Titlebook: Critical Distance in Documentary Media; Gerda Cammaer,Blake Fitzpatrick,Bruno Lessard Book 2018 The Editor(s) (if applicable) and The Auth

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Indexicality in the Age of the Sensor and Metadata,sense of urgency it generates as a social-political form. This chapter considers the nature and implications of indexicality at a time when video capturing capabilities have become increasingly ubiquitous, and embedded in mobile, locative, and networked devices where image and sound recording operat

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Approaches to ,: Documenting the Real in Post-socialist China,nstrate a desire to fully merge with society through sustained engagement with migrant worker communities, . to create a critical distance between art and society. Two such different notions of the relationship between art and society are demonstrated through two conflicting uses of the concept of s

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Ai Weiwei: Grafting as a Documentary Tactic in Art,al levels. In other words, art grafts parts of its perceptions in specific realities of the world to create something new. Ai Weiwei (b. 1957, Beijing) is recognized worldwide for his practice both as an artist and as an activist. Critical distance is crucial in Ai’s practice, particularly in the do

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Unsatisfactory Devices: Legacy and the Undocumentable in Art,ecifically performance, “become itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice, this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not r

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Phantom Rides as Images of the World Unfolding,ity is movement and the ability to draw the viewer into the world on screen. They are ideal tools for documentary makers to experiment with form and content, with time and space, duration and distance, and in doing so create a moment of critical distance for the viewer. This chapter focuses on two A

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,Redefining the “Document”: Social-Media Photographs as Narrative, Performance, Habitude,intain a social persona, and to present a version of the self as the poster/author wants to appear to others. As it is shared online, the selfie often conveys a deceptive sense of closeness between the picture-taker and audience. Selfie-taking, to some staff of the 2016 Hillary Clinton presidential

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Instagram as Archive: Constructing Experimental Documentary Narratives from Everyday Moments,ts through the use of various archive and database methods. Using a practice-led research methodology, I will be reflecting on the processes and outcomes of the of the mobile media film ., a film made with a series of granular moments that were originally shared on Instagram. As in other mobilementa