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dc.contributor.authorDebenedetti, Stéphane*
dc.contributor.authorIbos, C.*
dc.contributor.authorPerret, Véronique*
dc.date.accessioned2017-03-15T09:43:45Z
dc.date.available2017-03-15T09:43:45Z
dc.date.issued2016
dc.identifier.urihttps://basepub.dauphine.fr/handle/123456789/16344
dc.language.isoenen
dc.subjectDocumentary
dc.subjectFilm
dc.subjectReality
dc.subjectFiction
dc.subjectReflexivity
dc.subjectPerformativity
dc.subjectResearch
dc.subject.ddc658en
dc.subject.classificationjelL.L8.L87en
dc.subject.classificationjelL.L1.L10en
dc.titleDocumentary film as critical space: performing cultural globalization in Mondovino
dc.typeCommunication / Conférence
dc.contributor.editoruniversityotherUniversité de Rennes
dc.description.abstractenDrawing on Mondovino, a movie about the globalisation of wine directed by Jonathan Nossiter (2003), we suggest that documentary film is an artistic form capable of fuelling critical debate about organizations and markets. The documentary aesthetic has the potential to present a twofold critique: a narrative that shapes reality in an original way and proposes a cinematographic interpretation of the world that can challenge dominant narratives; and a cinematographic device which demonstrates “in deed” an alternative way of doing things. Critical documentary films are “performative” (they produce a “new reality”) and also themselves “perform” (their aesthetic formalises their subject). The force of film as an object of critical knowledge resides in the tension between these two registers of critical performativity.
dc.subject.ddclabelGestion des entreprisesen
dc.relation.conftitle32 nd EGOS Colloquium
dc.relation.confdate2016-07
dc.relation.confcityNaples
dc.relation.confcountryITALY
dc.relation.forthcomingnonen
dc.description.ssrncandidatenon
dc.description.halcandidateoui
dc.description.readershiprecherche
dc.description.audienceInternational
dc.date.updated2017-11-09T09:31:24Z
hal.person.labIds1032*
hal.person.labIds*
hal.person.labIds1032*
hal.identifierhal-01490271*


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