Springer Critical Distance in Documentary Media

Product Description This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of “critical distance” in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman 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 media studies. From the Back Cover This collection of essays presents new formulations of ideas and practices within documentary media that respond critically to the multifaceted challenges of our age. As social media, augmented reality, and interactive technologies play an increasing role in the documentary landscape, new theorizations are needed to account for how such media both represents recent political, socio-historical, environmental, and representational shifts, and challenges the predominant approaches by promoting new critical sensibilities. The contributions to this volume approach the idea of “critical distance” in a documentary context and in subjects as diverse as documentary exhibitions, night photography, drone imagery, installation art, mobile media, nonhuman 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 media studies. About the Author Gerda Cammaer is Associate Professor in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. She is a filmmaker, the co-author of Forbidden Love (2016), and the co-editor of Cinephemera: Archives, Ephemeral Cinema, and New Screen Histories in Canada (2014). Blake Fitzpatrick is Professor and Chair in the School of Image Arts at Ryerson University, Canada, and is co-director of the Documentary Media Research Centre. His research examines war and conflict representation in documentary works, and his visual work has been exhibited in Canada and internationally. Bruno Lessard is Associate Professor in the School of Image Arts at Ryerson University, Canada. He is a photographic artist and the author of The Art of Subtraction: Digital Adaptation and the Object Image (2017).