Mendelle, Noemie

Henrici, Sonja

Martin, Craig

Kohle, Friedrich Herman

2018-07-25T10:21:25Z

2018-07-25T10:21:25Z

2018-07-05

This study examines the way social media changes the way documentaries are developed, produced and distributed. I want investigate how web 2.0 technologies disrupt the documentary sector and the way producers navigate the social media ecology. Research exposed an industry in transformation. New roles, like the Producer for Marketing and Distribution (PMD), the Impact Producer (IP) and a participant-centric mode of documentary filmmaking are revealed. The way users connect via social media has changed the way people interact with each other at work. A balanced real- and virtual world network approach makes a strong and highly central network position for a documentary project possible. Emotional contagion and an authentic online presence create value for a films social media campaign. Both are crucial factors to the mobile multi-device audience expecting a credible social media experience. Research suggests that users accept the risks associated with the way their data is exploited by social networks as long as the user’s social media experience is not diminished. The concept of the Global Digital Family is revealed when reappraising social media. I suggest further research into the problem of online authenticity. Kozinets’ ideas on Gemeinschafts-type engagement (Kozinets, 2015) shed light on the phenomenon. But exactly when something is perceived as authentic online is still not entirely clear and should be investigated further. I also recommend that the PMD is formally accredited to encourage industry recognition.

http://hdl.handle.net/1842/31426

en

The University of Edinburgh

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Kohle, F. (2014, 5). Social Media and Documentary Cinema: the Arab Spring, Wall Street Movement, Challenges and Implications for Documentary Filmmakers. Media Watch, Vol.5, Issue 2, p3.

Kohle, F. (2014b). "Social Media and Documentary Cinema: The Arab Spring and Wall Street Movement and Implications for Documentary Filmmakers". In D. Coban, Sosyal Media Devrimi (pp. 121-135). Istanbul: Sa Yayinevi.

Kohle, F. (2015a). "Information Explosion" Spectactle: Perspectives for Documentary Producers. In J. P. Salin, Social Media and the Transformation of Interaction in Society (pp. 173-187). IGI Global.

Kohle, F. (2016c). Social Media in Micro SME Documentary Production. In V. Benson, R. Tuninga, & G. Saridakis, Analyzing the Strategic Role of Social Networking in Firm Growth and Productivity (pp. 188-213). London: IGI Global.

Kohle, F. (2016e, 8 13). Tiny Little Doclab. Retrieved 8 13, 2016, from Tiny Little Doclab: http://www.film-andtelevision. com

Kohle, F. H. (2015). The Social Media “Information Explosion” Spectacle: Perspectives for Documentary Producers. In J. Sahlin, Social Media and the Transformation of Interaction in Society (pp. pp. 173-187). London.

Kohle, F. H. (2017, Oct. 23). The Cinema Audience in 2017. Retrieved Oct. 23, 2017, from Moving Docs: http://www.movingdocs.org/cinema_audience_2017?recruiter_id=1191

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Kohle, F., & Raj, S. (2015). Implications of Social Media Use in Personal and Professional Settings. In S. M. Vladlena Benson, Abuse of the social media brain: Implications for media producers and educators (pp. pp. 102- 117)). London: IGI-Global.

Kohle, F., Raj, S., & Mazo, L. (2015a). "Journalistic Independence: How Social Media are Reshaping Power Structures in News broadcasting". Social, Health and Communications Studies, 2(1), 74-100.

documentary

social media

global digital family

filmmaking

Whose Documentary is it anyway? Encounters with the global digital family on social media and the rise of a participant-centric mode of documentary filmmaking.

Thesis or Dissertation

Doctoral

PhD Doctor of Philosophy