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This paper aims to examine the use of physical and streaming documentary film collections available in a mid-sized academic library, specifically relating to the length of time that documentary films may remain relevant for curricular use.

The authors defined documentary film for the purposes of the study and created data sets of our non-fiction film holdings. They weeded out titles that could not be defined as documentaries and ran use reports for streaming and physical collections. They also used Power BI to visualize the data more clearly.

The authors found that documentary films could remain useful for 25 years, with certain films remaining relevant even longer.

These findings indicate that purchasing or licensing streaming documentary film packages provides value, including older content. In addition, the authors will continue to make purchases of physical DVD or Blu Ray content when necessary and keep these collections up to 30 years before heavily weeding them.

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.

Various law and film scholars have noted that the judge occupies the place of a marginal figure in ‘legal cinema’ and in related scholarship. In this chapter I want to engage with the debate about the representation of the judge in film by way of an examination of a South African documentary, ‘Two Moms: A family portrait’ (2004). In the first instance this ‘family portrait’ appears to be neither an obvious candidate for inclusion in the canon of ‘legal cinema’ nor a film with a plotline dominated by a judge. But from this rather unpromising start this chapter explores how a film about an ordinary family made up of extraordinary people is an extraordinary film about law in general and about the figure of the judge in particular.

This paper aims to compile an annotated list of films about or pertaining to the artist Andy Warhol.

Films were located using library catalogs, databases and online searches. Selections were evaluated through inspection and both academic and popular film reviews. Inclusion was predicated not only on subject matter and merit but also on availability either on home media or online.

Warhol’s many artistic creations can be introduced and evaluated using a combination of visual and auditory representation. Movies and television (TV) depicting Warhol through dramatization, primary source film, biographical documentary and his art in the context of other artists and movements are readily available through a variety of media.

The selected titles provide a comprehensive introduction to the scholarly analysis of Warhol’s art and work through a format that allows the most extensive representation of Warhol’s artistic output.

To discuss our experiences producing a short documentary film focused on a sport-related environmental issue – and reflect on our attempts throughout production to “do” what we are calling “Environmental Sports Journalism” (ESJ).

Following ESJ principles, and in collaboration with Vancouver-based filmmakers, we produced a short documentary entitled, Mount Gariwang: An Olympic Casualty, about the destruction of an ancient forest for a sport mega-event (i.e., the PyeongChang Olympics). We discuss and reflect on our approach and methods for producing the documentary, and identify key issues faced throughout the process – as we attempted to negotiate the intricacies of documentary work and collaboration between academics and media producers, while attending to a set of principles for producing “Environmental Sports Journalism.”

We reflect on strategies used and challenges faced when attempting to produce a short film on a sport-related environmental issue. We note our attempt to: (1) include interview segments with definitions of key concepts and how they are relevant to power relations around sport mega-events; (2) value the lives and voices of local and marginalized people – while noting problems we faced providing adequate context; (3) focus on problems of nonhumans as well as humans – and the challenges we faced including nonhuman issues and perspectives, challenges that reflected the limits of our chosen data collection and reporting techniques; (4) offer some form of hope and identify alternatives around an event that we were critical of; and (5) highlight the complexities of prioritizing social and environmental justice (i.e., taking a side) while attempting to offer what we might think of as “balanced” coverage.

This chapter illuminated barriers we faced in our attempts to produce “excellent” coverage, and in going from media critics to critical media producers. Our hope is to inspire reflection on what is possible around the production of “excellent” sport-related environmental journalism, and to contribute to thinking about the pursuit of public sociology through media.

Although involvement in documentary-making as academics is not new, our attempt to apply principles associated with environmental journalism to the study of sport-related environmental and social problems is in some ways novel, and therefore our reflections on our experiences are also in some ways novel.

Inspired by an exciting revival of interest in the working methods and processes of the creative arts, the purpose of this paper is to make use of the auteur approach to film production, to further develop knowledge about sensuous methodologies in qualitative research.

An exegesis of the authors’ particular experiences in producing and disseminating a short documentary film is used to construct a framework from which to analyse affective modes of engagement within the parameters of qualitative research.

Qualitative researchers are characterised as creative artists who bring their precise aesthetic choice to bear on an audience through a mix of technical competence, distinguishable personality and interior meaning.

One way for qualitative research to have affective impact is to use the working methods and procedures of the creative arts.

A research culture is required where risk is permissible and engagement with the creative arts is given greater recognition in future qualitative projects.

As a mode of creative arts enquiry, film making can allow a degree of the emotional meaning and feeling within a study to come through into the analysis and the viewer's/reader's affective experience. This is often difficult to come by in more scientifically‐driven research approaches.

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.

The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community.

At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings.

In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved.

By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.