Wilma de Jong
Biographic Data
| ID | 6873386 |
|---|---|
| NAME | Wilma de Jong |
| GIVEN NAMES | Wilma |
| FAMILY NAME | de Jong |
| SIGNATURE | DE JONG W |
| AFFILIATIONS | University of Sussex |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2015 |
| H-INDEX | 0 |
Between love and rejection
This article focuses on the transcultural, Oscar-nominated Scottish Yemini documentary film-maker Sara Ishaq, especially her films The Mulberry House and Karama has no Walls. I place Ishaq’s film in the context of a subgenre of non-fiction films, the increasingly important human rights documentaries, and I also align her work with the concept of ‘accented cinema’ and ways in which the hybrid identities of transcultural film-makers – operating in …
From ‘doing’ to ‘knowing what you are doing’
This article presents the results of a research project on the student learning experience of the third year undergraduate course Documentary Theory and Practice at the University of Sussex. Both course design and teaching methods are inspired by Kolb's experiential learning theory, which the author considers in particular suitable to teach theory and practice of documentary film production. Analyses of student experiences indicate that students …
No prominent works on this page.
From ‘doing’ to ‘knowing what you are doing’
This article presents the results of a research project on the student learning experience of the third year undergraduate course Documentary Theory and Practice at the University of Sussex. Both course design and teaching methods are inspired by Kolb's experiential learning theory, which the author considers in particular suitable to teach theory and practice of documentary film production. Analyses of student experiences indicate that students …
Between love and rejection
This article focuses on the transcultural, Oscar-nominated Scottish Yemini documentary film-maker Sara Ishaq, especially her films The Mulberry House and Karama has no Walls. I place Ishaq’s film in the context of a subgenre of non-fiction films, the increasingly important human rights documentaries, and I also align her work with the concept of ‘accented cinema’ and ways in which the hybrid identities of transcultural film-makers – operating in …
Political science (2 works) · Sociology (2 works) · Aesthetics (1 work) · Argument (complex analysis (1 work) · Art (1 work) · Artistic and Creative Research (1 work) · Context (archaeology (1 work) · Economic Justice (1 work) · Empowerment (1 work) · Evaluation of Teaching Practices (1 work)