1,720,957 research outputs found
Unrest
No full textFilm (Duration 1 hour 37 minutes).
Shortlisted for an Academy Award nomination at the 90th Oscars (2018). Winner of 2017 Sundance Film Festival U.S. Documentary Special Jury Award For Editing, RiverRun International Film Festival Audience Award For Best Documentary Feature, Nashville Film Festival Grand Jury Prize For Best Documentary Feature, Sheffield Doc/Fest Illuminate Award.
Unrest is a feature length documentary, produced by British filmmaker and academic Lindsey Dryden, whose main research interest is exploring the 'deviant' body. The film is directed by Jennifer Brea, and is a co-production between Brea's Shella Films and Dryden's Little By Little Films.
Jennifer is twenty-eight years-old, working on her PhD at Harvard, and months away from marrying the love of her life when a mysterious fever leaves her bedridden. When doctors tell her it's "all in her head," she picks up her camera as an act of defiance and draws us into a hidden world of millions that medicine abandoned.
In this story of love and loss, Jennifer and her new husband Omar search for answers as they face unexpected obstacles. Often confined by her illness to the private space of her bed, Jennifer connects with others around the globe. Like a modern-day Odysseus, she travels by Skype into a forgotten community, crafting intimate portraits of four other families suffering similarly.
The film asks us to question whose stories are believed in society and medicine, and forces us to rethink the stigma around invisible and little-understood illness
Trans In America: Texas Strong (ep 1)
No full textTrans In America is a 3-part verite documentary series produced by Lindsey Dryden with the American Civil Liberties Union. It was broadcast on Conde Nast's new LGBTQ+ digital platform 'them.', and current viewing figures for the films are over 1.3 million. Dryden worked on the series for over a year, leading every element as the senior producer in close collaboration with the ACLU and with her production company Little By Little Films. Each film is directed by an LGBTQ+ filmmaker, produced by an inclusive and majority-LGBTQ+ production team, and informed by a panel of transgender advisors. The ACLU and Dryden selected directors Cary Cronenwett and Daresha Kyi. The 3 films in the series tell the intimate personal stories of 3 transgender individuals in the United States as they battle for their civil rights in their daily lives: 7-year-old Kai in Texas whose religious mother has to reject her community’s beliefs as Kai navigates life at school, where she’s been banned from the girls’ bathroom; Eisha in Chicago, who was incarcerated in a men’s jail after acting in self-defense. Now, as she rebuilds her life and continues to process the impact of her incarceration, she faces the challenge of trying to get a steady job as an out trans woman with a criminal record; and Jennifer, who lost her job after telling her employer she is transgender. She sued for discrimination but years later, having won a national victory in a case that will protect trans people across the nation, she finds herself alienated from her industry, and unable to make a living. The films directly connect to Dryden's key research interests around embodiment, sexuality and the so-called 'deviant body'; producing this series fed into her research on how society treats those with bodily experiences that are rebellious and non-conforming. The film team created unusual work practices, to try to enact their values in the filmmaking process as well as in the stories told and impact intended. They created bespoke contracts that allow the film subjects and directors a gratis license to use the footage for their own purposes (e.g. to make longer films or promote themselves), and bespoke release forms that promise to share any financial profits with the film subjects, should the series win awards money, for example. Monetary profit is unusual in short documentary, but they wanted to create this option in case of future gains, because film subjects should benefit from telling their stories. These practices are a work in progress, and underpinned by goals of progressiveness, equality and transparency for documentary production
Trans In America: Atlanta Drive (ep 3)
No full textTrans In America is a 3-part verite documentary series produced by Lindsey Dryden with the American Civil Liberties Union. It was broadcast on Conde Nast's new LGBTQ+ digital platform 'them.', and current viewing figures for the films are over 1.3 million. Dryden worked on the series for over a year, leading every element as the senior producer in close collaboration with the ACLU and with her production company Little By Little Films. Each film is directed by an LGBTQ+ filmmaker, produced by an inclusive and majority-LGBTQ+ production team, and informed by a panel of transgender advisors. The ACLU and Dryden selected directors Cary Cronenwett and Daresha Kyi. The 3 films in the series tell the intimate personal stories of 3 transgender individuals in the United States as they battle for their civil rights in their daily lives: 7-year-old Kai in Texas whose religious mother has to reject her community’s beliefs as Kai navigates life at school, where she’s been banned from the girls’ bathroom; Eisha in Chicago, who was incarcerated in a men’s jail after acting in self-defense. Now, as she rebuilds her life and continues to process the impact of her incarceration, she faces the challenge of trying to get a steady job as an out trans woman with a criminal record; and Jennifer, who lost her job after telling her employer she is transgender. She sued for discrimination but years later, having won a national victory in a case that will protect trans people across the nation, she finds herself alienated from her industry, and unable to make a living. The films directly connect to Dryden's key research interests around embodiment, sexuality and the so-called 'deviant body'; producing this series fed into her research on how society treats those with bodily experiences that are rebellious and non-conforming. The film team created unusual work practices, to try to enact their values in the filmmaking process as well as in the stories told and impact intended. They created bespoke contracts that allow the film subjects and directors a gratis license to use the footage for their own purposes (e.g. to make longer films or promote themselves), and bespoke release forms that promise to share any financial profits with the film subjects, should the series win awards money, for example. Monetary profit is unusual in short documentary, but they wanted to create this option in case of future gains, because film subjects should benefit from telling their stories. These practices are a work in progress, and underpinned by goals of progressiveness, equality and transparency for documentary production
Trans In America: Chicago Love (ep 2)
No full textTrans In America is a 3-part verite documentary series produced by Lindsey Dryden with the American Civil Liberties Union. It was broadcast on Conde Nast's new LGBTQ+ digital platform 'them.', and current viewing figures for the films are over 1.3 million. Dryden worked on the series for over a year, leading every element as the senior producer in close collaboration with the ACLU and with her production company Little By Little Films. Each film is directed by an LGBTQ+ filmmaker, produced by an inclusive and majority-LGBTQ+ production team, and informed by a panel of transgender advisors. The ACLU and Dryden selected directors Cary Cronenwett and Daresha Kyi. The 3 films in the series tell the intimate personal stories of 3 transgender individuals in the United States as they battle for their civil rights in their daily lives: 7-year-old Kai in Texas whose religious mother has to reject her community’s beliefs as Kai navigates life at school, where she’s been banned from the girls’ bathroom; Eisha in Chicago, who was incarcerated in a men’s jail after acting in self-defense. Now, as she rebuilds her life and continues to process the impact of her incarceration, she faces the challenge of trying to get a steady job as an out trans woman with a criminal record; and Jennifer, who lost her job after telling her employer she is transgender. She sued for discrimination but years later, having won a national victory in a case that will protect trans people across the nation, she finds herself alienated from her industry, and unable to make a living. The films directly connect to Dryden's key research interests around embodiment, sexuality and the so-called 'deviant body'; producing this series fed into her research on how society treats those with bodily experiences that are rebellious and non-conforming. The film team created unusual work practices, to try to enact their values in the filmmaking process as well as in the stories told and impact intended. They created bespoke contracts that allow the film subjects and directors a gratis license to use the footage for their own purposes (e.g. to make longer films or promote themselves), and bespoke release forms that promise to share any financial profits with the film subjects, should the series win awards money, for example. Monetary profit is unusual in short documentary, but they wanted to create this option in case of future gains, because film subjects should benefit from telling their stories. These practices are a work in progress, and underpinned by goals of progressiveness, equality and transparency for documentary production
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Full text linkWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Full text linkWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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