Documentary Director in Front of the Camera as a Way of
Building Symbolic Capital Through Storytelling

k 2019

Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling

VLČEK, Miroslav

Základní údaje

Originální název

Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling

Autoři

VLČEK, Miroslav

Vydání

THE NECS 2019. Structures and Voices : Storytelling in Post-Digital Times, 13.–15. 06. 2019, Gdansk, 2019

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60405 Studies on Film, Radio and Television

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Odkazy

URL

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/19:00110538

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

symbolický kapitál; dokumentární film; státní financování; reflexivita; herectví

Klíčová slova anglicky

symbolic capital; documentaries; state funding; reflexivity; acting

Štítky

rivok

Příznaky

Mezinárodní význam

Změněno: 19. 2. 2020 20:08, Mgr. Zuzana Matulíková

Anotace

V originále

Documentary director isn´t always seen on the screen, but it isn´t anything entirely rare as well. In my paper I will explain how different approaches to documentary storytelling work when the director decides to ´perform in front of the camera and how these different approaches influence public image of the director which could be crucial for building of his symbolic capital (as Bourdieu sees it) and later can influence decision-making process of film funds. With the use of discourse analysis, I identify four different styles Slovak directors used to be present in their movies. The study was made on all Slovak feature-length documentaries with the focus on movies of last decade when this approach to storytelling was much more present. Out of hundred feature-length documentaries I have chosen ten with the strongest presence of directors in the storytelling either in personal voice-over commenting on what we see in the movie, or in direct presence on the screen, where I identified three different positions: position of the director as an investigator of political affairs, position of the director telling his personal life-story and the director showing his skills in staging and influencing the reality he is interested in. Later, I confront those different positions, or roles as discourse analyst J. P. Gee would call them, with critical discourse on directors who use them and with evaluations of the projects submitted to Slovak Audiovisual Fund by these directors, in order to tell how choosing of these practices influence their public image and if it helps them to be more successful in application processes.

Návaznosti

MUNI/A/0946/2018, interní kód MU

Název: Kinematografie a mediální kultura

Investor: Masarykova univerzita, Kinematografie a mediální kultura, DO R. 2020_Kategorie A - Specifický výzkum - Studentské výzkumné projekty

Citovat

VLČEK, Miroslav. Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling. In THE NECS 2019. Structures and Voices : Storytelling in Post-Digital Times, 13.–15. 06. 2019, Gdansk. 2019.

@proceedings{1551360,
   author = {Vlček, Miroslav},
   booktitle = {THE NECS 2019. Structures and Voices : Storytelling in Post-Digital Times, 13.–15. 06. 2019, Gdansk},
   keywords = {symbolic capital; documentaries; state funding; reflexivity; acting},
   language = {eng},
   title = {Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling},
   url = {https://necs.org/conference/wp-content/uploads/2019/06/konferencjakatalog-NECS-www2.pdf},
   year = {2019}
}

TY  - CONF
ID  - 1551360
AU  - Vlček, Miroslav
PY  - 2019
TI  - Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling
KW  - symbolic capital
KW  - documentaries
KW  - state funding
KW  - reflexivity
KW  - acting
UR  - https://necs.org/conference/wp-content/uploads/2019/06/konferencjakatalog-NECS-www2.pdf
L2  - https://necs.org/conference/wp-content/uploads/2019/06/konferencjakatalog-NECS-www2.pdf
N2  - Documentary director isn´t always seen on the screen, but it isn´t anything entirely rare as well. In my paper I will explain how different approaches to documentary storytelling work when the director decides to ´perform in front of the camera and how these different approaches influence public image of the director which could be crucial for building of his symbolic capital (as Bourdieu sees it) and later can influence decision-making process of film funds. With the use of discourse analysis, I identify four different styles Slovak directors used to be present in their movies. The study was made on all Slovak feature-length documentaries with the focus on movies of last decade when this approach to storytelling was much more present. Out of hundred feature-length documentaries I have chosen ten with the strongest presence of directors in the storytelling either in personal voice-over commenting on what we see in the movie, or in direct presence on the screen, where I identified three different positions: position of the director as an investigator of political affairs, position of the director telling his personal life-story and the director showing his skills in staging and influencing the reality he is interested in. Later, I confront those different positions, or roles as discourse analyst J. P. Gee would call them, with critical discourse on directors who use them and with evaluations of the projects submitted to Slovak Audiovisual Fund by these directors, in order to tell how choosing of these practices influence their public image and if it helps them to be more successful in application processes.
ER  -

VLČEK, Miroslav. Documentary Director in Front of the Camera as a Way of Building Symbolic Capital Through Storytelling. In \textit{THE NECS 2019. Structures and Voices : Storytelling in Post-Digital Times, 13.–15. 06. 2019, Gdansk}. 2019.

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