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The purpose of this paper is to examine Robert Pagès' 1948 conception of “auto-document” as a possible forerunner to the neo-documentalist conception of “documentality” as offered in Bernd Frohmann’s 2012 article “The Documentality of Mme Briet’s Antelope.”

This paper is conceptual and historical.

Robert Pagès' concept of the “auto-document” in his 1948 article proposed an understanding of documents that depends on the “uniqueness” of a document. His article proposed a post-Otletian theory of documents similar to a discussion of documents by Bernd Frohmann in 2012 with the concept of “documentality.” Further attention to Pagès work and to Frohmann’s works could result in new understandings of Briet’s works, could illuminate other works and authors understood as belonging to neo-documentation and could yield new understandings of documents and information from the perspective of documentality as a new philosophy of information and documents.

Further attention to Pagès' work and to Frohmann’s works could yield new understandings of documents and the relation of documentary types across natural and sociocultural domains and bring renewed attention to documentality as a new philosophy of information and documents.

Attention to these issues could broaden the study of documents and documentation, increase the historical understanding of Suzanne Briet’s works and bring light to other works in neo-documentation, particularly in regard to the concept of documentality as a new philosophy of documentation and information.

Attention to these issues could broaden the study of documents and documentation to include more broadly animal and other natural entities and our relationships to them. The works cited also illuminate an empirical science understanding of documents, documentary evidence and information.

This is one of the first papers commenting on Robert Pagès’ works and brings renewed attention to Bernd Frohmann’s works, as well as to neo-documentation and its concept and philosophy of documentality, as a new philosophy of information and documents.

The purpose of this study is to show that the neo-documentary – or complimentary – approach in Library and Information Science by no means is conservative, but highly necessary also in today's digitized media landscape. An example from a digitized photo archive is chosen to demonstrate the importance of a complimentary analysis that considers both material aspects as well as social and mental ones.

By taking Jenna Hartel's description of the neo-documentary turn as point of departure, the paper focuses on one case, the portrait of Johannes Abrahamsen Motka taken by Sophus Tromholt in 1883 and discusses different versions of the photograph from glass plate negatives to digitized versions in different contexts and media.

Many of the same paratextual elements can be found in different versions, also the digitized ones, to help the viewer to establish a historical context, but the images exhibited today are nevertheless no longer the same ones taken by Tromholt at the end of the 19th century. Not only have the material properties changed, but also – and probably even more important in most cases – the social and mental aspects. More re-contextualization is needed for today's audiences to recognize and understand a historical photograph taken in a colonial context. Focusing on document's material elements is not novel within the LIS-field, but the so-called neo-documentary turn was also a reaction on political and technological developments during the 1980s and 1990s. The increased focus on understanding a document in a complimentary way has demonstrated its impact during the last decades and is, at the same time, still work in progress.

As a scholar in the humanities the author can only relate to and therefore analyze what the author can experience and observe on screen level.

In providing a case study, this article illustrates the necessity of employing a complimentary approach when analyzing documents. This also implicates the claim that the neo-documentary turn – or complimentary as it rather should be called – by no means is a conservative one, but a highly necessary one in today's digitized media landscape.

This study aims to establish whether the corporate social responsibilities (CSR) practices of Islamic banks are compatible with the sustainable development goals (SDGs) of the United Nations.

A documentary research method was applied by examining the annual reports of selected Islamic banks from Bangladesh, Indonesia, Pakistan, the UAE and Malaysia for 2020, which coincided with the COVID-19 pandemic.

The results indicate that Islamic banks discharged various CSR activities and contributed huge funds toward achieving the SDGs of the United Nations. Specifically, the banks prioritized the following CSR sectors: education, health, environmental protection and disaster relief and management. Besides, they provided support to micro and small businesses toward poverty alleviation.

This study examined only CSR reports of the selected Islamic banks for 2020.

The findings have practical implications that may enable Islamic banks across the globe to improve their CSR initiatives, activities and reporting toward realizing the SDGs. They are also helpful to policymakers and regulators for the provisions of policies and regulations to motivate or mandate Islamic banks to effectively improve their CSR practices.

CSR practices of Islamic banks can significantly support the SDGs toward mitigating many economic and social problems.

This study applied a relevant but rarely used method to explore the role of CSR practices of Islamic banks in achieving the SDGs.

The data used to present this case was collected from secondary data sources. These sources included media reports associated with Michael Jordan and his trajectory since entering the sport, as well as specific information published about his time at the Chicago Bulls. Another key source of information is the ESPN documentary conducted specifically on Jordan’s relationship with his National Basketball Association (NBA) team.

The case follows the story of Michael Jordan, who took his team, the Chicago Bulls, to fame in a rather controversial manner. To do so, Michael Jordan had to alter his leadership style over the years to be respected as a leader and motivate his team to win one NBA championship after another. On 20th April 2020, ESPN’s “The Last Dance”, a 10-part documentary about Michael Jordan and his time playing for the Chicago Bulls was released to much acclaim. The documentary became highly noted as Jordan himself, both directed and starred in the documentary. Jordan’s great achievements stood out, but so did the conflicts that the basketball star had with The Bulls’ management team and mainly, his teammates. Relationships between teammates were far from harmonious, which led to questions around whether Michael Jordan was as good a leader, as he was a star player. Cultural change within the organisation was primarily linked to the often-contested leadership of Jordan.

The case can be used at UG, MSc and MBA levels. It works for in-person teaching and for online teaching. It is most suitable in leadership, strategy and strategy in practice courses. However, it is critical to note that the case can shed light on the dynamics that leaders and teammates have within their teams. Therefore, this case may be valuable to students studying courses where they themselves must work in groups and oftentimes encounter challenges in managing their team. These challenges can arise at all levels of experience. As such, the case provides particularly useful reflection for decision makers who may be beginning to develop their leadership skill (UG), those who have already experienced working in teams (MSc) or leading teams themselves (MBA, Executive MBA). The case addresses the challenges associated with achieving high team motivation and performance. It also sheds light on the challenges associated with leading a cultural change within a team and the approaches of different actors involved. It may be best to introduce the case in the context of a (1.5–2 h) workshop once students understand the basic frameworks and tools used to analyse leadership styles and their characteristics.

Journalists construct a public image through each of their produced texts. Regarding cinema journalism, the feature stories are the result of multiple semiotic relationships established between the cinematographic products, the artists involved with the cinema production, and the possible expectations of the readers related to the journalistic texts, as well as viewers of the films and the depicted artistic contexts. A semiotic analysis of a feature story on the documentary Todos os Paulos do Mundo, written by the journalist Luiz Carlos Merten, reveals the construction of what semiotics calls signic actions. Such actions recover the film creation process and its produced meaning related to contemporary Brazilian production of cinematography.

In this article, the author discusses works from the French Documentation Movement in the 1940s and 1950s with regard to how it formulates bibliographic classification systems as documents. Significant writings by Suzanne Briet, Éric de Grolier and Robert Pagès are analyzed in the light of current document-theoretical concepts and discussions.

Conceptual analysis.

The French Documentation Movement provided a rich intellectual environment in the late 1940s and early 1950s, resulting in original works on documents and the ways these may be represented bibliographically. These works display a variety of approaches from object-oriented description to notational concept-synthesis, and definitions of classification systems as isomorph documents at the center of politically informed critique of modern society.

The article brings together historical and conceptual elements in the analysis which have not previously been combined in Library and Information Science literature. In the analysis, the article discusses significant contributions to classification and document theory that hitherto have eluded attention from the wider international Library and Information Science research community. Through this, the article contributes to the currently ongoing conceptual discussion on documents and documentality.

Michael Buckland's works have spanned theoretical, historical and practice-oriented foci and genre. This article focuses on some of his theoretical-historical works that span over 20 years, which demonstrate a reading and critique of European Documentation in terms of what has been called “Documentality.” This turn to a philosophy of information called “Documentality” marks the moment of “neo-documentation.” This article surveys this moment in Buckland's works by reading his articles “Information as Thing,” “What is a ‘Document’?”, and “Documentality Beyond Documents.” It shows the transition from Documentation as a philosophy of information as representation to Documentality as a philosophy of information as function and performance. Some concepts and works of Bruno Latour are used to illuminate this transition from Documentation to Documentality. Implications and further research directions are discussed at the end.

Conceptual and historical analyses.

The article follows a neo-documentalist transition in Buckland's works in the thinking of documents from an Otletian representationalist epistemology (“Documentation”) to a functionalist and performative epistemology (“Documentality”) for documents.

This is a conceptual work on a limited corpus in Buckland's oeuvre. It has a limited discussion of Documentality in the works of other writers, namely the works of Bernd Frohmann and Maurizio Ferraris.

The article points to historical shifts in the study of documents in Library and Information Science.

Documentality critically and materially studies documents in sociotechnical information management systems and elsewhere.

This work highlights the importance of the above works and the importance of the neo-documentalist perspective of Documentality.

This study explores the relevance of film texts in Indian social studies classrooms for students at the upper primary level. It examines how different types of visual texts can facilitate awareness, critical thinking, discussion and action.

Using multimodal discourse analysis (MDA), this paper critically evaluates five selective films from regional cinemas in India and explores their teaching implications for social studies. The study argues that films are vital multimodal resources that can challenge the prevailing narratives in social studies pedagogy. It conveys how the suggestive revised taxonomy could benefit the students. It proposes a classification system for film analysis with discussion and states how films can bring out interrelated themes and encourage deeper, critical inquiry within the curriculum. The study finds discourse around the films and qualitatively stresses dialogue exchange with sentiment analysis using MAXQDA software. Developed by VERBI software, MAXQDA is a product whose name is inspired by the German Sociologist Max Weber, while the ‘QDA' stands for Qualitative Data Analysis.

The films act as multimodal texts, navigators, metaphors, communicative circuits and catalysts. The paper concludes that films can improve and expand multimodal learning of social studies in three ways: films help learners connect emotionally with the concepts, films make the learning process more appealing and extend it beyond classroom boundaries and films offer a unique insight into the socio-cultural subtleties that are often limited in textbooks.

This research pioneers an intersectionality-driven framework for film analysis in the curriculum for Indian upper primary social studies, offering innovative pedagogical tools to enrich Indian curriculum insights and bridge existing knowledge gaps.