Critical Distance in Documentary Media

This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of critical distance in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman creative practices, sound art and interactive technologies. It is essential reading for scholars, practitioners and students working in fields such as documentary studies, film studies, cultural studies, contemporary art history and digital media studies.

Offers new theoretical perspectives within the field of documentary studies

Expands the field of documentary studies and addresses mobile media, sound art, installation, and photography, among other neglected documentary media

Features international contributions from both established and emerging scholars

Autorentext

Gerda Cammaer is Associate Professor in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. She is a filmmaker, the co-author of Forbidden Love (2016), and the co-editor of Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada (2014).
Blake Fitzpatrick is Professor and Chair in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. His research examines war and conflict representation in documentary works, and his visual work has been exhibited in Canada and internationally.
Bruno Lessard is Associate Professor in the School of Image Arts at Ryerson University, Canada. He is a photographic artist and the author of The Art of Subtraction: Digital Adaptation and the Object Image (2017).

Inhalt

1. Introduction: Critically Distant, Gerda Cammaer, Blake Fitzpatrick, and Bruno Lessard.- 2. Indexicality in the Age of the Sensor and Metadata, Craig Hight.- 3. Shot in the Dark: Nocturnal Philosophy and Night Photography, Bruno Lessard.- 4. Approaches to Xianchang: Documenting the Real in Post-socialist China, Madeline Eschenburg.- 5. Ai Weiwei: Grafting as a Documentary Tactic in Art, Luisa Santos.- 6. Unsatisfactory Devices: Legacy and the Un-Documentable in Art, Angela Bartram.- 7. From Above: Critical Distance, Aerial Views and Counter-Images, Blake Fitzpatrick.- 8. Phantom Rides as Images of a World Unfolding, Gerda Cammaer.- 9. Mobile Media: A Reliable Documentary Witness?, Anandana Kapur.- 10. Redefining the 'Document': Social-Media Photographs as Narrative, Performance, Habitude, Kris Belden-Adams.- 11. Instagram as Archive: Constructing Experimental Documentary Narratives from Everyday Moments, Patrick Kelly.- 12. That Seagull Stole My Camera (and My Shot)!: Overlapping Metaphorical and Physical Distances in the Human-Animal-Camera Triad, Concepción Cortés-Zulueta.- 13. Longitudinal Listening: Documenting the Soundscape of Intermedial Vancouver, Randolph Jordan.- 14. From Voice to Listening: Becoming Implicated Through Multi-linear Documentary, Kim Munro.- From Critical Distance to Critical Intimacy: Interactive Documentary and Relational Media, Adrian Miles, with Bruno Lessard, Hannah Brasier and Franziska Weidle.