On July 27th, 2013, Sammy Yatim was shot and killed by Toronto Police Services’ Constable James Forcillo during a verbal confrontation on a streetcar as Yatim brandished a switchblade knife. Forcillo was charged, initially with second degree murder, and later attempted murder—a decision that confused media commentators as attempted murder is a lesser-and-included offense to second degree murder in Canadian law. In January 2016, Forcillo was found not guilty of second degree murder and guilty of attempted murder. Video evidence, (...) recovered from the streetcar’s onboard security cameras, was described by the presiding judge, Justice Edward Then, as proving beyond a reasonable doubt that Forcillo’s testimony was unreliable, especially in light of other evidence. This paper examines the use of video evidence to arrive at a ‘compromise verdict’ and the paradox of being convicted of attempting to murder someone who was killed. (shrink)

Documentary has undergone a marked revival in recent art, following a long period in which it was a denigrated and unfashionable practice. This has in part been led by the exhibition of photographic and video work on political issues at Documenta and numerous biennials and, since the turn of the century, issues of injustice, violence and trauma in increasing zones of conflict. Aesthetically, documentary is now one of the most prominent modes of art-making, in part assisted by (...) the linked transformation and recuperation of photography and video by the gallery and museum world. Unsurprisingly, this development, along with the close attention paid to photojournalism and mainstream documentary-making in a time of crisis, has been accompanied by a rich strain of theoretical and historical writing on documentary. This anthology provides a definitive historical context for documentary, exploring its roots in modernism and its critique under postmodernism; it surveys current theoretical thinking about documentary; and it examines a wide range of work by artists within, around or against documentary through their own writings and interviews. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre (...) direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

Finding the theoretical space where cinema and philosophy meet, Malin Wahlberg’s sophisticated approach to the experience of documentary film aligns with attempts to reconsider the premises of existential phenomenology. The configuration of time is crucial in organizing the sensory affects of film in general but, as Wahlberg adroitly demonstrates, in nonfiction films the problem of managing time is writ large by the moving image’s interaction with social memory and historical figures. Wahlberg discusses a thought-provoking corpus of classical and recent (...) experiments in film and video in which creative approaches to the time of the image and the potential archive memory of filmic representation illuminates meanings of temporality and time experience. She also offers a methodological account of film and brings Deleuze and Ricoeur into dialogue with Bazin and Mitry on the subject of cinema and phenomenology. Drawing attention to the cultural significance of the images’ imprint as a trace of the past, Documentary Time brings to bear phenomenological inquiry on nonfiction film while at the same time reconsidering the existential dimensions of time that have always puzzled humans. Malin Wahlberg is a research fellow in cinema studies at Stockholm University. (shrink)

The article is devoted to autobiographical documentaries on the topic of self-therapy, which have been popular in China in the last three years. Using the example of the films "Small Talk" and "Gather before the Jump", the article analyzes how the characters in films with the help of dialogues build their image as "victims of family relations" and completing the plot of self-healing. The author notes that the directors of such films are often too immersed in their own traumatic experiences, (...) to the point that they use the camera as a tool to defend their personal position, and not as a path to self-awareness. They overlook the influence of the passage of time on the validity of traumatic memories and do not monitor equality when communicating with their parents. As a result of the directors' cognitive biases, the representation of traumatic experiences in films is not completely objective. Based on the theory of cognitive psychology and the theory of film psychoanalysis, the author of the article concludes that the discussion of the author's subjectivity should be extended to the subjectivity of his cognitive structure, and not to the personalization of artistic expression. The hypothesis of the study is the assumption that, although such documentaries with a subjective perspective can help the director express his inner feelings, in fact, the arguments given in the author in defense of his personal position. This does not create a general picture of the event; for example, during a film screening in a group, the subjective position of the author forms a unanimous negative attitude among the audience towards the issue of childhood trauma. The article discusses performance, subjectivity and ethical issues that take place in such films. The purpose of the article is to identify the features of this "video practice, which is part of the sphere of everyday life", which distinguish it from other non—functional narrative practices. The article reveals the methods of documentary film, which allow to bridge the gap between the representation of the film and the actual reality. (shrink)

In this chapter, I critically assess the ability of autobiographical documentary to convey an authentic portrayal of the self and analyze the cinematic means through which autobiographical documentaries may be able to do so. I compare and outline the chief differences between autobiographical documentaries and literary memoirs and assess the ways in which cognitive analysis of film and post-structuralist accounts within film theory and documentary studies have dealt with the distinction between fiction and nonfiction. I lastly consider new (...) avenues of autobiographical expression such as the ones potentially offered by social media, blogs, video diaries, personal websites, and so on. (shrink)

Conducting emotion analysis and generating users' feedback from social media platforms may help understand their emotional responses to video products, such as a documentary on the lockdown of Wuhan during COVID-19. The results of emotion analysis could be used to make further user recommendations for marketing purposes. In our study, we try to understand how users respond to a documentary through YouTube comments. We chose “The lockdown: One month in Wuhan” YouTube documentary, and applied emotion analysis (...) as well as a machine learning approach to the comments. We first cleaned the data and then introduced an emotion analysis based on the statistical characteristics and lexicon combination. After that, we applied the Latent Dirichlet Allocation topic modeling approach to further generate main topics with keywords from the comments and visualized the distribution by visualizing the topics. The result shows trust, joy, and anticipation are the most prominent emotions dominating the comments. The major three themes, which account for 70% of all comments, are discussing stories about fighting against the virus, medical workers being heroes, and medical workers being respected. Further discussion has been conducted on the changing of different sentiments over time for the ongoing health crisis. This study proves that emotion analysis and LDA topic modeling could be used to generate explanations of users' opinions and feelings about video products, which could support user recommendations in marketing. (shrink)

This essay explores the historiographic and ethnographic valence of video in Indonesia since 1998, against the backdrop of transition from an authoritarian to a neoliberal regime, and the concurrent renewal of the country’s public sphere. The first section takes Joshua Oppenheimer’s controversial film The Act of Killing (2012) as exemplary of the moving image’s purchase on national trauma, emphasizing its role in the production (and perversion) of official history. The second section concerns the state of video discourse in (...) Indonesia as reflected in a conference held in Yogyakarta in 2011, addressing the diversity of contemporary video practices and situating them in local art and media histories. In a third and final section, we return to the epistemological quandaries raised by Oppenheimer’s film, mooting video’s capacity as a means of reconciliation with the past – a reconciliation that would seem to require both the documentary and a ‘revelatory’ function of the image. (shrink)

In contemporary culture, existing audiovisual recordings are constantly reused and repurposed for various ends, raising questions regarding the ethics of such appropriations, particularly when the recording depicts actual people and events. Every reuse of a preexisting recording is, on some level, a misuse in that it was not intended or at least anticipated by the original maker, but not all misuses are necessarily unethical. In fact, there are many instances of productive misuse that seem justified. At the same time, there (...) are other instances in which the misuse shades into abuse. Documentary scholars have long engaged with the question of the ethical responsibility of documentary makers in relation to their subjects. But what happens when this responsibility is set at a remove, when the recording already exists for the taking and repurposing? Reuse, Misuse and Abuse surveys a range of contemporary films and videos that appropriate preexisting footage and attempts to theorize their ethical implications. (shrink)

Queer cinema takes shape between experimental film, the intimate diary form, art video, documentary, dream fiction, recording and militant video-tracts. In the introductory article, we address several dimensions of this creation : one reflects a practice in queer art according to localized experience, as in the films of Hervé Guibert, David Wojnarowicz, and Raphaël Vincent or the photographic work of Del LaGrace Volcano, based on the experience of AIDS or trans-identities. Another dimension is the attempt to constitute (...) a sexual cinema, with Hans Scheirl or Maria Beatty : these are explorations of an exploded, « de-gendered » body, which directly connects moving images to chemical and bodily transformations, inner mental sensations, jouissance and deterritorialized sexual practices. Lastly, we discuss in more general terms the emergence of a queer cinema which serves as a site for the elaboration of a counter-cinema, a withdrawal from cinema which casts a hegemonic gaze on subaltern political subjects. The documentary genre is then hollowed out from within by this decolonizing gesture. (shrink)

M.H.L. is a theatrical production dedicated to the first Slovak professional female director Magda Husáková-Lokvencová, which combines documentary theatre and performance. Sláva Daubnerová wrote the script and scene concept and is director and plays the sole character in the play. She portrays the private and professional life of M.H.L. in a chronologically sequenced and mosaic-like fashion. M.H.L. is portrayed as an educated, broad-minded and intelligent woman who knows her own mind. She graduated in law and then took up theatre (...) direction. Her private and professional life represented a series of ups and downs. Initially happy at the side of her husband, Gustáv Husák—successful early on as a politician, and flourishing in the theatre, she later had to struggle to survive and make a comeback to the theatre. Performer Daubnerová, enhanced the performance by using video art and sound design as important elements in the production. (shrink)

»On the Documentary« must be regarded as the last publication of the director, video artist and film thinker Harun Farocki. The observations contained in »Taking Pictures« see themselves as a commentary to this essay, which Farocki had to leave uncompleted. In addition to a reconstruction of the circumstances and background of Farocki's text, some of the characteristics of his perspective on the »documentary effect«, which can be explained most clearly with reference to spe cific camera gestures, are (...) considered. (shrink)

This paper analyses “A Message to America,” the 2014 ISIS video that presents the beheading of American photojournalist James Foley. This short film served as a model for the more than 200 graphically violent videos posted online by the terrorist group before the fall of the caliphate in 2019. The main objective of this research is to question the truth-value of violent ISIS videos and to advocate a critical approach to them. To this end, four key issues need to (...) be explored: the quality of the videos; their status as art, documentary, or propaganda; their target audiences; and the purpose of the message being conveyed to each of those audiences. To deconstruct the mechanisms employed by the constructed fallacy of this video and critically expose its literal and metaphorical meaning, we use textual analysis, the methodological tool developed in Greimasian semiotics. The results reveal a carefully planned text with a clearly recognizable narrative structure (crime and punishment). This video is a propaganda documentary that makes use of the tools of fiction to stage a real event: Foley dies, but his death is not shown on camera; it is only staged. Targeting two different audiences, an implicit Muslim viewer, and an explicit Western viewer, the text can be interpreted as a crossing of gazes between East and West. (shrink)

Academics have increasingly used video and other electronic methods to collect data and capture reflections from participants. But, until recently, it’s been less common to use film as way of disseminating the results of research. That’s beginning to change. Film can be a powerful way to share research findings with a broad audience. This is particularly true when academics are combining) the traditions of ethnography, documentary filmmaking, and storytelling. -/- Film and cinema are increasingly being used in environmental (...) humanities to complement – or challenge – text-based research. The filmmakers in the arts, sciences and humanities see potential in using the moving images within political philosophy, environmental politics, postcolonial studies, human geography, urban ecology, postcolonial studies, design and literature. An example of this is the film One Table Two Elephants. It is a cinematic ethnography created by two Swedish researchers and filmmakers Jacob von Heland and Henrik Ernstson. Based on years of research in Cape Town, it was filmed in 2015 as part of a longer-term research and film-project . The documentary deals with race, nature and knowledge politics in Cape Town as part of the ways of knowing urban ecologies research project. -/- . (shrink)

The controversial case of Terri Schiavo came to a close on March 31, 2005, with her death following the removal of a percutaneous endoscopic gastrostomy tube. This event followed years of controversy and social upheaval. Voices from across the entire political and cultural spectrums filled the airwaves and op-ed pages of major newspapers. Protests ensued outside of Ms. Schiavo’s care facility. Ms. Schiavo’s parents published videos of their daughter on the internet in an effort to prove that she was not (...) in a vegetative state and could potentially recover. There is a certain mystery to the entire controversy given the fact that, legally, it was largely a matter of settled law. Precedent cases and legal statutes clearly set out the proper procedures and decisions to be followed in this case. Nonetheless, powerful challenges and virulent opposition to these standards arose. Through an investigation of this case as well as a comparative study of the case of Dax Cowart (in particular, the documentary depictions of Dax Cowart’s case) and of a photograph by Joel-Peter Witkin, I plan to investigate the source of these social upheavals and hypothesize that they were largely the result of a phenomenological reaction to the human face. (shrink)

Today, DIY -- do-it-yourself -- describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and "critical making" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to (...) knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on "doing" and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. _Contributors_Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

In classrooms, museums, health clinics and beyond, the educational uses of visual media have proliferated over the past fifty years. Film, video, television, and digital media have been integral to the development of new pedagogical theories and practices, globalization processes, and identity and community formation. Yet, Brian Goldfarb argues, the educational roles of visual technologies have not been fully understood or appreciated. He contends that in order to understand the intersections of new media and learning, we need to recognize (...) the sweeping scope of the technologically infused visual pedagogy—both in and outside the classroom. From Samoa to the United States mainland to Africa and Brazil, from museums to city streets, _Visual Pedagogy_ explores the educational applications of visual media in different institutional settings during the past half century. Looking beyond the popular media texts and mainstream classroom technologies that are the objects of most analyses of media and education, Goldfarb encourages readers to see a range of media subcultures as pedagogical tools. The projects he analyzes include media produced by AIDS/HIV advocacy groups and social services agencies for classroom use in the 1990s; documentary and fictional cinemas of West Africa used by the French government and then by those resisting it; museum exhibitions; and TV Anhembi, a municipally sponsored collaboration between the television industry and community-based videographers in São Paolo, Brazil. Combining media studies, pedagogical theory, and art history, and including an appendix of visual media resources and ideas about the most productive ways to utilize visual technologies for educational purposes, _Visual Pedagogy_ will be useful to educators, administrators, and activists. (shrink)

How social media and DIY communities have enabled new forms of political participation that emphasize doing and making rather than passive consumption. Today, DIY—do-it-yourself—describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and “critical making” that have emerged in recent years. The authors and artists (...) in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on “doing” and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. Contributors Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

This article takes a renewed look at Chicana political performance and urban intervention art in Latin America. Art-in-action has been a particularly fertile tradition in Latin America ever since the sixties, and more recently it has inspired a large number of performing artists working within a feminist and/or queer perspective. Here we would like to introduce the work of Chicano artist Guillermo Gómez-Peña and his band of performers, « La Pocha Nostra », and also that of the Bolivian collective « (...) Mujeres Creando », both pairing exposure of gender oppression to a post-colonial perspective and to the themes of territory, frontier, and identitary loyalty and dissidence. Their visual video-permormance work springs from the captations documenting their actions and performances, and also from video objects in the domain of the poetic field, or in that of hybridation of fiction and documentary reality. They take shape in the particular context of the American continent, which is one of imperial dominance, migratory situations, and skin-colour based stratifications, but also of processes of sovereignty and autonomy-creation by indigenous people, of democratic changes and revolutionary movements, and of cultural experiences and experiments of the border and of a being-creole. (shrink)

The chapter presents an application of Scenic-Narrative Microanalysis to a videotaped conflict situation in a Berlin primary school. The analysis is limited to the presented video material, not involving any additional information. SNMA uses the video spectators’ reactions as a tool to identify significant moments in the video and to find a consensual hypothesis on the presumed group dynamics of class and teacher that can be linked to the field of attention research in school pedagogy. Necessary adaptations (...) of the SNMA method to documentary video material are discussed. (shrink)

This text is based on an image that, in some ways, can be understood only in terms of sound. In the lonely darkness of a movie theatre, the audience spends ninety minutes gazing at a single image: that of a rubber dinghy drifting aimlessly on a vast expanse of water.This is the rare challenge posed by German filmmaker Philip Scheffner with his documentary Havarie: viewers are asked to focus on a single image while listening to a variety of sounds (...) – especially the voices of many nameless individuals discussing their own drifting journeys.A few years ago, Scheffner happened “totally by accident” to come across a cellphone video on YouTube lasting three minutes and thirty-six seconds; it was titled simply “refugees”... (shrink)

In the documentary Boston Med, patients, their family members, and their careproviders agree to be filmed in real medical situations. Why would they do this? The possible answers to this question may help us to make sense of the paradoxical results of a recent study, in which patients with terminal illness ranked their careproviders highly for communication, even though the patients had failed to learn that they had a fatal illness. Based on this analysis, I offer careproviders a practical (...) approach they can use to improve communication with patients, particularly to help patients to feel less alone. This same approach can also be applied in bioethics consultation. (shrink)

The article offers an account of the author's participation in secret filming in three small residential care homes for older people. The author gained access to the homes as a resident and made video-recordings that were used as part of a television documentary in 1994 that exposed the poor practice and lack of regulation in these types of homes in England at that time. The author discusses her motivations for taking on this undercover role, and some of the (...) unexpected ethical challenges she faced when considering the impact of the exposure of these homes for the residents, their families, the owners and the staff. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 42, no. 3. © 2016 by Feminist Studies, Inc. 757 Ramzi Fawaz How to Make a Queer Scene, or Notes toward a Practice of Affective Curation Let me begin with two stories. In spring of 2013 I organized a semester -long, undergraduate film series at George Washington University titled “Acting Up: Queer Film and Video in the Time of AIDS.” At semester ’s end, after participants (...) had watched nine films about the AIDS epidemic —among them classic AIDS documentaries, activist videos, and mainstream Hollywood productions—I chose to conclude the series with the 1991 documentary Silverlake Life: The View from Here. Silverlake Life documents a year in the lives of Tom Joslin and Peter Friedman, a gay couple living in Los Angeles in the late 1980s who share an HIV diagnosis. At the time I made the selection, I did not realize that Silverlake Life documents one of the most devastating lived experiences of the AIDS epidemic ever filmed: during the course of taping, Tom, the initial documentarian, becomes gravely ill and dies on camera while lying in bed after a week-long convalescence. Reviewing this scene before our official screening, I found myself overwhelmed by intense feelings of anxiety. On the one hand, I felt a deep responsibility to expose my students to the aesthetic and political work of this daring documentary, and on the other, to protect them from witnessing forms of suffering that might traumatize them more than illuminate the social history of AIDS. When we convened to discuss the film, many students expressed how devastated they were by what they had seen. Rather than shutting down conversation, however, the depth and intensity of their viewing 758 Ramzi Fawaz experience galvanized an extraordinary conversation about the ethics of documenting the lives (and deaths) of people with AIDS. What they witnessed expanded the very possibilities of what they could feel about issues of collective concern such as the AIDS epidemic, while also transforming their ability to reconsider productive encounters with pain, suffering, and trauma. In my fear of negatively impacting students, I had forgotten both their capacity to respond with generosity and openness to traumatic images as well as my own careful curation of nine previous films and the attendant conversations held around them, which had laid a groundwork of shared affective openness to difficult content. One year later, as a newly minted assistant professor of English at the University of Wisconsin, Madison, I taught a large lecture course on American fantasy. In the fourth week of class, I screened The Wizard of Oz as part of a unit on the Hollywood musical, and I devoted a lecture to a gay and lesbian interpretation of this classic film. I highlighted the movie ’s camp aesthetics, its gender play and drag elements, and its derailing of traditional heterosexual romance plots. As a gay man well versed in queer media scholarship, I took it for granted that this was a pleasurable but patently obvious interpretation of a film that I assumed most people recognized for its exuberant and visually spectacular gayness. Yet as I spoke, I sensed a visceral tension build in the room. Half the students seemed mesmerized by the possibility of a queer aesthetic underlying the movie, while the other half frowned at me in silent fury, outraged by my daring to desecrate the presumed innocence of a childhood escape. The seething resentment of this latter group was confirmed for me when, weeks later, my teaching assistants disclosed that numerous students had expressed feelings of anger and frustration that my interpretation had “ruined” their pleasure in a beloved film of their youth. This circumstance prompted me to confront my students the following week: microphone in hand, I strolled the room and asked students to account for their feelings of discomfort. I wanted them to explain why their personal pleasure in The Wizard of Oz hinged on the diminishment of alternative viewing possibilities, including unexpected queer delights in transparently “straight” narratives. Students were clearly jolted out of their complacent belief that no one would hold them accountable for their perspective, or that their view might have political or ethical consequences: yet the resistance of some to being called... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Drama in Aesthetic Education:An Invitation to Imagine the World as if It Could Be OtherwiseFlorence Samson (bio)Maxine Greene, philosopher-in-residence for the Lincoln Center Institute (LCI), suggests that through aesthetic education "new connections are made in experience: new patterns are formed, new vistas are opened. Persons see differently, resonate differently." As Rilke wrote in one of his poems, and as quoted by Greene, "they are enabled to pay heed when (...) a work of art tells them, 'You must change your life.'"1 Greene interprets Rilke's words to mean that "a work [of art], when fully perceived and carefully attended to, makes a demand upon beholders—a demand that they change, look with new eyes, hear with new ears, become something they have not been before."2 Greene believes that "the perceiving, the noticing [about which Rilke spoke] are enhanced," for in the process of "[o]pening ourselves as perceivers to the work, entering into it kinaesthetically, we free ourselves to grasp it in its vital fullness and complexity."3This life change, to which Rilke refers, occurs as we take into our own being the experiences of others and realize that not everyone sees the world as we do. As we look critically at ourselves and our complicity in situations that position people as "other," we are moved to imagine that the world could be otherwise.Curriculum, Change, and Aesthetic EducationAesthetic education, an inquiry-driven engagement with a work of art, can be a catalyst to bringing about change. The aesthetic education experience consists of a number of components. LCI agrees upon a repertoire of "works of art" deemed likely to fulfill the requirements of engagement and inquiry. These may include, but are not limited to, music, drama, and opera performances, and mask, photo, and art exhibits. For each work of art, the LCI [End Page 70] researchers and other staff prepare a resource binder, entitled Windows on the Work. The teacher educator has several meetings with the teaching artist assigned to that work to develop the questions that will power the inquiry process, determine the structure and activities of the pre- and sometimes post-performance classes, and guide the students in their engagement with the work of art.I have included an aesthetic education experience program each term in my graduate and undergraduate elementary and early childhood education courses. My course outlines describe this component and the related student assignments. For the fall 2004 course, I chose Ping Chong's Secret History: Journeys Abroad, Journeys Within.4 This drama documentary, written and directed by Ping Chong and Leyla Mordirzadeh in collaboration with Sara Zatz, was directly related to one of my course goals—teaching for equity and social justice. This involves providing teachers with opportunities to "engage in productive dialogues about both inequities and possibilities for social reconstruction in the communities within which they and their students are developing."5Ping Chong & Company was founded thirty years ago "to create innovative works of theatre and art that explore the intersection of race, history, culture, and technology in the modern world."6Ping Chong, Insider/Outsider, and His Approach to TheatreCanadian-born and New York-reared Chong—theatre director, choreographer, and video and installation artist—is "fascinated and disturbed by the position of the outsider, the person made to feel 'other' in a society" and "probe[s] the drama of those pushed from one culture to another."7 He has done extensive research on both immigrants and refugees and recognizes that there is a psychological difference in the trauma experienced by members of both groups in the transition from one culture to the other.Chong's unique "talk, reveal, and seek to understand" approach to theatre "moves us toward unification, toward diminishing the barriers between peoples, and thus toward embracing all that is good in civilization."8 His work is grounded in his experience of sharing a common ethnicity and language with his community in Chinatown and occupying the position of "other" as the only Chinese student in his high school. Because of his experience of being "other," Chong has "a real kind of empathy and connection" with his projects.9 He considers... (shrink)

Many people are uncomfortable with the idea that pleasure from certain sources is genuinely beneficial. These sources can be sorted into two classes: ones that involve others’ pain; and ones that involve what seems to be damage rather than benefit to the person involved. Here’s an example of the latter: a woman who claims that she enjoys her work performing in hard-core pornographic films. Some find it hard to take such a claim at face value – they instinctively assume that (...) the woman is insincere or self-deceived.1 The reason seems a strongly paternalistic one: because the activity is assumed to be bad, it’s thought that only someone who was in some way damaged could genuinely like it. A statement from Brian Hill, the director of a documentary about such women, illustrates this: ‘I felt certain that she couldn’t enjoy what she does, that there must be some reason why she’s undergoing this kind of experience. But there was nothing: no messed-up childhood, no sense of pain or humiliation.’ Forced to conclude that the woman in question really does enjoy her work, Hill changes his view to imply that the pleasure gained cannot be truly beneficial: ‘When I hear a young woman talking about doing videos of fisting and asphyxiation, I have to wonder what it’s doing to her – even if she says that she’s having fun.’. (shrink)

Cinema Derrida charts Jacques Derrida's collaborations and appearances in film, video, and television beginning with 1983's Ghost Dance (dir. Ken McMullen, West Germany/UK) and ending with 2002's biographical documentary Derrida (dir. Dick and Ziering, USA). In the last half of his working life, Derrida embraced popular art forms and media in more ways than one: not only did he start making more media appearances after years of refusing to have his photo taken in the 1960s and 1970s, but (...) his philosophy started to draw more explicitly from visual culture and artistic endeavours. While this book offers explanations of this transition, it contends the image of "Jacques Derrida" that emerges from film and TV appearances remains spectral, constantly deferring a complete grasp of him. Tyson Stewart draws out the main tenets of spectrality from Derrida's seminal texts Of Grammatology and Specters of Marx and other writings, like Echographies of Television, in order to fill a gap in studies of Derrida and film. Throughout the book, he explains how various techniques and spectral effects such as slow motion, stillness, repetition, mise-en-abîme, direct address, and focus on body parts/bodily presence bring about a structure of spectrality wherein the past other returns to make impressions and ethical demands on the viewer. Drawing on communication theory and film and media studies, Cinema Derrida makes a major intervention in classical communication thought. (shrink)

Undercover filming is a method commonly used by animal activist groups to expose animal cruelty and it is important to consider the effects of publically releasing video footage of cruel practices on the viewers’ mental health. Previously, we reported that members of the Australian public were emotionally distressed soon after viewing media broadcasts of cruelty to Australian cattle exported for slaughter in Indonesia in 2011. To explore if there were any long term impacts from exposure to media on this (...) issue, a self-selecting group of 15 people who were exposed to a documentary exposé of the cruelty were re-interviewed 12 months later. Nearly all recalled their strong initial reaction to the footage. Approximately one half of the respondents who initially had had a strong emotional reaction to the footage reported negative reactions that were still strong even after this period of time. They reported potential triggers for these feelings. Of the rest, some managed to internalise their feelings. Approximately one half of respondents were unaware of continued live export exposés, suggesting less prominent media coverage. Despite the aversion and repulsion reported after viewing the initial coverage, most respondents said they would choose to watch another broadcast of animal cruelty and nearly all supported undercover investigations as a means of revealing cruelty to animals. We conclude that many people viewing footage of cruelty to animals will have long term memory of this, but that they would prefer to be informed about the issues and not be protected from them. (shrink)

The central topic of this paper is a mobile phone application, ‘InformaCam’, which turns metadata from a surveillance risk into a method for the production of public proof. InformaCam allows one to manage and delete metadata from images and videos in order to diminish surveillance risks related to online tracking. Furthermore, it structures and stores the metadata in such a way that the documentary material becomes better accommodated to evidentiary settings, if needed. In this paper I propose InformaCam should (...) be interpreted as a ‘forensic device’. By using the conceptualization of forensics and work on socio-technical devices the paper discusses how InformaCam, through a range of interventions, rearranges metadata into a technology of evidence. InformaCam explicitly recognizes mobile phones as context aware, uses their sensors, and structures metadata in order to facilitate data analysis after images are captured. Through these modifications it invents a form of ‘sensory data forensics'. By treating data in this particular way, surveillance resistance does more than seeking awareness. It becomes engaged with investigatory practices. Considering the extent by which states conduct metadata surveillance, the project can be seen as a timely response to the unequal distribution of power over data. (shrink)

This article takes up film and imagination via the problem of empathy. Proposing a different entry into contemporary polemics over empathy, the ‘empathic imagination’ is reconceptualized as a problematic of form rather than psychological experience. That is, instead of adopting a pre-given notion of empathy to illuminate the relation between film and the spectator's moral imagination, this article considers how that imagination is constituted in and through the image to begin with. After tracing the genealogy of empathy in German aesthetics, (...) the concept is put into play through readings of ‘#Look Beyond Borders’, an online video produced by Amnesty International, and two documentaries by Johan van der Keuken – Face Value and Herman Slobbe. In these works, the facial image is read as the imaginary terrain in which to explore very different notions of what might count as empathy and the empathic imagination in film and media. (shrink)

Science fiction has been an inexhaustible source for the creation of technoscientific imaginary that has marked certain historical periods and influenced the production of subjectivity. This imaginary evokes complex ontological, epistemological, political, social, environmental and existential questions on the present and the future. The aim of this study was to identify and characterize the cultural productions accessed by the public to form an opinion about the genetic manipulation of human beings. A survey about sources of information that influence opinions on (...) the genetic manipulation of human beings was applied to 360 medical students (70.8% female). Movies were the most commonly mentioned source of information, followed by books, documentaries, news programs, television series, informational videos, soap operas and videogames. Science fiction was the most frequent genre and dystopian views of the future of humanity predominated. (shrink)

Field practices are ideal for the acquisition of specific competencies and for students to get a first-hand experience of the real environment of their profession. The COVID19 pandemic stopped them, forcing a move to online teaching. This research aims to define a new teaching approach to adapt them to the online environment, ensuring that the competencies are acquired in the same way as traditionally. It was decided to use various available audio-visual materials (documentaries, video reports, interactive web resources) from (...) different sources. The results obtained were very positive, as the advantages provided by ICT resources outweigh the disadvantages. (shrink)

Hybrid Documentary and Non-Binary Cinema offers an expansive exploration of the contemporary documentary cinema form, aesthetics, and ethics. Beginning with a brief history of early seminal examples of magical realism, and constructed realities in documentary and ethnographic film the book will focus on recent and present-day examples of work that blur the lines between fiction and non-fiction. The book will also take a series of case studies to question the vision and motives of filmmakers working between (...) class='Hi'>documentary and fictional film. It will consider the aesthetic and ethical challenges of these works and look toward the future of non-fiction filmmaking after the internet, and in the realm of the metaverse. The book will offer both an entry point to discover new tendencies and a deeper understanding for those readers who are more familiar with the field. Given its interdisciplinary subject nature, the book will appeal to audiences across a spectrum of interests such as film, fine art, anthropology, documentary, sociology and Drama. (shrink)

Documentary as Exorcism is an interdisciplinary study that builds upon the insights of postcolonial studies, critical race theory, theological and religious studies and media and film studies to showcase the role of documentary film as a system of signifying capable of registering complex theological ideas while pursuing the authentic aims of documentary filmmaking. Robert Beckford marries the concepts of ‘theology as visual practice' and ‘theology as political engagement' to develop a new mode of documentary filmmaking that (...) embeds emancipation from oppression in its aesthetic. In various documentaries made for Channel 4 and the BBC, Beckford narrates the complicit relationship of Christianity with European expansion, slavery, and colonialism as a historic manifestation of evil. In light of the cannibalistic practices of colonialism that devoured black life, and the church's role in the subjugation and theological legitimation of black bodies, Beckford characterises this form of historic Christian faith as ‘colonial Christianity' and its malevolent or ‘occult' practices as a form of ‘bewitchment' that must be ‘exorcised'. He identifies and exorcises the evil practices of colonialism and their present impact upon African Caribbean Christian communities in Britain in films such as Britain's Slave Trade and Empire Pays Back through a deliberate process of encoding/decoding. The emancipatory impact of this form of documentary filmmaking is demonstrated by its ability to bring issues such as reparations to the public square for debate, and its capacity to change a corporation's trade policies for the good of Africans. (shrink)

In Documentary Across Platforms, noted scholar of film and experimental media Patricia R. Zimmermann offers a glimpse into the ever-evolving constellation of practices known as "documentary" and the way in which they investigate, engage with, and interrogate the world. Collected here for the first time are her celebrated essays and speculations about documentary, experimental, and new media published outside of traditional scholarly venues. These essays envision documentary as a complex ecology composed of different technologies, sets of (...) practices, and specific relationships to communities, engagement, politics, and social struggles. Through the lens of reverse engineering--the concept that ideas just like objects can be disassembled to learn how they work and then rebuilt into something new and better--Zimmermann explores how numerous small-scale documentary works present strategies of intervention into existing power structures. Adaptive to their context, modular, and unfixed, the documentary practices she explores exploit both sophisticated high-end professional and consumer-grade amateur technologies, moving through different political terrains, different platforms, and different exhibition contexts. Together these essays demonstrate documentary's role as a conceptual practice to think through how the world is organized and to imagine ways that it might be reorganized with actions, communities, and ideas. (shrink)

This study draws from theoretical environmental debates as well as a selection of films, documentaries, and texts to discuss Africans’ approaches to environmental and ecological problems. Furthermore, it highlights the various strategies that Africans have developed in their attempts to provide holistic and much more comprehensive responses to environmental challenges. Informed by African indigenous knowledge, those strategies do involve community-based micro-level initiatives, grassroots organizations, ancestral spirits, and use local languages or lingua franca to educate as well as prod the people’s (...) consciousness about environmental and ecological issues. (shrink)

This article deals with the aesthetics of the art documentary of the 1940s and 1950s, which can be considered as the Golden Age of the genre. Prior to the breakthrough of television in Europe, which would usurp and standardize the art documentary, cinematic reproductions of artworks resulted in experimental shorts that were highly self-reflexive. These films became visual laboratories to investigate the tensions between movement and stasis, the two- and three-dimensional, and the real and the artificial—a film on (...) art was self-consciously presented as an art film. Focusing on La Leggenda di Sant’Orsola by Luciano Emmer and Le Monde de Paul Delvaux by Henri Storck, this article also investigates how the animation of the static image by the film medium relates to Surrealist practices. (shrink)

Without the support of imagination, one would not have the slightest idea of the cruel ‘real’ that has occurred in the Nazi extermination camps. Yet, in documentaries imaging the events of the Shoah, one runs the risk of missing their most basic property, namely their unimaginability. The mere idea that one is able to imagine the unimaginable comes down to a denial of the Shoah’s status as an event that defies our understanding. The unimaginable ‘real’ of the Shoah, however, is (...) not simply located in its object, in the cruelty of what happened in the camp. The Shoah makes us at the same time facing the unimaginable ‘real’ of the modern subject—the blind spot in our own identity. If we need imagination to deal with the Shoah, it is also because of an ungraspable ‘real’ in ourselves. This is why adequate Shoah representations, acknowledging their object as being beyond representation, include the same ‘beyond’ concerning the subject of the Holocaust memory. The essay makes this clear in an elaborated comparison of Claude Lanzmann’s 1985 film, Shoah, with some conceptual works of art from the late nineties—all of this ‘fine-tuned’ in a reflection upon Ingmar Bergman’s Persona. (shrink)

The text deals with Harold Garfinkels theorizing of what Karl Mannheim called ‘documentary meaning’, and established as a foundation of all historical disciplines, and what Garfinkel calls the ‘documentary method’ of lay and professional sociological reasoning. The commentary tries to establish the systematical position of the chapter in Garfinkel’s ‘Studies in Ethnomethodology’, and, indeed, in Garfinkel’s social theory at the time of publication. This position involves, and redefines, Weber’s definition of sociology, Schütz’s sociology of knowledge and especially, the (...) very idea of a common stock of. typifications, and the discovery of ‘historical time’, or ‘Geschichtlichkeit’ in each micro-sequential interaction. Some consequences are drawn, or sketched, for ethnomethodology as a steady thorn in the side of sociology, and vice versa: for lay and professional sociology as an equally steady thorn in the midst of ethnomethodology. (shrink)

This article argues that the work of the late Johan van der Keuken offers a contribution to ecological semiotics, and that it also defines the relationship between the semiotic animal and nature in ways that avoid glottocentricism. Taking from the recent work of Kalevi Kull, Jesper Hoffmeyer, and John Deely amongst others, I will argue that van der Keuken’s documentaries offer a view of ecology that is broader than a study of bio-physical processes that might reduce ecology to a narrow (...) political issue.In order to support this argument, I will be looking at two contrasting films from van der Keuken – Flat Jungle (1978) and Face Value (1991). The first film examines natural habitats within a confined coastal area in Western Europe, while the second film looks at human beings in the different urban environments of late-20th-century Europe. I will then argue that van der Keuken does not collapse the vital distinctions between umwelt and Lebenswelt, yet his films also succeed at reminding us of their constant interdependence. (shrink)

Can the documentary be useful? Can a film change how its viewers think about the world and their potential role in it? In Kill the Documentary, the award-winning director Jill Godmilow issues an urgent call for a new kind of nonfiction filmmaking. She critiques documentary films from Nanook of the North to the recent Ken Burns/Lynn Novick series The Vietnam War. Tethered to what Godmilow calls the "pedigree of the real" and the "pornography of the real," they (...) fail to activate their viewers' engagement with historical or present-day problems. Whether depicting the hardships of poverty or the horrors of war, conventional documentaries produce an "us-watching-them" mode that ultimately reinforces self-satisfaction and self-absorption. In place of the conventional documentary, Godmilow advocates for a "postrealist" cinema. Instead of offering the faux empathy and sentimental spectacle of mainstream documentaries, postrealist nonfiction films are acts of resistance. They are experimental, interventionist, performative, and transformative. Godmilow demonstrates how a film can produce meaningful, useful experience by forcefully challenging ways of knowing and how viewers come to understand the world. She considers her own career as a filmmaker as well as the formal and political strategies of artists such as Luis Buñuel, Georges Franju, Harun Farocki, Trinh T. Minh-ha, Rithy Panh, and other directors. Both manifesto and guidebook, Kill the Documentary proposes provocative new ways of making and watching films. (shrink)

Documentary film-making is one of the most vibrant areas of media activity in China, with many independent film-makers producing documentaries on a range of sensitive socio-political matters, often bringing a strongly ethical approach. This book outlines the development of documentary film-making in mainland China and Taiwan, contrasts independent documentaries with official state productions, considers the production and distribution of independent documentary film-makers, and discusses the range and content of the documentaries. The book demonstrates the success of Chinese (...) independent documentary film-making, often winning award-winning titles and appearing at international film festivals. (shrink)

The indexicality of film and sound recordings remains an unresolved problem in contemporary documentary theory. The prevailing conceptualisation of the documentary assigns it the status of a sober discourse, a framing in which history is modelled as absent cause and the unqualified distinction between fiction and non-fiction is considered sacrosanct. The denotative literalism characteristic of indexical media, however, confounds this conceptualisation, which in turn encourages the devaluing of documentary aesthetics; the documentary is not a medium of (...) art, it is said, but of argument. In this article, I examine how philosopher Jacques Rancière offers an alternative account of the documentary grounded on aesthetics rather than sobriety. I show how, in rethinking the absent cause model of history as well as the relationship between fiction and nonfiction, Rancière's aesthetic approach resolves the conceptual problem posed by indexicality and brings clarity to the value and function of indexical media with respect to the documentary. (shrink)

The moral questions raised by synthetic media are considered in the context of posthumous documentary biography. Two possibilities are explored: firstly, that synthesis of the voice in biographical documentary deceives in a distinctive way and secondly, that it is possible for synthetic media to harm the subject of posthumous documentary.

I claim that we should reject a sharp distinction between fiction and non-fiction according to which documentary is a faithful representation of the facts, whilst fiction films merely invite us to imagine what is made up. Instead, we should think of fiction and non-fiction as genres: categories whose membership is determined by a combination of non-essential features and which influence appreciation in a variety of ways. An objection to this approach is that it renders the distinction too conventional and (...) fragile, undermining our justification for criticising documentaries like Bowling for Columbine or The Hunting Ground for playing fast and loose with the facts. I argue that this objection is misguided, misidentifying the justification for criticising non-fiction films that mislead or deceive. I develop an alternative account that explains why we also criticise many fictions for inaccuracy. (shrink)