Part III. Short Forms and Web 7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex Sabiha Ahmad Khan -- Reclaiming the Popular for Public Interest Documentary / Ezra Winton -- Public Television's Role in the U.S. Documentary Ecology / Patricia Aufderheide -- Part II. Documentary Ecologies -- On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre / Zoë Druick -- Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography / Devon Coutts -- From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries / Sabiha Ahmad Khan -- Part III. Short Forms and Web 7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex
Summary:
"The documentary has achieved rising popularity over the past two decades, thanks to streaming services like Netflix and Hulu. Despite this fact, documentary studies still tends to favor works that appeal primarily to specialists and scholars. Reclaiming Popular Documentary reverses this longstanding tendency by showing that documentaries can be-and are-made for mainstream or commercial audiences. Editors Christie Milliken and Steve Anderson, who consider popular documentary to be a subfield of documentary studies, embrace an expanded definition of popular to acknowledge documentary's many evolving forms, including 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 that viewers need in order to analyze contemporary documentaries and consider how they are persuaded by and represented in documentary media. By combining perspectives of scholars and makers, Reclaiming Popular Documentary brings new understandings and international perspectives to familiar texts using critical models that will engage media scholars and fans alike"-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.