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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,Re-placing the Urban Soundscape: Performative Documentary Research in Vancouver’s False Creek,tegy, emphasizing reception as a critical practice that can account for the necessary performativity in bringing a particular location to life on radio, TV, and film. I offer an intermedial historiography of Vancouver’s False Creek area that situates the audio documentation of the World Soundscape P

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From Voice to Listening: Becoming Implicated Through Multi-linear Documentary,ct of listening has long been overlooked. This chapter explores the importance of listening as a critical and ethical turn in documentary through the discussion of the following non-linear works: Natalie Bookchin’s . (2012 and 2017) and . (2016), Eline Jongsma and Kel O’Neill’s . (2012–2014) and Ros

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From Critical Distance to Critical Intimacy: Interactive Documentary and Relational Media,scribing and performing the world critically. Stories struggle to account for, describe, or perform the entangled complexity of the world because of their inherent need to be linear and sequential. The author examines how the concepts and methods offered by recent materialist and post-humanist philo

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Book 2018an 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 mediastudies..

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Approaches to ,: Documenting the Real in Post-socialist China,ite-specificity, or “xianchang” in Chinese, in the 1990s. The paradoxes involved in the use and application of . were a direct reflection of China’s post-socialist condition, which include both the continued embrace of the ideals of socialism and a critical questioning of the repercussions of China’s socialist legacy.

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