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

Aprope

美食家

除草剂

江湖郎中

Ai Weiwei: Grafting as a Documentary Tactic in Art,is chapter discusses the relationship between social activism and visual representation in the work of the Chinese artist, focusing mainly on the documentary aspects of his recent body of work on the refugee crisis and his use of social media in the same context.

correspondent

,Redefining the “Document”: Social-Media Photographs as Narrative, Performance, Habitude,the manner in which the selfie challenges traditional notions of critical distance between subject and photographer, subject and social-media audience, and between the selfie-taker and the Clinton Campaign.

树木心

Instagram as Archive: Constructing Experimental Documentary Narratives from Everyday Moments, juxtaposition. While the initial granular media objects had a life of their own when posted on Instagram, the final film created with them allows them to take on a broader meaning thanks to the critical distance of the maker to the personal meaning and context contained within the original source material.

充气女

有限

轻快来事

放弃

Betriebsweise und Betriebskosten,ng in video and photography predominantly, the two artists who are discussed, Robert Del Tredici and Trevor Paglen, measure and map the scale of militarism while conducting raids on nuclear and military secrecy. Their work addresses militarism from above—that is to say, from the vantage point of the airborne view.