DOCSLIB.ORG

The Effect of Docudrama Films on Psychological Distress Among Urban Women Refugees in Nairobi County, Kenya

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Effect of Docudrama Films on Psychological Distress Among Urban Women Refugees in Nairobi County, Kenya THE EFFECT OF DOCUDRAMA FILMS ON PSYCHOLOGICAL DISTRESS AMONG URBAN WOMEN REFUGEES IN NAIROBI COUNTY, KENYA. BY ELIUD K. SITUMA M88/10932/2008 A RESEARCH THESIS SUBMITTED TO THE SCHOOL OF CREATIVE ARTS, FILM AND MEDIA STUDIES IN FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE OF DOCTOR OF PHILOSOPHY (FILM TECHNOLOGY) OF KENYATTA UNIVERSITY MARCH 2018 i DECLARATION I declare that this Thesis is my original work and has not been submitted to any other higher institution of learning for academic credit Signed Date Eliud K Situma (B.Ed , M.A, MBA) M88/10932/2008 Supervisors This thesis has been submitted for review with our approval as university supervisors Signature Date Dr. John Mugubi (Department of Film and Theatre Arts, Kenyatta University) Signature_____________________________________Date___________________ Dr Christine Wasanga (Department of Psychology, Kenyatta University) ii DEDICATION This research is dedicated to my family. You have been a pillar to my success. iii ACKNOWLEDGEMENT I sincerely acknowledge my two supervisors: Dr John Mugubi and Dr Christine Wasanga for the tireless effort of shaping my research. Your timely feedback and moral support was invaluable. I thank Kenyatta University for the scholarship and conducive environment to study. Dr Oliver Mbayi, thanks for being the therapist. You made all therapy sessions interesting. Much appreciation to Kayole Catholic church for offering a venue where the therapy sessions were conducted. My research could have been incomplete without the support of my research assistants who helped me in data collection and analysis. Thanks a million, Norman Shitote, Brian Meche, Nancy Kobado, Phylis Wanjiru, Paul Patrick Kariuki, Vigilance Atieno, Alice Kombani, Carolyne Khakasa, Evelyne Kamau and Evans Mbogai. I am happy you volunteered to work with me. I extend my gratitude to Chepng‟eno Mutai, Racheal Wanjiru and all graduate school staff who supported me. I also acknowledge Refugee Consortium of Kenya (RCK), UNHCR Department of Public Communication and Film Aid. Without your kind guidance and coordination, I would have never succeeded in getting the respondents for this study. To my church members and Pastor, your fervent prayers have been answered. Finally, may God richly bless all the participants who volunteered to be part of this study. Every Wednesday you were there waiting for me. You never gave up amidst many challenges. , iv ABSTRACT The study sought to investigate how docudrama film could be used as a psychotherapeutic tool among traumatized women refugees. The objectives of the study were: to establish the levels of psychological distress, establish whether cinematic techniques affect psychological distress, and investigate the effectiveness of docudrama films on the levels of psychological distress among urban women refugees. The study employed mixed method research design which covered both qualitative and quantitative approaches. A population of 48 participants was purposively sampled for this study. Participatory action approach, observation and Interview methods were used in data collection. The study used questionnaires, psychological distress scale, Beck‟s depression inventory, interview guide, observation guide and content analysis guide as research instruments. Paired T-test was conducted in order to establish the significance of relationship between the two groups. The major findings resulting from the analysis show that cinematic techniques and enactment greatly play a role in reducing psychological distress levels as well depression. Also, the study establishes that docudrama films help to reduce both psychological distress and depression levels among female refugees. Consequently, the study concludes that protagonists, if portrayed positively, help the viewers recover from their psychological distress and depression. It also concludes that cinematography techniques hold healing and therapeutic value if utilized in psychosocial supportive environment. In its recommendations, the study points towards further research on using docudrama film on male refugees and use of other genre of films, besides docudrama, as a therapeutic tool on traumatized groups. The study also recommends use of comparative analysis to determine how film impacts differently on other groups of refugees like Somalis and those who stay in camps. On the industry, it further recommends film to be used together with other traditional methods in helping recover traumatized refugees. Finally, it recommends that film makers and institutions offering film studies should train their students‟ crew on the correct choice of cinematography when making docudramas meant for therapeutic use. v ABBREVIATIONS AND ACRONYMS EMDR Eye Movement Desensitization and Reprocessing FGD Focus Group Discussion UNHCR United Nations High Commissioner for Refugees PTSD Post Traumatic Stress Disorder NACOSTI National Commission for Science, Technology and Innovation vi DEFINITIONS OF KEY TERMS Attitude change - Change in behaviour based on consequences. The alteration in the strength on content of an attitude. Docudrama - Is a genre of film which features dramatized re-enactments of actual events. Perception - The way we think about or understand someone or something. Psychotherapy - The treatment of a behaviour disorders, mental illness, or any other condition by psychological means. Psychotherapeutic - The treatment of mental and emotional disorders through the use of psychological techniques designed to encourage communication of conflicts and insight into problems, with the goal being relief of symptoms, changes in behaviour leading to improved social and vocational functioning, and personality growth. Psychotherapeutic tool - Assortment of techniques focusing on assisting the client in having a healthier mental and emotional life. Refugee - A person who flees to a foreign country or power to escape danger or persecution. Trauma - An emotional response to a terrible event like an accident, rape or natural disaster. Traumatic experience - Emotional and psychological trauma as a result of extraordinary stressful events that shatters ones sense of security making one feel helpless and vulnerable in a dangerous environment. Trauma treatment - Strategies and support that can speed up a client‟s recovery. vii TABLE OF CONTENT DECLARATION........................................................................................................ ii DEDICATION........................................................................................................... iii ACKNOWLEDGEMENT.........................................................................................iv ABSTRACT .................................................................................................................v ABBREVIATIONS AND ACRONYMS ..................................................................vi DEFINITIONS OF KEY TERMS.......................................................................... vii LIST OF TABLES .....................................................................................................xi LIST OF FIGURES ................................................................................................. xii CHAPTER ONE: INTRODUCTION .......................................................................1 1.0 Background ...................................................................................................... 1 1.2 Statement of the Problem ................................................................................... 4 1.3 Research Goal ................................................................................................... 5 1.4 Objectives of the Study ...................................................................................... 5 1.5 Research Questions ............................................................................................ 5 1.6 Justification and Significance of the Study........................................................... 5 1.7 Scope, Limitations and Delimitations .................................................................. 6 1.8 Conclusion ........................................................................................................ 7 CHAPTER TWO: LITERATURE REVIEW ..........................................................9 2.0 Introduction....................................................................................................... 9 2.1 Review of Film as Therapeutic Tool.................................................................... 9 2.1.2 A Review of Trauma, Psychological Distress and Depression ...................... 20 2.1.3 Docudrama Elements ............................................................................... 24 2.1.3 Refugee Environment and Women Psychosocial Status ............................. 27 viii 2.1.4 Synopsis of Live and Become and The Good Lie ........................................ 31 2.2: Theoretical Framework ......................................................................................... 34 2.2.1: Psychoanalytic Film Theory........................................................................... 35 2.2.2: Psycho Dramatic Theory ................................................................................ 36 2.2.3: The Trauma Theory........................................................................................ 39 2. 3 Conceptual Framework .................................................................................... 41 2.4 Conclusion
Load more

Recommended publications
  • Poetry-Film & the Film Poem
    Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful.
    [Show full text]
  • Khorana Peepli Live FINAL
    Peepli Live and No One Killed Jessica 66 Peepli Live and No One Killed Jessica: Remediating the “Bollywoodization” of Indian TV News Sukhmani Khorana Lecturer University of Wollongong Wollongong, Australia [email protected] Introduction: Evolution of “Bollywoodization” in Indian TV news In the third edition of her pioneering book on the Indian media business, Vanita Kohli-Khandekar makes the following observation: There are two media segments that define the contour, body and tastes of the Indian market. Television is one of them, the other being film. Both have a mesmerising hold over Indian audiences―and even over investors and advertisers.1 This article begins with this note because of the increasingly central place occupied by television in the Indian media sphere and the uniquely Indian context of the mutual interdependence of the television and film industries. While television has appropriated Hollywood film genres since its inception,2 in India, popular film culture is increasingly drawing on the pre-eminence of satellite television. A grasp of these facets of the subcontinent’s television story is essential before examining how TV news has taken on discursive and practice-based elements of the nation’s popular film culture, Bollywood. This will be undertaken through a close textual analysis of two recent Bollywood films, Peepli Live (2010) and No One Killed Jessica (2011). Both feature television journalism as an important narrative catalyst, or a remediator for the socio-political issues faced by the protagonist(s). In doing this, the films themselves turn into a remediation device for the Bollywoodization of news on Peepli Live and No One Killed Jessica 67 Indian television.
    [Show full text]
  • AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
    Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
    [Show full text]
  • The Technological Imaginary of Imperial Japan, 1931-1945
    THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology.
    [Show full text]
  • Television Biopics: Questions of Genre, Nation, and Medium
    Television biopics: Questions of genre, nation, and medium Book or Report Section Accepted Version Bignell, J. (2020) Television biopics: Questions of genre, nation, and medium. In: Cartmell, D. and Polasek, A. D. (eds.) A Companion to the Biopic. Wiley Blackwell, Hoboken, New Jersey, USA, pp. 45-60. ISBN 9781119554813 doi: https://doi.org/10.1002/9781119554783.ch4 Available at http://centaur.reading.ac.uk/89129/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: https://onlinelibrary.wiley.com/doi/abs/10.1002/9781119554783.ch4 To link to this article DOI: http://dx.doi.org/10.1002/9781119554783.ch4 Publisher: Wiley Blackwell All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Television Biopics: Questions of Genre, Nation, and Medium Book or Report Section Accepted Version Bignell, J. (2020) Television Biopics: Questions of Genre, Nation, and Medium. In: Cartmell, D. and Polasek, A. (eds.) A Companion to the Biopic. Wiley Blackwell, Hoboken, NJ, pp. 45-60. ISBN 978-1-119-55481-3 doi: https://doi.org/10.1002/9781119554783.ch4 Available at http://centaur.reading.ac.uk/89129/ It is advisable to refer to the publisher’s version if you intend to cite from the work.
    [Show full text]
  • It's a Conspiracy
    IT’S A CONSPIRACY! As a Cautionary Remembrance of the JFK Assassination—A Survey of Films With A Paranoid Edge Dan Akira Nishimura with Don Malcolm The only culture to enlist the imagination and change the charac- der. As it snows, he walks the streets of the town that will be forever ter of Americans was the one we had been given by the movies… changed. The banker Mr. Potter (Lionel Barrymore), a scrooge-like No movie star had the mind, courage or force to be national character, practically owns Bedford Falls. As he prepares to reshape leader… So the President nominated himself. He would fill the it in his own image, Potter doesn’t act alone. There’s also a board void. He would be the movie star come to life as President. of directors with identities shielded from the public (think MPAA). Who are these people? And what’s so wonderful about them? —Norman Mailer 3. Ace in the Hole (1951) resident John F. Kennedy was a movie fan. Ironically, one A former big city reporter of his favorites was The Manchurian Candidate (1962), lands a job for an Albu- directed by John Frankenheimer. With the president’s per- querque daily. Chuck Tatum mission, Frankenheimer was able to shoot scenes from (Kirk Douglas) is looking for Seven Days in May (1964) at the White House. Due to a ticket back to “the Apple.” Pthe events of November 1963, both films seem prescient. He thinks he’s found it when Was Lee Harvey Oswald a sleeper agent, a “Manchurian candidate?” Leo Mimosa (Richard Bene- Or was it a military coup as in the latter film? Or both? dict) is trapped in a cave Over the years, many films have dealt with political conspira- collapse.
    [Show full text]
  • Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
    InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive
    [Show full text]
  • The Role of Docudrama Films in American Public Memory: World War II As “The Good War”
    THE ROLE OF DOCUDRAMA FILMS IN AMERICAN PUBLIC MEMORY: WORLD WAR II AS “THE GOOD WAR” An Undergraduate Research Scholars Thesis by KATIE PATRICIA BRUNER Submitted to Honors and Undergraduate Research Texas A&M University in partial fulfillment of the requirements for the designation as UNDERGRADUATE RESEARCH SCHOLAR Approved by Research Advisor: Dr. Jennifer Jones Barbour May 2013 Major: Communication TABLE OF CONTENTS Page TABLE OF CONTENTS ………..……………………………………………………………………1 ABSTRACT …………………………………………..………………………………………………2 CHAPTER I INTRODUCTION …………………….……………………………………………………...3 II METHODS ………………………………………………………………………………....12 III RESULTS …………………………………………………………………………………..14 IV DISCUSSION ……………………………………………………………………...……… 24 REFERENCES ………………………………………………………………………………………28 1 ABSTRACT The Role of Docudrama Films in American Public Memory: World War II as “The Good War”. (May 2013) Katie Patricia Bruner Department of Communication Texas A&M University Research Advisor: Dr. Jennifer Jones Barbour Department of Communication Docudrama films are some of the most popular and controversial movies ever made. Their box office success and critical acclaim have made them an enticing venture for filmmakers and studios, yet they can attract a firestorm of debate if handled incorrectly. Docudramas are a paradox in themselves; not completely fact, not completely fiction. Yet their power to influence and shape ideas is undeniable. And for the majority of Americans, docudramas serve as a commanding, if not singular, source of their knowledge about historical events. Because of this immense scope, there are important questions that need to be investigated about docudrama’s role in the creation of American public memory, and the lens through which it shows us historical events. This paper will investigate what makes docudramas uniquely complex, and how docudramas are important historical texts. Specifically, I will look at filmic portrayals of American involvement in World War II through content analysis of three major WWII docudramas.
    [Show full text]
  • Courtroom Drama with Chinese Characteristics: a Comparative Approach to Legal Process in Chinese Cinema
    Courtroom Drama With Chinese Characteristics: A Comparative Approach to Legal Process in Chinese Cinema Stephen McIntyre* While previous “law and film” scholarship has concentrated mainly on Hollywood films, this article examines legal themes in Chinese cinema. It argues that Chinese films do not simply mimic Western conventions when portraying the courtroom, but draw upon a centuries-old, indigenous tradition of “court case” (gong’an) melodrama. Like Hollywood cinema, gong’an drama seizes upon the dramatic and narrative potential of legal trials. Yet, while Hollywood trial films turn viewers into jurors, pushing them back and forth between the competing stories that emerge from the adversarial process, gong’an drama eschews any recognition of opposing narratives, instead centering on the punishment of decidedly guilty criminals. The moral clarity and punitive sense of justice that characterize gong’an drama are manifest in China’s modern-day legal system and in Chinese cinema. An analysis of Tokyo Trial, a 2006 Chinese film about the post-World War II war crimes trial in Japan, demonstrates the lasting influence of gong’an drama. Although Tokyo Trial resembles Hollywood courtroom drama in many respects, it remains faithful to the gong’an model. This highlights the robustness of China’s native gong’an tradition and the attitudes underlying it. * J.D., Duke University School of Law; M.A., East Asian Studies, Duke University; B.A., Chinese, Brigham Young University. I thank Professor Guo Juin Hong for his valuable comments and encouragement. I also thank those who attended and participated in the 2011 Kentucky Foreign Language Conference at the University of Kentucky, at which I presented an earlier version of this article.
    [Show full text]
  • The Making of the Independent Short Film, Teatriños: Homenaxe Ao Mineral Do Repolo
    The Making of the Independent Short Film, Teatriños: Homenaxe ao mineral do repolo (Little Theatres: Homage to the Mineral of Cabbage.) Stephanie Dudley Sometime in 2007, I decided to make my first short film. I chose the medium of stop motion puppetry for the film, and all sets, puppets, and decorations were created by hand. The film is about cabbage, and is based on Erín Moure’s poem, Homage to the Mineral of Cabbage. The decision to make this film had been about a 10 years development, and this little cabbage film has since created many waves in my life. I went to art school in the mid 1990s. I majored in Drawing and Painting at Ontario College of Art and Design (now OCAD University), and was mostly interested in trying out different media, or using old media in new ways. So while I painted with oils in the traditional way, on canvas and panels, I also painted with oils on plasticky architectural vellum; or on substrate-less acrylic layers, created by hand, so that the final painting looked like it was painted on a delicate, translucent skin. I took photography classes where I experimented either in the darkroom, or with polaroids and photocopiers, altering images in a way that would make them part painting, part sculpture, part photograph. Without ever using a computer, I thought of myself as a multimedia artist. I did not know how to use Photoshop or any other graphics program. I just wasn’t that interested. Stephanie Dudley Early on in my last year of college, I was involved in an art show, with several of my paintings and mixed-media photography on display in the school’s atrium.
    [Show full text]
  • About Me Work Education Skills Languages
    Ranjan Rampal Film Editor, Filmmaker, Poet f photographer, videographer, designer, Teacher (Filmmaking) FTII, FAMU ABOUT ME SKILLS Dedicated to make good films and art, seeker for associating with good creative FILM EDITING a DRAMATURGY artists, producers, directors, and viewers. I am a film editor, dramaturg, filmmaker and poet, nurturing and improving my craft that I studied at film school(FTII / STORY a CHARACTERISATION FAMU) and mass communication (BJMC, GGSIPU University, Delhi). I am good in CAMERA a SOUND team management, strategy, Idea development and keen on perfection as an TECHNICAL artist. I am enriching as a teacher. Always happy for good WORK to associate with. (FCP, FCPX, AVID, PREMIERE, PHOTOSHOP), CAMERAS, FILM , DIGITAL WORK POETRY TEACHING FEATURE FILMS Edited 1 feature fiction film and 1 documentary feature film. Learning never stops and ultimate happiness is to see the work EDUCATION finally taking its shape, Shaping is my work. 2014 - Self Learner and Researcher present SHORT FILMS 2014 - present ( Prague, Czech Republic ) Edited and directed different short films of different lengths, in different Learning, Researching and exploring new film techniques, languages like Hindi, Marathi, Russian, Czech and English on digital as Indian New wave Cinema and Indian aesthetics of Drama, well as on film (16mm, 35mm). Edited on flatbed Steinbeck and also on comparing with European asthetics and Czech New wave softwares like FCP X, FCP 7, Avid and Premeire Pro. For me films are cinema. Working on Video art and projection mapping. like poetry of images and sound, the rythems come with movements. 2008 - PgD, Film Editing, FTII DOCUMENTARIES 2015 Film and Television Institute of India Edited various short to long documentaries, on the topics, situations and 2008 - 2015 ( Pune, Maharashtra, India ) people who touch me and let me explore my questions and enhance me Did PG Diploma at Film and TV school FTII, Editing faculty.
    [Show full text]
  • Reassembling Documentary: from Actuality to Virtuality Emine Selmin Kara Wayne State University
    Wayne State University Wayne State University Dissertations 1-1-2011 Reassembling documentary: from actuality to virtuality Emine Selmin Kara Wayne State University, Follow this and additional works at: http://digitalcommons.wayne.edu/oa_dissertations Part of the Film and Media Studies Commons Recommended Citation Kara, Emine Selmin, "Reassembling documentary: from actuality to virtuality" (2011). Wayne State University Dissertations. Paper 354. This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. REASSEMBLING DOCUMENTARY: FROM ACTUALITY TO VIRTUALITY by SELMIN KARA DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2011 MAJOR: ENGLISH (Film & Media Studies) Approved by, _____________________________________ Advisor Date _____________________________________ _____________________________________ _____________________________________ © COPYRIGHT BY SELMIN KARA 2011 All Rights Reserved ACKNOWLEDGMENTS This project would not have been possible without the intellectual, professional and emotional support of my academic mentors, colleagues from the documentary film community, friends, and family, who are spread across several countries and three continents. First of all, I am profoundly indebted to my chair and advisor, Richard Grusin, whose
    [Show full text]