Pub Date : 2023-11-28DOI: 10.1080/17503280.2023.2284680
Dominic Lees
Deepfakes are a technological innovation that might be understood to violate the documentary film’s relationship with the real. Yet documentary makers have been among the first screen producers to ...
深度造假是一种技术创新，可能会被理解为违反了纪录片与真实电影的关系。然而，纪录片制作人是第一批……
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Pub Date : 2023-11-16DOI: 10.1080/17503280.2023.2270957
Philippe Bédard
This article seeks to redeem the idea that virtual reality (VR) might serve to foster empathy by rethinking both the notion of empathy and the ways contemporary VR films have attempted to generate ...
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Pub Date : 2023-11-06DOI: 10.1080/17503280.2023.2272772
Juanjo Balaguer, Jordi Alberich-Pascual
There is no consensus on the definition of participatory or collaborative practices in relation to audiovisual media. The same term has been used to name a range of similar practices although they ...
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Pub Date : 2023-10-24DOI: 10.1080/17503280.2023.2270988
Gino Canella
News organizations in recent years have embraced documentary film. From streaming ventures to Academy Award nominations, newsrooms are producing documentaries to reach new audiences and maintain th...
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Pub Date : 2023-10-19DOI: 10.1080/17503280.2023.2270945
Daniel Rudin
What counts as documentary in the twenty-first century? More importantly, is documentary studies capable of contributing to a discourse that can both define the contours of and point beyond the pas...
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Pub Date : 2023-10-18DOI: 10.1080/17503280.2023.2270964
Gala Hernández López
This paper addresses some fundamental aesthetic (and thus political) questions which arise when faced with the problem of the representation of migratory flows in documentary cinema: how to represe...
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Pub Date : 2023-09-30DOI: 10.1080/17503280.2023.2253574
Sirin Fulya Erensoy
This article examines two documentaries that go beyond the audio-visual canon representing the guest worker from Turkey to Germany. Look, Listen Carefully (Özlem Sarıyıldız, 2021) and Gurbet is a H...
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Pub Date : 2023-09-15DOI: 10.1080/17503280.2023.2249590
Luke Robinson
This article explores the impact of cross-border collaboration on independent Chinese documentary. Through a study of Wang Jiuliang’s Plastic China, I argue that the film, which passed through training events run by CNEX and the Sundance Institute’s Documentary Film Programme in China, bears the formal impact of the industrial-humanitarian logic central to these workshops: character-driven storytelling as the key to generating a global Anglophone public for independent Chinese documentary. Tracing this logic through the workshop mechanism, the film’s form, and audience reactions to its screening in the UK, I suggest the result is a viewer response privileging personal action over structural critique—what in this context I term “worrying about China.” This allows me to locate the documentary in relation to broader liberal arguments over China’s place in the world system and assess the limitations of this approach to “going global” for independent Chinese documentary.
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Pub Date : 2023-08-28DOI: 10.1080/17503280.2023.2244131
Juliann Koch
ABSTRACT This article seeks to renegotiate the relationship between reenactment, truth, history, and the archive in documentaries on genocide. It moves away from the common binaries surrounding the supposed creativity and fictionality of reenactments as opposed to the evidentiary and static archive, and instead reads reenactments as facilitating access to truth. Through four case studies of Claude Lanzmann’s Shoah (1985), Laurence Rees’s Auschwitz: The Nazis and the ‘Final Solution’ (2005), Rithy Panh’s The Missing Picture (2013), and Joshua Oppenheimer’s The Act of Killing (2012), it contends that reenactments in documentaries on genocide problematize the associations of an image’s supposed indexical link to a past event with truth. Instead, reenactments confront us with the constructed nature of historical narrative and enable us to see affective, factual, and ethical truths of the past unavailable through the archive.
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Pub Date : 2023-05-29DOI: 10.1080/17503280.2023.2217622
Rachel Fabian
ABSTRACT This article historicizes and theorizes the feminist documentary practice of Julie Gustafson, focusing on The Politics of Intimacy: Ten Women Talk About Orgasm and Sexuality (US, 1973) and Desire (US, 2005). Employing archival research and original interviews with Gustafson, it argues that both works interrogate intimacy’s use value for navigating new modes of documentary witnessing afforded by video. It begins by contextualizing The Politics of Intimacy’s modes of ‘intimate witnessing’ in relation to 1970s guerrilla TV movements, feminist documentary filmmaking, and women’s video art, as well as in terms of Gustafson’s involvement in the Manhattan-based Global Village Video Resource Center. It then analyzes how The Politics of Intimacy utilizes a ‘voice-centered’ feminist documentary method, which foregrounds video’s intimate appeals and polyvocal modes of address to create a multilayered account of women’s sexual experiences. Finally, the article contends that The Politics of Intimacy’s voice-centered approach crucially informs the interplay of generational voices in Desire, which documents Gustafson’s long-term collaboration with the Teenage Girls’ Documentary Project. Gustafson’s documentary practice takes on added complexity in Desire, as it maps emergent solidarities across generations of women video makers to reveal feminist voicing to be a complex, at-times contradictory expression of the self-in-relation.
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