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

Basic information

Original name

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

Authors

VLČEK, Miroslav (703 Slovakia, guarantor, belonging to the institution)

Edition

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

Other information

Language

English

Type of outcome

Prezentace na konferencích

Field of Study

60405 Studies on Film, Radio and Television

Country of publisher

Czech Republic

Confidentiality degree

není předmětem státního či obchodního tajemství

References:

URL

RIV identification code

RIV/00216224:14210/19:00110538

Organization unit

Faculty of Arts

Keywords (in Czech)

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

Keywords in English

symbolic capital; documentaries; state funding; reflexivity; acting

Abstract

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.

Links

MUNI/A/0946/2018, interní kód MU

Name: Kinematografie a mediální kultura

Investor: Masaryk University, Category A

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}
}

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AU  - Vlček, Miroslav
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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
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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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