#x98;The#x9C; act of documenting documentary film in the 21st century

Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer and the spectator are being dissolved. The Act of Documenting addresses what this means for documentary's 21st century position as a genus in the "class" cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; for its future in a world where assumptions of photographic image integrity cannot be sustained. Unpacked are distinctions between performance and performativy and between different levels of interaction, linearity and hypertextuality, engagement and impact, ethics and conditions of reception. Winston, Vanstone and Wang Chi explore and celebrate documentary's potentials in the digital age. Cover page Halftitle page Title page Copyright page Epigraph page Dedication page Contents Acknowledgments Figures Stills AN AGENDA 1. “A MUCH-HAILED TRIUMPH” 2. “THE SHAKIEST OF FOUNDATIONS” 3. THE ACT OF DOCUMENTING PART 1 Digital Potentials 1 “A Walk in the Woods” 1. AUTHENTICITY 2. TRUST 3. SAVVY 2 “A Breath of Fresh Air for the Documentary” 1. CONTRADICTION 2. GLOBALIZATION 3 “Life as Narrativized” 1. INTERPASSIVITY 2. HOMO NARRANS 3. SCRIPTRIX NARRANS PART 2 Actual Effects . . . 4 “To Thine Own Self be True” 1. APPEARING 2. BEHAVING 5 “Giving Voice” 1. CONTROL 2. CHANGE 6 “To Make Space for the Un-thought” 1. GENDER 2. EMANCIPATION 7 “Nous sommes dans lebain ”/“We are Implicated” 1. HARM 2. RIGHTS 8 “You Have to Make up Your Own Mind” 1. EXPECTATIONS 2. ASSUMPTIONS 9 “When the Lights go up” 1. OUTCOMES 2. CONDITIONS MINUTES: The Act of Documenting Considerations Bibliography Index Documentary has never attracted such audiences, never been produced with such ease from so many corners of the globe, never embraced such variety of expression. The very distinctions between the filmed, the filmer, and the spectator are being dissolved. This text addresses what this means for documentary's 21st century position as a genus in the 'class' cinema; for its foundations as, primarily, a scientistic, eurocentric and patriarchal discourse; and for its future in a world where assumptions of photographic image integrity cannot be sustained