Yhden naisen orkesteri : miten yksintekeminen työmenetelmänä soveltuu dokumenttielokuvan toteuttamiseen?

Opinnäytetyö on monimuototyö, joka koostuu dokumenttielokuvasta ja kirjallisesta tutkielmasta. Dokumenttielokuva Sipoon puolesta kertoo sipoolaisten taistelusta Helsingin aluevaltausaikeita vastaan. Olen toteuttanut dokumentin täysin yksin, eli olen toiminut elokuvan ohjaajana, käsikirjoittajana, tuottajana, kuvaajana, äänittäjänä ja leikkaajana. Kirjallisessa osiossa pohdin sitä, miten yksintekeminen työmenetelmänä soveltuu dokumenttielokuvan toteuttamiseen. Selvitän yksintekemisen vahvuuksia ja heikkouksia sekä pohdin, mitä kyseinen työskentelytapa vaatii tekijältään. Tekniikan kehittyminen, kuvauskalustojen keventyminen ja digitaalisten editointiohjelmien yleistyminen ovat mahdollistaneet erilaisten audiovisuaalisten tuotantojen tekemisen hyvin pienellä työryhmällä, jopa täysin yksin. Myös kustannustehokkuus ja riippumattomuuden halu ajaa monet dokumentaristit tekemään dokumenttielokuvia yksin. Dokumenttielokuvan yksintekijän työnkuva on monipuolinen, ja hänen on suoriuduttava kaikkiaan ainakin kuudesta eri työroolista yhtä aikaa. Yksintekijän on hallittava hyvin niin tekniset välineet kuin tarinan kerrontakin. Yksintekeminen vaatii kovaa itseluottamusta ja sitkeyttä. Yksintekijällä on oltava myös kokemusta työnsä jokaisesta osa-alueesta. Kuuden roolin täydellinen yhtäaikainen hallinta ei kuitenkaan ole mahdollista. Siksi yksintekijä törmää työssään monenlaisiin ongelmiin ja haasteisiin. Yksintekijän on esimerkiksi kuvaajan ominaisuudessa toimittava myös ohjaajana ja äänittäjänä. Yhtä aikaa kuvatessaan yksintekijän on siis myös kuunneltava äänen laatua ja keskustelun sisältöä. Lopputuloksena on pahimmillaan se, että jotain tarinan kannalta oleellista jää huomaamatta, kuvat ovat huonoja tai ääni on säröllä. Toisaalta yksintekeminen on nopeaa ja joustavaa. Yksintekijän on myös isoa tuotantoryhmää helpompi muodostaa läheinen suhde päähenkilöihinsä. Yksintekeminen on raskasta, mutta myös palkitsevaa. Dokumenttielokuvan yksintekeminen on siis mahdollista, muttei välttämättä paras vaihtoehto lopputuloksen kannalta.

CARAVANA FARKAS (1968/1970): a cultura popular (re)interpretada pelo filme documentário ¾ um estudo de folkmídia.

Este trabalho busca identificar a maneira pela qual a cultura popular é (re)interpretada nos meios de comunicação de massa, a partir da análise dos filmes documentários produzidos pela Caravana Farkas, um projeto pioneiro de documentação de manifestações de cultura popular brasileira, realizado entre 1968 e 1970 no Nordeste. Para tanto, discute-se como os filmes se inserem no panorama político-cultural do Brasil da década de 60; quais as condições que permitiram a construção de seus discursos; que regras esses discursos estabeleceram; como e por que as manifestações culturais populares passaram a constituir objeto de estudo e de registro dos cineastas; e o que era definido por eles como cultura popular . O tema básico que perpassa os filmes é o da cultura de uma classe outra, que está no passado e não tem lugar no aqui e agora da modernidade. A alteridade e a representação do outro estão traspassadas pelas diferenças de classe, e o caráter de resistência cultural e política das manifestações de cultura popular, na visão dos cineastas, se perde na aparência de um mundo cujo destino já está traçado: é a extinção. Os filmes documentários, por outro lado, servem de lugar de confronto das diferentes culturas e de diálogo entre elas, gerando novos e múltiplos significados, que independem da vontade dos cineastas. É dessa maneira que constroem um novo discurso acerca de uma determinada realidade. Menos um reflexo, no sentido de espelhamento, mais uma referência de um tempo e um espaço que não se repetirão. Nas trilhas da cultura popular, a viagem da Caravana Farkas não chega a um termo nem a um final tranqüilo, pois é envolvida pelas contradições e incompatibilidades que as questões suscitadas pela discussão do real provocam. Mas deixa evidente que a sua importância para os estudos da Comunicação está na própria jornada e no diálogo permanente e infinito entre culturas que esse caminhar provoca.

The notion of structure and the information records of the documentary systems

Assuming as a starting point the acknowledge that the principles and methods used to build and manage the documentary systems are disperse and lack systematization, this study hypothesizes that the notion of structure, when assuming mutual relationships among its elements, promotes more organical systems and assures better quality and consistency in the retrieval of information concerning users` matters. Accordingly, it aims to explore the fundamentals about the records of information and documentary systems, starting from the notion of structure. In order to achieve that, it presents basic concepts and relative matters to documentary systems and information records. Next to this, it lists the theoretical subsides over the notion of structure, studied by Benveniste, Ferrater Mora, Levi-Strauss, Lopes, Penalver Simo, Saussure, apart from Ducrot, Favero and Koch. Appropriations that have already been done by Paul Otlet, Garcia Gutierrez and Moreiro Gonzalez. In Documentation come as a further topic. It concludes that the adopted notion of structure to make explicit a hypothesis of real systematization achieves more organical systems, as well as it grants pedagogical reference to the documentary tasks.

Movie Marketing: o caso português

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Cinema e Televisão

Tuning metadata for better movie content-based recommendation systems

The increasing number of television channels, on-demand services and online content, is expected to contribute to a better quality of experience for a costumer of such a service. However, the lack of efficient methods for finding the right content, adapted to personal interests, may lead to a progressive loss of clients. In such a scenario, recommendation systems are seen as a tool that can fill this gap and contribute to the loyalty of users. Multimedia content, namely films and television programmes are usually described using a set of metadata elements that include the title, a genre, the date of production, and the list of directors and actors. This paper provides a deep study on how the use of different metadata elements can contribute to increase the quality of the recommendations suggested. The analysis is conducted using Netflix and Movielens datasets and aspects such as the granularity of the descriptions, the accuracy metric used and the sparsity of the data are taken into account. Comparisons with collaborative approaches are also presented.

Documentary material relating to the history of Iowa - Volume 1, 1895.

Benjamin F. Shambaugh edited and compiled documents and publications for this book on the history of Iowa. This volume 1 includes documentary material from the Louisiana Purchase, the Territories of the Northwest, Wisconsin and Iowa; the Convention of 1857;the Iowa Constitution of 1846 and the Ratification of Constitutional Amendments.

Documentary material relating to the history of Iowa - Volume 2, 1896.

Benjamin F. Shambaugh edited and compiled documents and publications for this book on the history of Iowa. This volume 2 is concerned with the history of local political organizations and documents illustrative of the development of local government in the Territory of the Northwest from 1787 to 1800, in the Territory of Indiana from 1800 to 1805 and in the Territory of Michigan from 1805 to September 6, 1834.

Documentary material relating to the history of Iowa - Volume 3, 1896.

Benjamin F. Shambaugh edited and compiled documents and publications for this book on the history of Iowa. This volume 3 is a continuation of volume 2 which is concerned with the history of local political organization from 1787 to 1834. Documents are illustrative of the development of local government in Iowa from the establishment of the Territory of Wisconsin in 1836 to the revision of the statutes of Iowa in 1842-43. It includes documentary material from the Louisiana Purchase, the Territories of the Northwest, Wisconsin and Iowa; the Convention of 1857; the Iowa Constitution of 1846 and the Ratification of Constitutional Amendments.

Project Charter, Scope, and Time Management In the Movie Industry

This thesis explores how the project charter development, project scope management, and project time management are executed in a Finnish movie production. The deviations and analogies between a case movie production and best practices suggested in PMBOK are presented. Empirical material from the case is gathered with two semi-structured interviews with a producer and a line producer. The interview data is categorized according to PMBOK knowledge areas. The analysis is complemented with movie industry specific norms found in popular movie production guides. The described and observed methods are linked together and the relationship between them is discussed. The project charter development, which is referred as a green light process in the movie industry, is mostly analogous between all areas. The deviations are in the level of formality. The green lighting in the case movie was accomplished without bureaucratic reports described in movie production guides. The empirical material shows that project management conventions and movie industry employ similar methods especially in scope management. Project management practices introduce a work breakdown structure (WBS) method, and movie production accomplishes the same task by developing a shooting script. Time management of the case movie deviates on most parts from the methods suggested in PMBOK. The major deviation is resource management. PMBOK suggests creating a resource breakdown structure. The case movie production accomplished this through budgeting process. Furthermore the popular movie production guides also disregard resource management as sovereign process. However the activity listing is quite analogous between the case movie and PMBOK. The final key observation is that although there is a broad set of effective and detailed movie industry specific methods, a comprehensive methodology that would cover the whole production process, such as Prince2 or Scrum, seems to be missing from the movie industry.