferents escenes fent ús dels últims programes del mercat que utilitzen les empreses profesionals.

The article presents a comprehensive overview of different approaches to translating documentary audiovisual productions. The abundance of documentary films available at online platforms lead to a higher demand for their translation into different languages as the modern tradition in viewing audiovisual content online requires a variety of language choice and modes of translation presentation (subtitling, voice-over, accessibility means for people with auditory and visual challenges). Documentary productions present a separate group of films that can be further classified according to their production methods and the presentation styles. The specificity of each item of the detailed classification calls for an individualized approach to handling the process of translating these productions. Film terminology also requires special attention as it is one of the basic challenges of documentary productions translation.

This video documents the preparation for Governor Spencer J. Cox's 2023 State of the State Address.

Climate change is a consistent and growing threat to human life. As current and future generations of youth are the most at risk for adverse effects of climate change, encouraging the development of pro-environmental behaviors in children and adolescents is of growing importance. Adolescents, ages 10-19, are in an ideal age range to develop a connection to nature (CTN) (Braun & Dierkes, 2017; Lumber et al., 2017). During these years, experiences in the outdoors are more likely to impact how young people will value nature in the future, and thus the future development of pro-environmental behaviors (Braun & Dierkes, 2017; Wells & Lekies, 2006). In order to encourage the adoption and development of pro-environmental behaviors more effectively, an emotional affinity for the environment should be established during childhood. Supplementing outdoor experience, the utilization of nature documentaries to develop CTN in adolescents could be valuable in combatting climate change for future generations. This mixed-methods study explored how watching a nature documentary can impact adolescents’ connection to nature. The episode had notable short-term impacts on CTN in adolescents, though long-term effects require further study.

I began this project with the goal of documenting the stories of refugees who have settled in Scranton so that the community could get to know their neighbors a little better while also learning how they might be able to support refugees in the future. Since there are 317,429 Catholics in the Diocese of Scranton according to the 2022 Parish Life Statistics published in the April 6th edition of the Catholic Light, I wanted to incorporate an element of Catholic Social Teaching and its emphasis on welcoming the stranger into my documentary. This element inspired the title of the film I was a Stranger and You Welcomed Me: The Stories of Refugees in Scranton, Pennsylvania. This title references Christ's words in Matthew 25 and is referenced several times throughout the film.

This documentary film is available upon request. Please email archives@scranton.edu to obtain access.

Mafrouza is a twelve-hour-long documentary by French director Emanuelle Demoris, shot in a now-demolished neighbourhood in Alexandria, Egypt. Demoris is one of a long chain of western filmmakers who appeal to some form of ‘taking one’s time’ as an instrument for — morally, politically, epistemologically — adequate representation. Based on the work of Trinh T. Minh-ha, Eduard Glissant, and Poor Theory, this chapter evaluates what happens when a film adopts a strategy of deferral in cases in which it is not clear how questions of ‘doing justice’ could be resolved. Using long duration and an insistence on the quotidian, Demoris’s film forces us to think about the conditions that make pronouncements about character, situation, and narrative possible, continuously postponing the moment when it will become possible to say: ‘this film is about …’. By setting itself up for failure, the film proposes one possible approach to the ethics and politics of visibility., Rosa Barotsi, ‘Not Yet: Duration as Detour in Emmanuelle Demoris’s **Mafrouza/** Cycle’, in Errans: Going Astray, Being Adrift, Coming to Nothing, ed. by Christoph F. E. Holzhey and Arnd Wedemeyer, Cultural Inquiry, 24 (Berlin: ICI Berlin Press, 2022), pp. 75-92

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) It's been 50 years since NEIL YOUNG's album 'Harvest' was released. There's now a new documentary, presenting never-before-seen footage, about the making of the album. It's called 'Harvest Time.' Today, we feature portions of two interviews with NEIL YOUNG. (1st INTERVIEW WAS ORIGINALLY BROADCAST 11.05.1992) (2nd INTERVIEW WAS ORIGINALLY BROADCAST 3.25.2004). (2.) GEORGE CLOONEY, who was one of the recipients last Sunday at this year's Kennedy Center Honors. He's been nominated for Oscars not only for his acting, but for producing, directing, and screenwriting. So far, he's won two: as one of the producers of the 2013 film 'Argo,' and as best supporting actor for his role in 2005's 'Syriana.' His other films include 'Gravity,' 'The Descendants,' the 'Ocean's 11' franchise, 'O Brother, Where Art Thou?,' and 'Out of Sight.' On television, he became a star thanks to the NBC series 'ER.' (ORIGINALLY BROADCAST 10.18.2005) (2.) Film critic JUSTIN CHANG reviews reviews two new movies based on well-known children's stories: Roald Dahl's Matilda the Musical, and Guillermo del Toro's Pinocchio.

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.

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.

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.

In the following work, various ways of approaching the documentary film The City of Photographersby Chilean director Sebastián Moreno, released in 2006, are proposed. Among them are the analysis of the mechanisms used by the memory to store, fix and recreate the traumatic past experienced by Chileans during the military dictatorship of Augusto Pinochet (1973-1990), as well as the textual and narrative analysis of the photographic images that make up the film. To do this, the different types of relationships our memory establishes with space, the archive or art are analyzed based on emotion, the recording of memories and imagination. The work aims to be a contribution to the rescue of Chilean social memory, through the analysis of an autobiographical narrative that starts from the individual to become a multimodal and antithetical collective story, contrary to the official narratives of Pinochetism., En el siguiente trabajo se proponen diversas vías de aproximación a la película documental La ciudad de los fotógrafosdel director chileno Sebastián Moreno, estrenada el año 2006. Entre ellas, se encuentra el análisis de los mecanismos utilizados por la memoria para almacenar, fijar y recrear el pasado traumático vivido por los chilenos durante la dictadura militar de Augusto Pinochet (1973-1990), así como el análisis textual y narrativo de las imágenes fotográficas que componen el filme. Para ello, se analizan los distintos tipos de relaciones que la memoria establece con el espacio, el archivo o el arte a partir de la emoción, del registro de los recuerdos y de la imaginación. El trabajo pretende ser una contribución al rescate de la memoria social chilena, a través del análisis de una narración de corte autobiográfico que parte de lo individual para transformarse en un relato colectivo plurimodal y antitético, contrario a las narrativas oficiales del pinochetismo

This work aims to update the attributes of the Benjaminian flâneur, taking into account the aesthetic experience of contemporary urbanism, which is characterised by the consequences of neoliberal urbanistic policies implemented between the second half of the XX century and the present day. The deregulatory measures enforced on urban land have led to the expansion of gentrified downtown lanscapes in every global city and a suburbial periphery occupied by the middle class’ residences. By analizying a compilation of landscaping films produced between 1980 and 2005 - works that fit somewhere between the categories of experimental cinema and documentary film - this article intends to define what effects this new type of architecture has in the psyche of the new “neoliberal” flâneur, the essence of which cannot possibly be the same as that Walter Benjamin defined when he rescued the archetype from Baudelaire about a century ago, since the capitalist invasion of social gathering centres has nowadays reached entirely new heights., Este trabajo pretende actualizar los atributos del flâneur benjaminiano a la luz de la experiencia estética del urbanismo contemporáneo, marcada por las consecuencias de las políticas urbanísticas neoliberales llevadas a cabo durante la segunda mitad del siglo XX y hasta la actualidad. Las medidas desreguladoras aplicadas sobre el terreno urbano han propiciado la expansión de un paisaje céntrico gentrificado, homogéneo en las ciudades globales, y de una periferia suburbial ocupada por las residencias de la clase media. Mediante el análisis de un compendio de obras paisajísticas producidas entre el año 1980 y el 2005, obras que se encuentran a caballo entre lo documental y lo experimental, este artículo persigue el fin de definir cuáles son los efectos que esta nueva arquitectura produce sobre la psique del paseante urbano moldeado por el neoliberalismo, cuya esencia ya no puede definirse bajo los mismos términos que en primera instancia apuntó Walter Benjamin cuando rescató el arquetipo de Baudelaire hace alrededor de un siglo, puesto que la invasión capitalista de los centros de reunión social ha llegado a cotas insospechadas desde entonces.

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.

Since its inception in 2009, the housing movement in Spain led by the PAH (Platform for People Affected by Mortgages) has confronted the devastating wave of housing foreclosures and evictions. Remarkably, the PAH has enjoyed a wide coverage by the mass media. Among the latter, numerous fiction and nonfiction films have portrayed home evictions and housing struggles opposing them. This article selects four documentaries focused on the PAH of Madrid and Barcelona and investigates how they represent the context of social and political contention and their contribution to foster 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 between ‘macro’ and ‘micro’ spheres of the context subject to representation, on the other. In addition, the activist engagement of the filmmakers substantially shaped the production and dissemination of the films., Desde sus inicios en 2009, la Plataforma de Afectadas por la Hipoteca (PAH) constituyó una extraordinaria respuesta social a algunas de las consecuencias más dramáticas de la crisis financiera global de 2008: desempleo, ejecuciones hipotecarias, financiarización de la vivienda y desahucios. Este movimiento social fue ampliamente cubierto por los medios de comunicación social. En este artículo analizamos cuatro documentales en los que se representa la PAH con el objetivo de comparar, en primer lugar, el contenido de los documentales entre sí y, en segundo lugar, su relación con el contexto contencioso en el que surge este movimiento por la vivienda. Para ello, hemos interpretado socio-semióticamente las estrategias narrativas de las películas además de entrevistar a sus cineastas y a algunos activistas de la PAH de Madrid, aunque uno de los documentales también representa principalmente a la PAH de Barcelona. Mediante la comparación de los documentales examinados encontramos que las dos principales estrategias narrativas se dividen entre ‘cine directo’ y ‘cine divulgativo’, por una parte, y énfasis en las esferas ‘macro’ o ‘micro’ sociales del contexto de representación, por la otra. Por último, concluimos que la implicación activista de los directores fue decisiva en la producción y diseminación de las películas analizadas.

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.

This thesis aims to investigate millennials' experience of environmental documentary films and the experiences relation to the millennials values and mindsets connected to sustainability. The environmental documentary films are considered as cultural products, thus contributing and positioning itself within the field of culture and creative industries and service management. The theoretical framework used in the thesis consists of the experience realms, value-in-use and flow which further allows new knowledge to emerge as the understanding of experience of cultural products is expanded. By using 14 semi-structured interviews, the experience itself, mindsets and values unfold concerning environmental challenges. The findings indicate that for millennials the experience of environmental documentary films is a multicontextual, fluctuating, and nonlinear process dependent on emotions. Furthermore, the experience of viewing an environmental documentary film relates strongly to millennials values and mindsets connected to sustainability due its transformative nature and potential to change attitudes and behaviour.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) Filmmaker DEIDRE FISHEL. Her new documentary 'Women in Blue,' focuses on four women in the Minneapolis Police Department who are committed to changing the culture of policing. And hear from one of those women, Sergeant ALICE WHITE. In 2018 she became one of only six black women on the force to hold the rank of sargent. FISHEL began filming three years ago. Her film ends with the killing of George Floyd at the hands of a Minneapolis police officer. The documentary premieres on PBS tonight. (2.) Book critic MAUREEN CORRIGAN reviews the new novel 'We Run the Tides' by Vendela Vida.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) MICHAEL APTED. The documentarian, who died Jan. 7, spent decades following the lives of a group of British citizens, updating their stories with a new episode every seven years. Originally broadcast in 2013. (2.) WILLIAM LINK, who died Dec. 27, worked with Richard Levinson to write classic TV shows, as well as groundbreaking TV movies about social issues. Originally broadcast in 1989. (3.) NEIL SHEEHAN, who died Jan. 7, broke the story of the Pentagon Papers and wrote A Bright Shining Lie, a Pulitzer Prize-winning book about the Vietnam War. Originally broadcast in 1988. (4.) DAVID BIANCULLI reviews 'WandaVision' starring Elizabeth Olsen and Paul Bettany as a witch and an android in the newest entry in Disney's Marvel universe.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) Fresh Air celebrates Mother's Day with stories of mom from past interviews with Noah, Scorsese and filmmaker Albert Brooks. Plus, Lorna Luft remembers her mother, Judy Garland. (2.) DAVID BIANCULLI reviews 'Attenborough's Journey.' Sir David Attenborough is TV's longest-running nature host with credits than span 70 years. A new BBC America special follows his path, from a nature-obsessed kid to a world-renowned broadcaster.

This article based on the analysis of three representative films, From the Polo to the Equatore (Dal Polo all’Equatore, 1986), Images of the Orient-Vandal Tourism (Immagini de-ll’Oriente: turismo da vandali, 2001) and Barbaric Land (Pays barbare, 2013), will be exami-ning how we can think about the cinematographic methodologies of Gianikian-Ricci Lucchi in relation to a political cinema. We will analyze their relevance, mainly from the work with archive material, for the generation of a type of cinema that puts in evidence the colonialisms and fascisms of the past through an exercise of memory that delves, not in the great History, but in concrete faces, gestures, practices and objects not only of the victims, but also of the victimizers, configuring a poetics that deals with the past density of our present, El presente artículo examinará cómo podemos pensar las metodologías cinematográficas de la pareja Gianikian-Ricci Lucchi en relación con un cine político a partir de tres filmes representativos, Del Polo al Ecuador (Dal Polo all’Equatore, 1986), Imágenes del Oriente: turismo de vándalos (Immagini dell’Oriente: turismo da vandali, 2001) y País bárbaro (Pays barbare, 2013). Se analizará su relevancia, principalmente del trabajo con material de archivo, para la generación de un tipo de cine que pone en evidencia los colonialismos y fascismos del pasado a través de un ejercicio de memoria que hurga, no en el relato de la gran Historia, sino en rostros concretos, ademanes, prácticas y objetos no solo de las víctimas, sino también de los victimarios, con lo cual se configura una poética que versa sobre “la pretérita densidad de nuestro presente”

This thesis aims to investigate millennials' experience of environmental documentary films and the experiences relation to the millennials values and mindsets connected to sustainability. The environmental documentary films are considered as cultural products, thus contributing and positioning itself within the field of culture and creative industries and service management. The theoretical framework used in the thesis consists of the experience realms, value-in-use and flow which further allows new knowledge to emerge as the understanding of experience of cultural products is expanded. By using 14 semi-structured interviews, the experience itself, mindsets and values unfold concerning environmental challenges. The findings indicate that for millennials the experience of environmental documentary films is a multicontextual, fluctuating, and nonlinear process dependent on emotions. Furthermore, the experience of viewing an environmental documentary film relates strongly to millennials values and mindsets connected to sustainability due its transformative nature and potential to change attitudes and behaviour.

A short film by audiovisual director Gideon Vink and painter Christophe Sawadogo in collaboration with the Gold Matters project and financed by the Nordic Africa Institute. Filmed at Karentenga, one of the oldest artisanal gold mines in Burkina Faso, it documents an art collaboration between Christophe and gold miners. The film is dedicated to the men, women and child victims of a terrorist attack at Solhan, another gold mining site in Burkina Faso., English subtitles. Published on Youtube 2021-07-22.Gold Matters project is supported financially by the Belmont Forum and NORFACE Joint Research Programme on Transformations to Sustainability, co-funded by DLR/BMBF, ESRC, FAPESP, ISSC, NWO, VR, and the European Commission through Horizon 2020. Grant number: 462.17.201.

This article argues that a fantasy of Indian road infrastructure was archived in official documentary films. It analyzes two 1960s road construction projects through three corresponding Films Division of India documentaries, which represented India's northern borders. These show how the playfulness of film, the unruliness of infrastructure, and the precariousness of the border and its imaginary have meant that even propaganda films with set narratives erupted with an aesthetics of pleasure and violence. Replete with such dramatic signifiers, the films offer a psychic archive of the developmental state. The projective capacity of architectural knowledge enables this article to speculate on this archive of fantasy and thus interrogate infrastructure, modernization, and development, not as normative categories, but as aesthetic techniques. These produced for the Indian state a spatial narrative of fraught borders contiguous with metropoles, a condition that created a new tyranny of proximity.

The purpose of the article research is to analyze a contemporary documentary film in the domestic market from the point of view of the functioning of cinema discourse. Research methodology of the study was to use the following methods: historiography was used to review the history of a domestic documentary film; theoretical and methodological analysis was consisted of examining the situation related to broadcasting documentary cinema cycles on television; monitoring to explore the range of contemporary documentary topics; a sociological survey to outline the viewer’s current opinion about the contemporary documentary. The scientific novelty is that for the first time in the scientific literature systematization of modern TV channels, which today show Ukrainian documentary films and TV projects, has been carried out. Conclusions. As of today, the role of documentary in cinema is at the forefront and is increasing every day. This is due to the formation of the Ukrainian market of documentary cinema, and the growing ability of contemporaries to create realistic paintings that truly reflect our history. Further studies of the outlined issues should be based on the aspects of hybridization of the genre of the documentary project and a deeper study of social attitudes towards contemporary Ukrainian cinema., Цель исследования — проанализировать современное документальное кино на отечественном рынке с позиции функционирования дискурса кинематографа. Методология исследования базируется на использовании следующих методов: историографии – был использован для обзора истории развития отечественного документального кино; теоретико-методологического анализа, который заключался в изучении ситуации, связанной с трансляцией документальных киноциклов на телевидении; мониторинга – для изучения спектра современной тематики документального кино; социологический опрос – для определения существующей мысли зрителя о современном документальном кино. Научная новизна заключается в том, что впервые в научной литературе осуществлена систематизация современных телеканалов, которые сегодня демонстрируют документальное кино. Выводы. По состоянию на сегодняшний день, роль документалистики в кинематографе занимает видное место и растет каждый день. Это объясняется формированием украинского рынка документального кино, и растущими возможностями современников создавать реалистичные картины, которые правдиво отражают нашу историю. Дальнейшие исследования этой проблематики стоит строить на аспектах гибридизации жанра документального проекта и глубоком изучении социального отношения к современному украинскому кинематографу., Мета дослідження – проаналізувати сучасне документальне кіно на вітчизняному ринку з позиції функціонування дискурсу кінематографа. Методологія дослідження базується на використанні наступних методів: історіографії – був використаний для огляду історії розвитку вітчизняного документального кіно; теоретико-методологічного аналізу, що полягав у вивченні ситуації, пов’язаної з трансляцією документальних кіноциклів на телебаченні; моніторингу – для вивчення спектру сучасної тематики документального кіно; соціологічне опитування – для окреслення існуючої думки глядача про сучасне документальне кіно. Наукова новизна полягає у тому, що вперше у науковій літературі здійснено систематизацію сучасних телеканалів, які сьогодні демонструють українське документальне кіно та телепроекти. Висновки. Станом на сьогодні, роль документалістики у кінематографі займає чільне місце та зростає кожен день. Це пояснюється формуванням українського ринку документального кіно та можливостями сучасників створювати реалістичні картини, що правдиво віддзеркалюють нашу історію. Подальші дослідження окресленої проблематики варто будувати на аспектах гібридизації жанру документального проекту та глибшому вивченні соціального ставлення до сучасного українського кінематографа.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., STANLEY NELSON, the director of the 2014 documentary Freedom Summer and CHARLES COBB, who helped organize the Freedom Summer event 56 years ago. Freedom Summer organized hundreds of mostly-white student volunteers from colleges across the country to register African American voters in Mississippi. Freedom Summer is now streaming on PBS.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., Kirsten Johnson's new Netflix documentary, Dick Johnson Is Dead, tells the story of moving her dad out of his home in Seattle and into her apartment in New York. It also enacts her father's death from imagined accidents, like getting hit in the head by a falling air conditioner or tripping on a crack in the sidewalk. Johnson has worked as a cinematographer for over 50 documentaries, and has directed seven movies, including Cameraperson and the short film The Above.

Interested in the convergence between the work of filmmakers and the struggles waged by social movements in Brazil, we focus on the collaboration between Eduardo Coutinho, the Popular Image Creation Center (CECIP) and several civil organizations. We elaborate the meanings of “alliance” configured by these experiences, which sought to make visible struggles for rights and citizenship in the period of redemocratization., Intéressés par la convergence entre le travail des réalisateurs et les luttes des mouvements sociaux au Brésil, nous nous concentrons sur la collaboration entre Eduardo Coutinho, le Centre de Création d’Image Populair (CECIP) et des organisations civiles. Nous essayons de voir comment les sens de l’« alliance » se reflètent dans ces expériences qui visaient à rendre visibles les luttes pour les droits pendant la redémocratisation, Interessados na convergência entre o trabalho de documentaristas e as lutas travadas por movimentos sociais no Brasil, focalizamos a profícua colaboração entre Eduardo Coutinho, o Centro de Criação de Imagem Popular (CECIP) e diversas organizações civis. Elaboramos os sentidos de “aliança” configurados por essas experiências, que buscaram visibilizar lutas por direitos e cidadania no período da redemocratização, Interesados en la convergencia entre el trabajo de directores de documentales y las luchas de los movimientos sociales en Brasil, focalizamos la colaboración entre Eduardo Coutinho, el Centro de Creación de Imágenes Populares (CECIP) y varias organizaciones civiles. Elaboramos los sentidos de "alianza"configurados por estas experiencias, que contribuyeron a hacer visibles luchas por derechos y ciudadania en la redemocratización.

The purpose of this essay is to analyze the work of a virtually unknown filmmaker in the history of Argentine cinema, Luis Orsetti, influenced by the Soviet avant-garde films of the 1920s and by the literary aesthetics of the "Grupo de Boedo”. In a context of shaping an incipient “cinephilia” through the creation of the first cineclubs and the development of amateur cinema in 16 mm, Luis Orsetti, film critic and left-wing intellectual, undertook, in the early 1930s, the production of the first independent documentaries with a “denuncialist” vision about the social marginalization of the immigrant. Although his films are lost, perhaps forever, the survey of various publications of that time, cultural magazines and newspapers, allowed us obtain references on the content and stylistic features of these works., O objetivo deste artigo é analisar o trabalho de um cineasta praticamente desconhecido na história do cinema argentino, Luis Orsetti, influenciado pela vanguarda cinematográfica soviética da década de 1920 e pela estética literária do “Grupo de Boedo”. No contexto da formação de uma “cinefilia” incipiente através da criação dos primeiros cineclubes e do desenvolvimento de filmes amadores em 16 mm, Luis Orsetti, um intelectual de esquerda e crítico de cinema, realizou, no início da década de 1930, os primeiros documentários independentes de denuncia sobre a marginalização social do imigrante. Mesmo que seus filmes estejam perdidos, o levantamento de várias publicações da época, revistas culturais e journais, permitiu obter referências sobre o conteúdo e as características de estilo do seu trabalho., El propósito de este artículo es analizar la obra de un cineasta prácticamente desconocido en la historia del cine argentino, Luis Orsetti, influenciado por la vanguardia cinematográfica soviética de la década de 1920 y por la estética literaria del “Grupo de Boedo”. En un contexto de conformación de una incipiente “cinefilia” a través de la creación de los primeros cineclubes y del desarrollo del cine amateur en 16 mm, Luis Orsetti, crítico cinematográfico e intelectual de izquierda, emprendió, a comienzos de la década de 1930, la realización de los primeros documentales independientes con una visión “denuncialista” acerca de la marginación social del inmigrante. A pesar de que sus films se encuentran perdidos, tal vez para siempre, el relevamiento de diversas publicaciones de la época, revistas culturales y periódicos, permitió obtener referencias sobre el contenido y los rasgos estilísticos de esas obras.

O trabalho faz parte de uma investigação em andamento sobre a representação audiovisual de povos indígenas na história da Argentina. Ele elabora uma síntese de produções temáticas de filmes e, em seguida, focaliza-se em documentários realizados entre 2010 e 2020. Neles, argumenta-se que eles renovam a historiopotia (White: 2010) ampliando o repertório audiovisual da história argentina do Século XIX. A construção de alguns dos temas e motivos recorrentes nos documentários é pesquisada/investigada: entre eles, as críticas à história e às fontes tradicionais, os motivos econômicos da violência, o racismo social e científico e o questionamento dos museus., The article is part of an ongoing investigation on the audiovisual representation of native peoples in Argentine history. It prepares a synthesis of thematic film productions, and then focuses on the analysis in documentaries made between 2010 and 2020. On these it is argued that they renew the historiophoty (White, 2010), expanding the audiovisual repertoire on Argentine history of 19th century. The construction of some of the recurring themes and motives they present is investigated: among them, the criticism of history and traditional sources, the economic motives of violence, social and scientific racism, and the questioning of museums., El trabajo forma parte de una investigación en curso sobre la representación audiovisual de los pueblos originarios en la historia argentina. En él se elabora una síntesis de las producciones cinematográficas de la temática, para luego centrarse en el análisis de documentales realizados entre 2010 y 2020. Sobre estos se sostiene que renuevan la historiofotía (White, 2010), ampliando el repertorio audiovisual sobre la historia argentina del siglo XIX. Se indaga en la construcción de algunos de los temas y motivos recurrentes que presentan, entre ellos: la crítica a la historia y a las fuentes tradicionales; los móviles económicos de la violencia; el racismo social y científico; y el cuestionamiento a los museos.

En aquest treball s’ha tractat d’ensenyar com funciona i quina és la història del primer i més exitós restaurant de Ramen a Barcelona, el Ramen Ya Hiro. El problema que es vol solventar és esborrar del cap la diea de que el Ramen és un plat ràpid i fàcil de fer, que només és una “sopa de fideus”. Els objectius d’aquest treball son poder crear un producte audiovisual tècnicament bo, amb bona il·luminació, àudio i qualitat d’imatge, així com ser capaç de portar l’espectador a través de la història del local i el seu amo. La investigació del treball va des dels orígens del documental i el cinema, passant per la creació de les càmeres digitals i quan va arribar a estar a l’abast del públic general fins el context històric i cultural del Ramen. Per a realitzar el treball s’ha fet amb la metodologia de pre-producció, producció i postproducció. El resultat final ha estat satisfactori, es creu que s’han aconseguit els objectius plantejats d’aconseguir un producte audiovisual de qualitat. S’hagués volgut poder fer més, però el fet de dependre d’una tercera persona ha impedit dur a terme certs aspectes que es tenien en ment. Com a conclusió es podria dir que s’ha après molt, els errors comesos i el fet d’aprendre a gestionar el temps, son una experiència molt bona que de ben segur servirà per a treballs futurs, el fet d’enfrontar-se a una deadline final amb tant de temps d’antelació t’obliga a gestionar el teu temps de manera òptima per a poder arribar a l’entrega final, cosa que ha estat molt enriquidora

This thesis implements a discourse analysis of the Fittest on Earth documentaries, in conjunction with the mini-series the Road to the Games, with the purpose of analyzing dominant narratives and themes surrounding the female CrossFit athletes. I propose that these documentaries deploy discursive narratives that produce an “ideal” body through self-discipline and controlled consumption and that in order for an individual to be an “ideal” athlete, and therefor healthy citizen, they must be willing to suffer and consume CrossFit. The (white) women of CrossFit are depicted as having the capacity to “outperform” the men, however, this “progressive” image of female athletes is suspect as CrossFit and Reebok actively exploit this image for capital gain. The “ideal” female CrossFitter is shown to be a body that subscribes to “healthist” ideals and the women of CrossFit are idealized in limited capacities, as the “ideal” CrossFitter is a white heterosexual woman.

Full Text, Thesis (PhD Doctorate), Doctor of Philosophy (PhD), Queensland College of Art, Arts, Education and Law, In this exegesis I examine my creative project, a series of seven short documentary films entitled The Ripple Effect of PTSD (Melzer 2016a), and its impact on community, on the film participants, and on me as a filmmaker. The films document the experience of caregivers and family members of veterans with Post-Traumatic Stress Disorder (PTSD). The exegesis is framed by the literature on ethics and documentary film. In the first data chapter, I detail the work of building a community for my films, engaging with impact partners and producing a series of educational videos about PTSD. Also catalogued in this chapter is the success of the films. They were selected for film festivals, elicited positive feedback from the general public and were shared multiple times online. The following chapter discusses the impact of the creative project on the participants, highlighting their agency and empowerment as well as vulnerabilities. The discussion reveals the complex and multifaceted nature of power in documentary filmmaking. From impact on participants I move to consider the impact of the filmmaking process on me as a filmmaker drawing on the notions of ‘vicarious trauma’ and ‘emotion work/emotional labour’. I demonstrate that the fraught subject matter of the films, the distress of participants, and my novice status as a filmmaker exposed me to vicarious trauma. I further explain how different aspects of the filmmaking process, such as accessing and interviewing participants, and negotiating with the military, necessitated significant emotional labour. In the concluding chapter of the exegesis I highlight the key findings of research. Of particular importance is my illumination of the emotional dimensions of film production. I argue that quality documentary production requires significant emotional labour on behalf of a filmmaker, but the implications of this emotion work are rarely acknowledged in the literature. As such, I argue for the importance of expanding documentary

This thesis implements a discourse analysis of the Fittest on Earth documentaries, in conjunction with the mini-series the Road to the Games, with the purpose of analyzing dominant narratives and themes surrounding the female CrossFit athletes. I propose that these documentaries deploy discursive narratives that produce an “ideal” body through self-discipline and controlled consumption and that in order for an individual to be an “ideal” athlete, and therefor healthy citizen, they must be willing to suffer and consume CrossFit. The (white) women of CrossFit are depicted as having the capacity to “outperform” the men, however, this “progressive” image of female athletes is suspect as CrossFit and Reebok actively exploit this image for capital gain. The “ideal” female CrossFitter is shown to be a body that subscribes to “healthist” ideals and the women of CrossFit are idealized in limited capacities, as the “ideal” CrossFitter is a white heterosexual woman.

This thesis implements a discourse analysis of the Fittest on Earth documentaries, in conjunction with the mini-series the Road to the Games, with the purpose of analyzing dominant narratives and themes surrounding the female CrossFit athletes. I propose that these documentaries deploy discursive narratives that produce an “ideal” body through self-discipline and controlled consumption and that in order for an individual to be an “ideal” athlete, and therefor healthy citizen, they must be willing to suffer and consume CrossFit. The (white) women of CrossFit are depicted as having the capacity to “outperform” the men, however, this “progressive” image of female athletes is suspect as CrossFit and Reebok actively exploit this image for capital gain. The “ideal” female CrossFitter is shown to be a body that subscribes to “healthist” ideals and the women of CrossFit are idealized in limited capacities, as the “ideal” CrossFitter is a white heterosexual woman.

This thesis implements a discourse analysis of the Fittest on Earth documentaries, in conjunction with the mini-series the Road to the Games, with the purpose of analyzing dominant narratives and themes surrounding the female CrossFit athletes. I propose that these documentaries deploy discursive narratives that produce an “ideal” body through self-discipline and controlled consumption and that in order for an individual to be an “ideal” athlete, and therefor healthy citizen, they must be willing to suffer and consume CrossFit. The (white) women of CrossFit are depicted as having the capacity to “outperform” the men, however, this “progressive” image of female athletes is suspect as CrossFit and Reebok actively exploit this image for capital gain. The “ideal” female CrossFitter is shown to be a body that subscribes to “healthist” ideals and the women of CrossFit are idealized in limited capacities, as the “ideal” CrossFitter is a white heterosexual woman.

This thesis implements a discourse analysis of the Fittest on Earth documentaries, in conjunction with the mini-series the Road to the Games, with the purpose of analyzing dominant narratives and themes surrounding the female CrossFit athletes. I propose that these documentaries deploy discursive narratives that produce an “ideal” body through self-discipline and controlled consumption and that in order for an individual to be an “ideal” athlete, and therefor healthy citizen, they must be willing to suffer and consume CrossFit. The (white) women of CrossFit are depicted as having the capacity to “outperform” the men, however, this “progressive” image of female athletes is suspect as CrossFit and Reebok actively exploit this image for capital gain. The “ideal” female CrossFitter is shown to be a body that subscribes to “healthist” ideals and the women of CrossFit are idealized in limited capacities, as the “ideal” CrossFitter is a white heterosexual woman.

This article analyzes the use of documentary photography in the photographic project of the Farm Security Administration (FSA) Historical Section carried out between 1935 and 1943. It was part of the propaganda program of Franklin D. Roosevelt’s administration during the New Deal and responded to the social and economic crisis caused by the Great Depression. The main objective is to delve into the discussion about a kind of aesthetic point of view that is crystallized in a dramatic humanism and supported by a pictorial historical archive structure. Contradictorily, throughout the 20th century, this became the parameter for the prevailing definition of documentary, despite its nationalist-populist political and ideological origin. Building on a relational analysis, documentary photography is studied as a category, social practice and knowledge device that conveys a specific vision and social representation within a complex arrangement of particular economic, political and cultural components. A qualitative documentary method is employed based on primary sources, including an aesthetic and discursive relational analysis of the program’s photographs. The article reveals —and this revelation is what makes it novel— the weave of definitions of documentary that had to be developed and brought together, combining factual, dramatic and artistic elements, around the idea of a pictorial history whose humanistic promise would restore the social ties of American unity., Este artigo analisa o uso da fotografia documental para o caso do projeto fotográfico da Historical Section de la Farm Security Administration (FSA), desenvolvido entre 1935 e 1943, no âmbito do programa propagandístico do governo de Franklin D. Roosevelt durante o New Deal, como resposta à crise social e econômica gerada pela Grande Depressão. O objetivo principal é aprofundar na discussão sobre um tipo de modo de ver, estético, cristalizado em um humanismo dramático e apoiado em uma estrutura de arquivo histórico de tipo pictorial, que, de forma contraditória, tornou-se, ao longo do século XX, o parâmetro para a definição dominante do documentário, apesar de sua origem política e ideológica nacionalista e populista. A metodologia, com base em uma análise relacional, parte do estudo da fotografia documental como una categoria, como uma prática social e como um dispositivo de conhecimento que permite mobilizar, com seu uso, uma visão e representação social específica, como parte de uma configuração complexa entre elementos econômicos, políticos e culturais particulares. Emprega-se um método qualitativo documental, baseado em fontes primárias, com uma análise estética e discursiva, relacional, das fotografias do programa. Este artigo revela, o que constitui sua novidade, a trama de definições do documentário que tiveram que ser construídas e articuladas, que combinaram elementos do fático, do dramático e do artístico, em torno da ideia de uma história pictorial cuja promessa humanista permitisse reestabelecer os vínculos sociais da união americana., Este artículo analiza el uso de la fotografía documental, para el caso del proyecto fotográfico de la Historical Section de la Farm Security Administration (FSA), desarrollado entre 1935 y 1943, dentro del programa propagandístico del Gobierno de Franklin D. Roosevelt durante el New Deal, como respuesta a la crisis social y económica generada por la Gran Depresión. El objetivo principal es profundizar en la discusión sobre un tipo de modo de ver, estético, cristalizado en un humanismo dramático y soportado en una estructura de archivo histórico de tipo pictorial, que, contradictoriamente, se convirtió, a lo largo del siglo XX, en el parámetro para la definición dominante de lo documental, a pesar de su origen político e ideológico nacionalista y populista. La metodología, soportada en un análisis relacional, parte del estudio de la fotografía documental como una categoría, como una práctica social y como un dispositivo de conocimiento que permitió movilizar, desde su uso, una visión y representación social específica, como parte de una configuración compleja entre elementos económicos, políticos y culturales particulares. Se articula un método cualitativo documental, basado en fuentes primarias, con un análisis estético y discursivo, relacional, de las fotografías del programa. El artículo revela, lo que constituye su novedad, la trama de definiciones de lo documental que tuvieron que construirse y articularse, que combinaron elementos de lo fáctico, lo dramático y lo artístico, en torno a la idea de una historia pictorial cuya promesa humanista permitiera reestablecer los lazos sociales de la unión americana.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) Film director YORUBA RICHEN [RICH-in]. Her new documentary The Green Book: Guide to Freedom is about the book for African Americans from the pre-civil rights era which helped travelers find safe places to stay, eat, shop, and do business. It was written by Victor H. Green who wrote The Negro Motorist Green Book. The documentary premieres Monday, Feb 25th on the Smithsonian Channel. (INTERVIEW BY DAVE DAVIES) (THIS INTERVIEW CONTINUES INTO THE NEXT HALF OF THE SHOW). (2.) Rock critic KEN TUCKER reviews a re-release of Ray Charles' 1962 albums Modern Sounds in Country and Western Music, Volumes 1 and 2. (3.) Critic-at-large JOHN POWERS reviews American Spy, the debut novel by Lauren Wilkinson.

Since its national debut in 1987, Fresh Air with Terry Gross has been a highly acclaimed and much adored weekday magazine among public radio listeners. Each week, nearly 4.8 million people turn to Peabody Award-winning host Terry Gross for insightful conversations with the leading voices in contemporary arts and issues. The renowned program reaches a global audience, with over 620 public radio stations broadcasting Fresh Air, and 3 million podcast downloads each week. Fresh Air has broken the mold of 'talk show' by weaving together superior journalism and intimate storytelling from modern-day intellectuals, politicians and artists alike. Through probing questions and careful research, Gross's interviews are lauded for revealing a fresh perspective on cultural icons and trends. Her thorough conversations are often complemented by commentary from well-known contributors. Fresh Air is produced at WHYY-FM in Philadelphia and broadcast nationally by NPR., (1.) Filmmaker RODNEY EVANS. He started losing his eyesight when he was in his 20's due to a rare genetic eye disorder. He still wanted to make movies and has enough sight left to enable him to do that. His new documentary, 'Vision Portraits' tells his story and the stories of 3 other blind or partially sighted artists: a photographer, a dancer and a writer. Evans also wrote and directed the film 'Brother to Brother', which won the Special Grand Jury Prize at the 2004 Sundance Film Festival. It starred Anthony Mackie as a young gay man who meets an older gay man who was part of a circle of artists and writers during the Harlem Renaissance. Evans is now working on a film dramatizing the life of composer and pianist Billy Strayhorn, who worked with Duke Ellington for most of his career. THIS INTERVIEW CONTINUES INTO THE SECOND HALF OF THE SHOW) (2.) We listen back to an interview with documentary filmmaker D.A. PENNEBAKER. He died on August 1st, he was 94 years old. Pennebaker was one of the most influential pioneers of the cinéma vérité style. He was most famous for his film 'Don't Look Back', a critically acclaimed chronicle of Dylan's three-week 1965 British tour. He also made 'The War Room' about Bill Clinton's 1992 presidential campaign. In 2013, the Academy of Motion Picture Arts and Sciences recognized his body of work with an Academy Honorary Award or "lifetime Oscar. (THIS INTERVIEW WAS FIRST BROADCAST 7.5.89.) (THIS INTERVIEW CONTINUES INTO THE NEXT SEGMENT).