These are the sources and citations used to research “How documentaries create and maintain human emotional bonds to historical events/time periods through various techniques in cinema”. This bibliography was generated on Cite This For Me on
In-text: (Aldredge, 2019)
Your Bibliography: Aldredge, J., 2019. A Guide to Developing Questions During Documentary Interview Shoots. [online] The Beat: A Blog by PremiumBeat. Available at: <https://www.premiumbeat.com/blog/developing-questions-during-documentary-interviews/> [Accessed 15 June 2021].
"If narrative structures and emotions are basic dimensions of the way we understand and communicate about the world, they are also part of documentary genres..." "Documentary narratives speak both to our private memory and story bank..."
In-text: (Bondebjerg, 2014)
Your Bibliography: Bondebjerg, I., 2014. Documentary and Cognitive Theory: Narrative, Emotion and Memory. Media and Communication, [online] 2(1), pp.3, 10. Available at: <https://www.cogitatiopress.com/mediaandcommunication/article/view/17> [Accessed 20 March 2021].
"Film testifies to directorial presence. It presupposes a subjective perspective rather than an objective observer with no preconceptions..."
In-text: (Carta, 2015)
Your Bibliography: Carta, S., 2015. Visual and Experiential Knowledge in Observational Cinema. Anthrovision, [online] (3.1), p.3. Available at: <https://journals.openedition.org/anthrovision/1480> [Accessed 15 March 2021].
In-text: (Chronique d'un été, 1961)
Your Bibliography: Chronique d'un été. 1961. [film] Directed by E. Morin and J. Rouch. France: Argos Films.
In-text: (Cuba and the Cameraman, 2017)
Your Bibliography: Cuba and the Cameraman. 2017. [film] Directed by J. Alpert. United States: Netflix.
"A complex reaction pattern, involving experiential, behavioral, and physiological elements, by which an individual attempts to deal with a personally significant matter or event. ...Emotion typically involves feeling but differs from feeling in having an overt or implicit engagement with the world."
In-text: (APA Dictionary of Psychology, 2019)
Your Bibliography: Dictionary.apa.org. 2019. APA Dictionary of Psychology. [online] Available at: <https://dictionary.apa.org/emotion> [Accessed 5 May 2021].
In-text: (Duo, 2021)
Your Bibliography: Duo. 2021. [DVD] Directed by I. Peres and B. Wasielewska. Portugal: ESAD.
In-text: (Fahrenheit 9/11, 2004)
Your Bibliography: Fahrenheit 9/11. 2004. [DVD] Directed by M. Moore. United States: Fellowship Adventure Group, Dog Eat Dog Films, Miramax.
In-text: (Goffman, 1959)
Your Bibliography: Goffman, E., 1959. The presentation of self in everyday life. 1st ed. New York: Anchor Books.
In-text: (Grey Gardens, 1975)
Your Bibliography: Grey Gardens. 1975. [film] Directed by A. Maysles and D. Maysles. United States: Portrait Films.
In-text: (Lektionen in Finsternis, 1992)
Your Bibliography: Lektionen in Finsternis. 1992. [film] Directed by W. Herzog. Germany, France, United Kingdom: Canal+.
In-text: (Lonely Doryman: Portugal's Men of the Sea, 1968)
Your Bibliography: Lonely Doryman: Portugal's Men of the Sea. 1968. [film] Directed by G. Sluizer. United States: Sluizer Films BV.
"A different camera angle presents a different "truth" of an action, or-in showing another side of an object-presents a different truth or representation of that object."
In-text: (M. Blumenberg, 1977)
Your Bibliography: M. Blumenberg, R., 1977. Documentary Films and the Problem of "Truth." Journal of the University Film Association, Vol. 29(No. 4), p.3.
"My path leads to the creation of a fresh perception of the world. I decipher in a new way a world unknown to you."
In-text: (Michelson, 1984)
Your Bibliography: Michelson, A., 1984. Kino-eye. Berkeley: California University Press, p.18.
In-text: (Minimalism: A Documentary About the Important Things, 2015)
Your Bibliography: Minimalism: A Documentary About the Important Things. 2015. [film] Directed by M. D'Avella. United States: Netflix.
In-text: (Moura and Caniços, 2021)
Your Bibliography: Moura, A. and Caniços, A., 2021. Andorinhas. [video] Available at: <https://www.youtube.com/watch?v=x3QGODFnM8A> [Accessed 15 June 2021].
In-text: (Nanook of the North, 1922)
Your Bibliography: Nanook of the North. 1922. [film] Directed by R. Flaherty. United States, France: Les Frères Revillon, Pathé Exchange.
“...consciously adopted role or fictional performance” "Documentary film speaks about situations and events involving real people (social actors) who present themselves to us as themselves in stories that convey a plausible proposal about, or perspective on, the lives, situations, and events portrayed. The distinct point of view of the filmmaker shapes this story into a way of seeing the historical world directly rather than into a fictional allegory." "Documentaries adopt no fixed inventory of techniques, address no one set of issues, display no single set of forms or styles. Documentary film practice is an arena in which things change." "... every documentary there are at least three stories that intertwine: the filmmaker’s, the film’s, and the audience’s." "They may use documents and facts, but they always interpret them." "...provide a rich toolbox of resources from which to fashion distinctive new documentaries.”
In-text: (Nichols, 2010)
Your Bibliography: Nichols, B., 2010. Introduction to documentary. 2nd ed. Bloomington: Indiana University Press, pp.8, 6-14, 14-15, 94-102, 144-147, 209, 224.
In-text: (Nós, Portugueses - Nascer Para Não Morrer, 2020)
Your Bibliography: Nós, Portugueses - Nascer Para Não Morrer. 2020. [film] Directed by P. Clérigo. Portugal: RTP, Fundação Francisco Manuel dos Santos.
"...a documentary is a work of non-fiction that aims to explore – or document – some aspect of reality as accurately as possible. But it’s important to remember it’s still a film told through the lens of a filmmaker, and still an illusion of reality."
In-text: (PBS Digital Studios, 2017)
Your Bibliography: PBS Digital Studios, 2017. Experimental and Documentary Films: Crash Course Film History #16. [video] Available at: <https://www.youtube.com/watch?v=cCY-4NxXCU8&feature=youtu.be> [Accessed 5 May 2021].
In-text: (Rio Grande, 2020)
Your Bibliography: Rio Grande. 2020. [video] Directed by I. Peres. Portugal: DAB.
"...through its conditioning of optical perception, creates a false sense of unified and coherent subjectivity in spectators."(Page 76)
In-text: (Scott, 2016)
Your Bibliography: Scott, K., 2016. Gilad Padva and Nurit Buchweitz (eds), Sensational Pleasures in Cinema, Literature, and Visual Culture: The Phallic Eye - Helen Hester, 2016. [online] SAGE Journals. Available at: <https://doi.org/10.1177/1363460716642150> [Accessed 10 May 2021].
"...make a statement about the filmed data and demonstrate the importance of that data to an audience."
In-text: (Sherman, 1998)
Your Bibliography: Sherman, S., 1998. Documenting ourselves. Lexington, Ky.: University Press of Kentucky, p.212.
"Film is a social practice for its makers and its audience; in its narratives and meanings we can locate evidence of the ways in which our culture makes sense of itself." "Understanding a movie is not essentially an aesthetic practice; it is a social practice which mobilizes the full range of meaning systems within the culture."
In-text: (Turner, 1988)
Your Bibliography: Turner, G., 1988. Film as social practice. 3rd ed. London: Routledge, pp.3, 206.
"Emotions are how individuals deal with matters or situations they find personally significant."
In-text: (The Science of Emotion: Exploring the Basics of Emotional Psychology | UWA Online, 2019)
Your Bibliography: UWA Online. 2019. The Science of Emotion: Exploring the Basics of Emotional Psychology | UWA Online. [online] Available at: <https://online.uwa.edu/news/emotional-psychology/> [Accessed 5 June 2021].
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