By Alexandra Juhasz, Alisa Lebow

A spouse to modern Documentary Film offers a suite of unique essays that discover significant concerns surrounding the country of present documentary movies and their ability to encourage and impression change. 

  • Presents a entire number of essays on the subject of all facets of latest documentary films
  • Includes approximately 30 unique essays by means of most sensible documentary movie students and makers, with each one thematic grouping of essays sub-edited through significant figures within the field
  • Explores quite a few subject matters crucial to modern documentary filmmakers and the research of documentary movie – the planet, migration, paintings, intercourse, virus, faith, battle, torture, and surveillance
  • Considers a large variety of documentary motion pictures that fall outdoors regular canons, together with foreign and avant-garde documentaries awarded in a number of media

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Sample text

Interestingly, in the two pieces in the anthology about (former) communist countries (Vietnam and Yugoslavia, covered by Wilson and Mazierska, respectively) attempts by the state to resist or control entry into the flow of capital are found to be constitutive. ” Of course, any changes in conceptions of space render alterations in time. Flow can also attest to types of historical iterations, to a temporal shift and its filmic traces in memorializing something as significant and representationally varied as the history of HIV/AIDS and the liabilities of ready, unobstructed access to images of the dead (Juhasz).

Crude and H2Oil each examine the environmental consequences of oil exploration, with a focus on its effects on those indigenous communities who live in proximity to the resource and who thus have to endure both the ecological traumas of ongoing drilling and the sludge and slurry left at past drill sites. What distinguishes H2Oil from Crude is that the former includes brief lessons on peak oil as part of its overall narrative and makes this an element of its case against the Alberta oil sands; Crude’s focus, in contrast, is on the dynamics of law and corporate power as these play out in relation to a commodity at the heart of capitalism’s profit logic.

Walker suggests that documentary films cannot afford to remain sequestered in the humanities division of the academy but must seek interdisciplinary exchanges and audiences within policy-making venues. In line with a strong tradition of participatory communication for social change, Walker critiques those discourses about climate change that don’t include citizens’ views of owning their own processes of communication, negotiation, and legislation about environmental issues that affect them. She focuses her analysis on two films, both of which are exemplary of environmental documentary’s current wave of advocacy cinema on global warming mitigation.

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