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<p>Notes on Contributors ix</p> <p>Introduction: A World Encountered 1<br /><i>Alexandra Juhasz and Alisa Lebow</i></p> <p><b>Part I Planet 19<br /></b><i>Juan Francisco Salazar</i></p> <p>Introduction 21<br /><i>Juan Francisco Salazar</i></p> <p>1 Crude Aesthetics: The Politics of Oil Documentaries 28<br /><i>Imre Szeman</i></p> <p>2 Anticipatory Modes of Futuring Planetary Change in Documentary Film 43<br /><i>Juan Francisco Salazar</i></p> <p>3 Projecting Sea Level Rise: Documentary Film and Other Geolocative Technologies 61<br /><i>Janet Walker</i></p> <p><b>Part II Migration 87<br /></b><i>Anikó Imre</i></p> <p>Introduction 89<br /><i>Anikó Imre</i></p> <p>4 Videogeographies 92<br /><i>Ursula Biemann</i></p> <p>5 Rates of Exchange: Human Trafficking and the Global Marketplace 108<br /><i>Leshu Torchin</i></p> <p>6 Documenting What? Auto-Theory and Migratory Aesthetics 124<br /><i>Mieke Bal</i></p> <p><b>Part III Work 145<br /></b><i>Silke Panse</i></p> <p>Introduction 147<br /><i>Silke Panse</i></p> <p>7 The Work of the Documentary Protagonist: The Material Labor of Aesthetics 155<br /><i>Silke Panse</i></p> <p>8 <i>Old School Capitalism </i>in Post-Socialism: The Struggles of ?elimir ?ilnik’s Workers 176<br /><i>Ewa Mazierska</i></p> <p>9 Capturing the Labors of Sex Work: The Pedagogical Role of Documentary Film 191<br /><i>Anna E. Ward</i></p> <p><b>Part IV Sex 209<br /></b><i>Laura Hyun Yi Kang</i></p> <p>Introduction 211<br /><i>Laura Hyun Yi Kang</i></p> <p>10 Documentary Practice and Transnational Feminist Theory: The Visibility of FGC 217<br /><i>Patricia White</i></p> <p>11 Transforming Terror: Documentary Poetics in Lourdes Portillo’s <i>Señorita Extraviada </i>(2001) 233<br /><i>Rosa-Linda Fregoso</i></p> <p>12 Reading Realness: <i>Paris Is Burning</i>, <i>Wildness</i>, and Queer and Transgender Documentary Practice 252<br /><i>Eve Oishi</i></p> <p><b>Part V Virus 271<br /></b><i>Bishnupriya Ghosh</i></p> <p>Introduction 273<br /><i>Bishnupriya Ghosh</i></p> <p>13 Animating Informatics: Scientific Discovery Through Documentary Film 280<br /><i>Kirsten Ostherr</i></p> <p>14 HIV on Documentary Television in Post-Apartheid South Africa 298<br /><i>Rebecca Hodes</i></p> <p>15 Digital AIDS Documentary: Webs, Rooms, Viruses, and Quilts 314<br /><i>Alexandra Juhasz</i></p> <p><b>Part VI Religion 335<br /></b><i>Alexandra Juhasz and Alisa Lebow</i></p> <p>Introduction 337<br /><i>Alexandra Juhasz and Alisa Lebow</i></p> <p>16 Rising in the East, Sett(l)ing in the West: The Emergence of Buddhism as Contemporary Documentary Subject 341<br /><i>Angelica Fenner</i></p> <p>17 The New Religious Wave in Israeli Documentary Cinema: Negotiating Jewish Fundamentalism During the Second <i>Intifada </i>366<br /><i>Raya Morag</i></p> <p>18 Tran Van Thuy’s <i>Story of Kindnes</i>s: Spirituality and Political Discourse 384<br /><i>Dean Wilson</i></p> <p><b>Part VII War 401<br /></b><i>Jeffrey Skoller</i></p> <p>Introduction 403<br /><i>Jeffrey Skoller</i></p> <p>19 Second Thoughts on “The Production of Outrage: The Iraq War and the Radical Documentary Tradition” 410<br /><i>Jane M. Gaines</i></p> <p>20 One, Two, Three Montages … Harun Farocki’s War Documentaries 431<br /><i>Nora M. Alter</i></p> <p>21 The Unwar Film 454<br /><i>Alisa Lebow</i></p> <p><b>Part VIII Torture 475<br /></b><i>Alisa Lebow</i></p> <p>Introduction 477<br /><i>Alisa Lebow</i></p> <p>22 (In)visible Evidence: The Representability of Torture 482<br /><i>Susana de Sousa Dias</i></p> <p>23 Interviewing the Devil: Interrogating Masters of the Cambodian Genocide 506<br /><i>Deirdre Boyle</i></p> <p>24 The Female Perpetrator: <i>La Flaca Alejandra </i>and <i>Operation Atropos </i>524<br /><i>Macarena Gómez-Barris</i></p> <p>25 Toward the Dark Side: Seeing Detainee Bodies in Documentary Film 536<br /><i>Anjali Nath</i></p> <p><b>Part IX Surveillance 557<br /></b><i>Elizabeth Cowie</i></p> <p>Introduction 559<br /><i>Elizabeth Cowie</i></p> <p>26 Architectures of Control and Points of Resistance: Surveillance Culture and Digital Documentaries 566<br /><i>Sharon Lin Tay</i></p> <p>27 The World Viewed: Documentary Observing and the Culture of Surveillance 580<br /><i>Elizabeth Cowie</i></p> <p>28 Surveillance in the Service of Narrative 611<br /><i>Brian Winston</i></p> <p>29 Face Blind: Documentary Media and Subversion of Surveillance 629<br /><i>Patrik Sjöberg</i></p> <p>Index 647</p>

<p><b>Alexandra Juhasz</b> is Chair of the Film Department at Brooklyn College, CUNY. She is the author of <i>AIDS TV</i> (1995), <i>Women of Vision</i> (2001), <i>F is for Phony: Fake Documentary and Truth's Undoing,</i> co-edited with Jesse Lerner (2005), <i>Learning from YouTube</i> (2011), and co-editor of <i>Sisters in the Life</i> (with Yvonne Welbon, 2018), and <i>AIDS and the Distribution of Crises</i> (with Nishant Shahani and Jih-Fei Cheng). Dr Juhasz is the producer of the fake documentary feature films <i>The Watermelon Woman</i> (1997) and <i>The Owls</i> (2010), as well as many "real" documentaries. Her current work is on radical digital media literacy given that fact of fake news: fakenews-poetry.com. <p><b>Alisa Lebow</b> is Professor of Screen Media at the University of Sussex. Her publications include the interactive project <i>Filming Revolution</i> (2018), <i>The Cinema of Me</i> (2012), and <i>First Person Jewish</i> (2008) along with numerous articles on aspects of documentary ranging from art and documentary to questions of "the political" in documentary. Lebow has also made several documentaries including <i>Outlaw</i> (1994),<i> Treyf</i> (1998), and <i>For the Record: The World Tribunal on Iraq</i> (2006).

<p><b>A COMPANION TO CONTEMPORARY DOCUMENTARY FILM</b> <p>"This collection is the very best of companions to have on a journey through contemporary documentary film. Edited by two of the smartest thinkers/practitioners around, and with an equally lively cast of authors, this book is required reading."</br> <b>Faye Ginsburg, New York University</b> <p>"A fresh, innovative, and stimulating take by a variety of authors on both the state of documentary and the state of the world it pictures."</br> <b>Michael Chanan, University of Roehampton</b> <p><b><i> A Companion to Contemporary Documentary Film</i></b> presents a dynamic collection of original essays that examine the current state of the documentary in the United States and around the world. Featuring contributions from top documentary scholars and makers, readings are organized around thematic strands central to concerns of today's world - the planet, migration, work, sex, virus, religion, war, torture, and surveillance. A variety of issues relating to these topics are addressed as they are treated in a range of documentaries, including questions of form and formal traditions; the politics of documentaries and their real-world implications; the voice of the documentary filmmaker; regional, national, and international representations; and approaches to race, ethnicity, sexuality, and gender in a fascinating array of films. <b><i>A Companion to Contemporary Documentary Film</i></b> offers thought-provoking insights into a film format that is rapidly achieving its powerful potential to inform, inspire, enlighten, and even change the world.

<p>"This collection is the very best of companions to have on a journey through contemporary documentary film. Edited by two of the smartest thinkers/practitioners around, and with an equally lively cast of authors, this book is required reading."<br />—<b>Faye Ginsburg</b>, New York University</p>

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