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Film Studies

Media & Fine Arts

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<P>The documentary has achieved rising popularity over the past two decades thanks to streaming services like Netflix and Hulu. Despite this, documentary studies still tends to favor works that appeal primarily to specialists and scholars. This book reverses this long-standing tendency by showing that documentaries can be—and are—made for mainstream or commercial audiences. This collection’s editors, who consider popular documentary to be a subfield of documentary studies, embrace an expanded definition of popular to acknowledge the many evolving forms of documentary, such as branded entertainment, fictional hybrids, and works with audience participation. Together, these essays address emerging documentary forms—including web-docs, virtual reality, immersive journalism, viral media, interactive docs, and video-on-demand—and offer the critical tools viewers need to analyze contemporary documentaries and consider how they are persuaded by and represented in documentary media. By combining perspectives of scholars and makers, this volume brings new understandings and international perspectives to familiar texts using critical models that will engage media scholars and fans alike.</P>

Reclaiming Popular Documentary

Professional & Reference

RECLAIMING POPULAR DOCUMENTARY

Duration

Duration Unit Of Measure

Transaction Type

Front Cover.
Half Title Page.
Title Page.
Copyright Page.
Dedication.
Contents.
Acknowledgments.
Other Frontmatter.
1: Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts.
2: Popular Documentary Today.
3: Reclaiming the Popular for Public Interest Documentary.
4: Public Television&#x2019;s Role in the US Documentary Ecology.
5: Documentary Ecologies.
6: On (Not) Falling From the Sky: Fly-Over Global Documentary as Capitalist Body Genre.
7: Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography.
8: From Elegy to Kitsch: Spectacles of Epistephilia in Food, Inc. and Early Food Documentaries.
9: Short Forms and Web Practices.
10: Errol Morris, the New York Times, Docmedia, and Op-Docs as Pop Docs.
11: Popular Music and Short-Form Nonfiction: Is the Web a Forum for Documentary Innovation?.
12: From the Essay Film to the Video Essay: Between the Critical and the Popular.
13: Auteurs, Politics, and Popularity.
14: Errol Morris and the Ends of Irony.
15: V&#x00E9;rit&#x00E9;: Lauren Greenfield and the Challenge of Feminist Documentary.
16: Citizenfour and the Antirepresentational Turn: Aesthetics of Failure in the Information Age.
17: Documentary Genres.
18: Of Kids and Sharks: Victims, Heroes, and the Politics of Melodrama in Popular Documentary.
19: Strategies of the Popular Music Documentary&#x2019;s Recovery Mode.
20: Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary.
21: Engaging Audiences.
22: Virality Is Virility: Viral Media, Popularity, and Violence.
23: Populism, Participation, and Perpetual Incompletion: Performing an Urban History Commons.
24: The Armchair Juror: Audience Engagement in True Crime Documentaries.
25: New (Old) Ontologies of Documentary.
Index.

Reclaiming Popular Documentary.css-1p8rvzy{position:absolute;padding-left:8px;}

Reclaiming Popular Documentary