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The radical center is a space of convergence among overlapping circles, a space in which various ecosystems come into contact. In this chapter, we discuss curricular approaches that take their home in this radical center, leveraging documentary mediamaking practices to connect students, disciplinary approaches, community members, and organizing efforts in relationships of transparency, accountability, and mutuality. In such contexts, students can be equipped to create responsible documentaries through engaged pedagogies that focus on critical documentary theory and understanding of individual location (Coles, 1997). This chapter presents two case studies that facilitated documentary-as-praxis in different communities in the Lehigh Valley, in Pennsylvania.

Can the crisis of women’s victimization in prison be represented in ways that challenge this harm without its self-perpetuation? As a documentary scholar and maker, this was my overriding concern for an activist video project about women and prison. Certainly, documentary and prison tell us much about each other in their shared capacity to weaken some and strengthen others, by way of technologies of vision and distance, while buttressing hegemonic power. Our project was to minimize the possibility of documentary as prison by taking responsibility for the victim documentary itself as a system of power and pain, objectification and punishment.

Christine Bruce (2008, Preface) has written extensively about informed learning. Informed learning is “using information, creatively and reflectively, in order to learn.” Bruce writes about informed learning as it relates to information literacy. Librarians, working collaboratively with professors, often develop research guides to teach information literacy skills, and to organize and present program, course, assignment, or topic-specific resources. Research is essential to documentary filmmaking. This chapter is a case study that describes how the History of Non-fiction Film Research Guide that we created aligns with the three principles and seven faces of informed learning.

Purpose – The purpose of this chapter is to examine televised images of jail by looking at televised documentaries and reality-based programs. Since jails are closed institutions, the way the media depicts them can have a significant impact on people's perceptions of these institutions.

Methodology – Content analysis, a common media research technique, was employed to analyze how jails are portrayed on television. More specifically, a sample of seven televised documentaries and 24 episodes of the reality-based programs Jail and Inside American Jail were examined to determine the accuracy of these images, as well as the underlying themes presented in these programs.

Findings – There were both similarities and differences in the way these programs depicted county jails in the United States. Overall both programs offered a selective look into the jail system. Whether depicting the largest jails in the country or focusing exclusively on the areas of the jail where inmate outbursts are most likely to take place, these programs offer a sensationalized view of jail that supports current crime control policies.

Research limitations – The sample used in this study is a purposive sample and only focuses on reality-based images (excluding news broadcasts). Examining additional televised images of jail would add to the strength of this study.

Originality of paper – Although research on prisons in the media is becoming more popular, that on jails is nonexistent; therefore, this chapter adds to our knowledge of how these institutions are portrayed in the media.

The authors analyze how conflicting institutional demands become deployed in organizational storytelling in the context of wildlife documentaries. Documentary producers increasingly feel the pressure to entertain the audience, while simultaneously addressing serious environmental issues. Using a mixed-method analysis of BBC wildlife documentaries produced between 2009 and 2017, the authors identify two narrative strategies, alternation and amplification, to balance demands for entertainment and environmental conservation. Alternation switches entertaining and serious content to offset conservation concerns, while amplification uses entertainment to accentuate conservation. Emotions play a significant role in both ways of storytelling. The findings of this chapter contribute to the literatures on institutional microfoundations, storytelling, and emotions.

Introducing immunity or vaccine passports is one non-pharmaceutical intervention that governments are considering to exempt immune, vaccinated or otherwise risk-free individuals from lockdowns and other public health restrictions during the coronavirus pandemic. The primary objective of these documents would be to begin reopening societies, restarting economies and returning to a pre-pandemic normalcy. This article aims to present the start of a conceptual documentary analysis of (proposed and existing) COVID-19 immunity passports in order to more fully center their documentary status within research, considerations and conversations about their potential roles, impacts and implications.

Inspired by Paula A. Treichler's argument for the importance of theoretical thought for untangling the socio-cultural phenomena of epidemics, and drawing upon interdisciplinary theories of documentation, identity and public health, combined with recent news coverage of the coronavirus pandemic, this article provides a contemporary overview and conceptual analysis of emerging documentary regimes of COVID-19 immunity verification involving immunity or vaccine passports.

Three major interconnected objectives could be fulfilled by immunity passports. First, they would establish and materialize an official identity of COVID-19 immune for people possessing the formal document. Second, they would serve as material evidence establishing and verifying individuals' immunity, vaccination or risk-free status from the coronavirus that would, in term, determine and regulate their movements and other privileges. Third, they would create tangible links between individuals and governments' official or recognized identity category of COVID-19 immune. Immunity passports would, therefore, help enable and enforce governmental authority and power by situating individuals within documentary regimes of COVID-19 immunity verification.

In the expanding interdisciplinary literature on COVID-19 immunity passports, sometimes also called certificates, licenses, or passes, there appears to be only minimal reference to their documentary instantiations, whether physical, digital, and/or hybrid documents. As yet, there is not any specific documentary approach to or analysis of immunity passports as kinds of documentation. A documentary approach helps to illuminate and emphasize the materiality of and ontological considerations concerning the coronavirus pandemic and its associated kinds of immunity or vaccination.

By beginning an exploration of what makes immunity passports thinkable as a public health response to the coronavirus pandemic, this article illuminates these health and identity documents' material implications for, and effects on, individuals and societies. This article, therefore, helps shed light on what immunity passports reveal about the complicated and contested intersections of identity, documentation, public health and socio-political control and discipline.

This article contributes the start of a documentary analysis of (proposed and existing) COVID-19 immunity passports in order to more fully center their documentary status within research and conversations about them.

This paper aims to propose a system for the semantic annotation of audio‐visual media objects, which are provided in the documentary domain. It presents the system's architecture, a manual annotation tool, an authoring tool and a search engine for the documentary experts. The paper discusses the merits of a proposed approach of evolving semantic network as the basis for the audio‐visual content description.

The author demonstrates how documentary media can be semantically annotated, and how this information can be used for the retrieval of the documentary media objects. Furthermore, the paper outlines the underlying XML schema‐based content description structures of the proposed system.

Currently, a flexible organization of documentary media content description and the related media data is required. Such an organization requires the adaptable construction in the form of a semantic network. The proposed approach provides semantic structures with the capability to change and grow, allowing an ongoing task‐specific process of inspection and interpretation of source material. The approach also provides technical memory structures (i.e. information nodes), which represent the size, duration, and technical format of the physical audio‐visual material of any media type, such as audio, video and 3D animation.

The proposed approach (architecture) is generic and facilitates the dynamic use of audio‐visual material using links, enabling the connection from multi‐layered information nodes to data on a temporal, spatial and spatial‐temporal level. It enables the semantic connection between information nodes using typed relations, thus structuring the information space on a semantic as well as syntactic level. Since the description of media content holds constant for the associated time interval, the proposed system can handle multiple content descriptions for the same media unit and also handle gaps. The results of this research will be valuable not only for documentary experts but for anyone with a need to manage dynamically audiovisual content in an intelligent way.

This guide is compiled in order that banks may see the extent of the overall problem of fraud and money laundering in documentary credit transactions. It also contains advice on how banks and bankers may protect themselves and their staff from the consequences of fraudulent attacks against the system.

This article analyzes a classroom project that integrated desktop documentary making with an educational foundations course in order to foster empathetic development in pre-service teachers toward unfamiliar cultural groups. The project required each tertiary student in the course to create a desktop documentary about the school experience of a cultural group with which they did not immediately identify with. The findings indicate that half of the students in this project displayed empathetic development with regard to their chosen topics, using their encounters with imagery and stories to link their world with that which was unfamiliar. Additionally, as a result of the compositional process, several students became advocates for their assigned cultural group, carrying this sentiment with them as they progressed to become teachers. Implications of this study, including possible approaches toward improving this project’s effectiveness in achieving its aims, are discussed.