The growth of documentaries and their role in culture, activism, and social impact.
The Intellect Handbook of Documentary is an important go-to resource for practitioners, scholars, and students in this burgeoning field. It tackles key topics and debates including the role of documentary in post-truth culture, the rise of streaming giants, and the implications for national documentary cultures, as well as the shifting, increasingly hybrid, practices of documentary activism and the professionalization of impact. Featuring work by key figures in international documentary scholarship and talented emerging scholars, the Handbook is a landmark publication for documentary studies in the twenty-first century.
The Handbook is broad in its scope, incorporating historical, theoretical, empirical, and practical scholarship. It is organized around ten key themes and debates: What and where is documentary (studies); documentary in an age of epistemic uncertainty; documentary histories; documentary and the archive; audio and visualities; documentary relationalities; beyond the Anthropocene; digital and documentary practices; documentary and (new) politics; and a golden age of documentary distribution and funding. Importantly, the Handbook incorporates the voices and practices of practitioners from the Global South, challenging the dominance of Western voices in documentary scholarship.
Arvustused
'The Intellect Handbook of Documentary is a welcome, comprehensive and substantial guide to the subject, incorporating chapters by leading authors on the subject, and covering many areas of historical and topical interest. The editors have a long and distinguished association with the field, and the Handbook will add to that.' -- Ian Aitken, Professor Emeritus, Hong Kong Baptist University
Handbook of Documentary Kate Nash and Deane Williams
Section 1: Where and what is documentary (studies) in an age of epistemic
crisis?
Saying More about Documentary? Notes on Formation, Continuity and Change in
the Field of Study John Corner
Next Steps: Post-Narrativity, Post-Truth (Post-Trump?) and Post-Digital is
Poetry Alexandra Juhasz
The Documentary Disposition Michael Renov
Section 2: Documentary in the Anthropocene
We Are Dead and We Are Going to Die: The Apocalypse Documentary Alisa
Lebow
Cinema of Qi: A Daoist Approach to Ecological, Sensory and Affective Cinema
Through Vital Energy Kiki Tianqi Yu
The Possible Worlds of VR Documentary Mandy Rose
Documentary Realism in the Anthropocene Selmin Kara
Section 3: Audio/Visualities: Polyphony, Complexity and Representation
Reflection, Staging and Documentary Film: The Monadic Camera-Subject Fernão
Pessoa Ramos
Documentary Says We: Lyrical Polyphony as Practice Simona Schneider
Flee and the Failure of Empathy Annabelle Honess Roe
Section 4: Re-viewing the Ethics and Politics of Representation
Shirley Clarkes The Connection and the Event of (Fake) Documentary Jaimie
Baron
Towards a History of the International Association of Documentary Filmmakers:
The Congress of Algiers 1968 Mariano Mestman
Recycling Indigenous Images: Archiveology and the National Film Board of
Canada Catherine Russell
Wang Bings Documentary Po/ethics of the Maoist Chaos and the Paradigm of
Western Testimony: Unwitnessing, Victims, Collaborators, Followers, Cadres
and Dissidents Raya Morag
South Somewhere Else: Decolonising the Documentary, Cross-Cultural
Collaborative Filmmaking in the Global South Deane Williams and Antonio
Traverso
Section 5: Documentary and Politics
The Case of Nuclear Documentary Helen Hughes
Radical Civic Media: Equipe Media, Western Sahara and Global Documentary
Ecologies Ryan Watson
Documentary Storytelling for Social Change in the Participatory Media Age:
Understanding Nonfictions Social Impact and Future Challenges Caty Borum
Entertainment with a Purpose: Netflix and Documentary Today Annie Goldson
Documentary-on-Demand: Researching Audience Engagements with (Political)
Documentary on Netflix Kate Nash and Craig Hight
From Testimony to the Cinema of Action in the Video nas Aldeias Project
Gilberto Alexandre Sobrinho
Section 6: Production, Distribution, Audiences: The Changing Documentary
Industry
Utility for the Utilitarian: Documentarys Uses for Other Kinds of
Non-Fiction Film Grace Russell
Documentary Funding in the Age of the Streamers Inge Sørensen and Nick
Higgins
Audience Engagement: Streaming Factuality in the Nordic Region Annette
Hill
Section 7: Digital Documentary Practices
Compilationism and Digital Media: From Documentaries to Audio-Visual Essays
Chiara Grizzaffi
Augmented Reality Documentary Dale Hudson, Claudia Costa Pederson and Patty
Zimmerman
Tilting at Windmills: The Technicizing of Empathy Brian Winston with an
introduction by Kate Nash
Kate Nash is Professor of Media and Communication at the University of Newcastle, Australia. She has published widely in the areas of documentary ethics, interactive documentary and on the relationship between documentary and politics. Her books include New Documentary Ecologies (2014 with Craig Hight and Catherine Summerhayes) and Interactive Documentary: Theory and Debate (2020). She is Co-Editor (with Craig Hight) of Studies in Documentary Film.
Deane Williams is Associate Professor of Film and Screen Studies at Monash University, Melbourne. From 2007-2017 he was editor of the journal Studies in Documentary Film, and his books include Australian Post-War Documentary Film: An Arc of Mirrors (2008), Michael Winterbottom (with Brian McFarlane, 2009), the three-volume Australian Film Theory and Criticism (co-edited with Noel King and Constantine Verevis, 20132017), The Cinema of Sean Penn: In and Out of Place (2016) and (with Julia Vassilieva) editor of Beyond the Essay Film: Subjectivity, Textuality and Technology (2021).
