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In this thesis, I’m discussing the topic of representation in documentary films from the standpoint of audio post production and score music composition. My specific concern is how ethnic and cultural characteristics are expressed and denoted through the narrative conventions of sound design and score music. The case study of this thesis is a feature-length documentary film Between Rings (2014), that was filmed in Zambia by a Finnish-Zambian production crew. Although the topics discussed in this thesis are based on a theoretical framework of academic film studies, I’m also examining practical post production techniques and aural denotative practices related to representing social actors and cultural environments in nonfiction films. Here, my purpose is to provide the reader a comprehensive review of frequently employed methods of auditive narration practices found in contemporary film productions, while addressing the characteristic ethical indifference that has been permeating the auditive signification processes in nonfiction films. It is being noted how audio narration has not been receiving the theoretical attention it deserves, contrary to the abundance of critical discussions related to the topic of visual representation. The aim of the thesis is to present arguments against the persistent notion of sound design and incidental music being essentially non-representative forms of cinematic narration. As long as they are not thought to directly contribute to the depictions of social actors represented in documentary film narratives, their denotative mechanisms will be excluded from the beneficiary influence of critical examination, thus increasing the possibility of misrepresenting individuals and communities depicted in documentary films.
Special issue: Brexit Matters
Disclosing the Interviewer: Ethnopoetics and the Researcher's Place in Transcribed InterviewsDocumenting Endangered Languages
Filming with native speaker commentary2011 •
As discussed by Seifart (this volume) there tend to be competing motivations for documenting endangered languages. Documentation projects within the DoBeS program aim at building corpora of authentic data of spoken language that (a) are not only interesting for linguistics, but also for other disciplines; (b) are annotated with transcriptions, translations and comments so that they can be understood without prior knowledge of the language; and (c) can be used by the speech community for language maintenance and revitalisation. An example of a conflict arising from such competing motivations, and its resolution, is discussed in Mosel (2004, 2009) for the Teop language documentation project. Mosel (2004:3) notes that language documenters need “to find a balance between what is interesting for them and their special field of expertise, what is relevant for other non-linguistic disciplines and what meets the expectations of the speech community.” In response to the Teop speech community’s reluctance of having linguistically accurate transcriptions of recordings made publicly available, the documentation project created written native-speaker-edited versions of oral texts which were considered more acceptable and desirable by the community. The raw transcriptions are still archived, but are less publicly available. This chapter is concerned with commentaries accompanying video recordings as a research methodology and means of data collection, again as a response to the tension arising from the different aims within a documentation project. It discusses the benefits of this technique and addresses the nature of the data that can be collected by this method.
2017 •
Through the analysis of some case studies, this essay tries to ac- complish an exploratory reflection about long term outcomes of the appearance of synchronous sound in documentary film, in re- lation to ethnographic documentary practices and the ways in which the entrance of the sensory presence of the Other could al- low the construction of digital participatory and non-linear doc- umentary objects.
2008 •
This research project is based on the assumption that audiovisual translation (AVT ) performs a social and cultural function over its viewers, thus still justifying studies that focus on linguistic issues. This is particularly striking for the reading literacy in countries such as Portugal, that are traditionally subtitling countries, even if dubbing and voice-over are also occasionally used, particularly in the case of documentaries and children’s programmes. However, currently this number has been increasing not only because of economic reasons, but also due to the influence of satellite and cable TV channels, such as Disney Channel, Discovery Channel or National Geographic Channel, whose main practice is dubbing. Reading habits are often no more than the reading of subtitles. This substitution emphasizes the need for considerable care with subtitles in order to make them appear as fluent and natural language – fulfilling norms of ‘idiomaticity’ – that would read like a source language text (“domesticated” in Venuti’s (1995) view) and not like a translation of a source text (not “foreignized” (ibidem)). Therefore, idiomaticity appears as “the basic [language] stumbling block” (Chomsky cit. Strässler 1982: 21), as well as“[o]ne aspect of linguistic patterning that has not yet been investigated in any corpus-based study of translation” (Baker 2007: 13). Bearing in mind that audiovisual translation is a form of “constrained translation” (Titford 1982; Mayoral, Kelly & Gallardo 1988), it is necessary to think about the set of constraints posed by the various forms of audiovisual translation (AVT), particularly subtitling and revoicing, that will inevitably affect the translation outcome. Because one often has a feeling of unnaturalness and oddness when reading or listening to the language used in these forms of AVT, several authors (Chaume 2004: 175) have put forward the concept of audiovisual translationese and dubbese, in the case of dubbing, to refer to the language that “sounds stilted and contrived” (Romero Fresco 2006: 134). The purpose for this research is then to analyse the examples of restricted lexical occurrence, i.e. set phrases or semantic phrasemes (Mel’čuk 1995), in the subtitling of a documentary film called “The Real Da Vinci Code”. Thus, I will also try to ascertain the degree of naturalness of the subtitling of the documentary film under study, which might lead to some kind of subtitlese in the case of Portuguese subtitling. In order to achieve this purpose, I chose to follow a case study methodology that allowed to center attention on and single out a specific feature of language – set phrases – used in this type of audiovisual texts – documentary films. The analysis conducted intended to identify set phrases in English and their respective Portuguese translations and to tentatively classify them in terms of the terminology used by Mel’čuk (1995), using for this purpose idiomaticity tests, as well as to combine this with the identification of possible metaphors that could be on their basis. Therefore, the approach can be described as mainly theoretical and descriptive and product-oriented. From the analysis of this limited sample of fixed expressions and their translation, it was possible to gather data that indicate that these expressions are as common in general language as in specialised languages, namely within the audiovisual context and the informative genre, i.e. documentary films Finally, it was possible to identify a logical relation between the visual, sound and linguistic elements of a documentary, since its interaction strengthen the semiotic value of the fixed expressions. Since this is a documentary film, everything related to its production is a result of well-thought planning.
Ethnomusicology
Representation and Authority in Ethnographic Film (1992)1992 •
In the postcolonial era, rights of ethnographic subjects to control their appearances and actions on film took on new meaning and presented new challenges and collaborative opportunities for film makers working with documentary films, especially when working within while simultaneously troubling the conventions of film's apparent realism. Published in 1993, its discussion of representation and authority is even more appropriate in the current moment than is was 25 years ago.
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Conceptual Study of a Lithium Lead Eutectic Blanket for a Power Reactor1983 •