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German-Language Children's and Youth Literature In The Media Network 1900-1945.
by Petra Josting Marlene Antonia Illies Matthias Preis Annemarie WeberWith the research of German-language children's and youth literature and its media associations in the period from 1900 to 1945 as well as the recording of all data in an online portal for research and visual analysis, an innovative contribution to the historiography of children's and youth literature is available. The introduction provides information on the criteria for inclusion, central sources, theoretical frameworks, and the spectrum of the media associations investigated. Part I assembles three overview articles on the media of radio, film and theater for children and young people as well as a contribution on the conception and development of the online portal. In the second part, 18 selected media alliances are presented, sorted into the categories pioneers conquer the new media - stage children migrate to radio and/or film - fairy tales in film and radio - classics in all media - school stories in the theater, book and on the screen - crime and scandal on the screen - political conquers book and film.
Performative Figures of Queer Masculinity: A Media History of Film and Cinema in Germany Until 1945
by Christiane KönigThis is a German history of cinema and film from the 1890s to 1945 with a focus on queer masculinity. Using media studies approaches, the study shows how film as a new medium is constituted through performative re-enactments of spectacular elements from the entertainment and knowledge cultures of the 19th century. In it, bodies, desires and identities are constantly remodelled through the formation of difference. Therefore, male queerness here does not mean the representation of male homosexuality. Rather, it is the dynamic result of complex medial processes, affects and (self-)knowledge on and off the screen. Building on Eve K. Sedgwick's queer-feminist concept of queer performativity, the author creates a historically situated model with which she traces various figures of technically anthropomorphic queer masculinity in the medium of film in an empowering sense. This book is a translation of an original German 1st edition Performative Figuren queerer Männlichkeit by Christiane König, published by J.B.Metzler, imprint of Springer-Verlag GmbH Germany, part of Springer Nature in 2020. The translation was done with the help of artificial intelligence (machine translation by the service DeepL.com). The author (with the friendly support of Megan Hanson) has subsequently revised the text further in an endeavour to refine the work stylistically. Springer Nature works continuously to further the development of tools for the production of books and on the related technologies to support authors.
Der verborgene Sinn: Verhüllung und Enthüllung in der Musik
by Laurenz LüttekenEin Sinn, der verborgen oder enthüllt werden kann, ist eine der zentralen Denkfiguren der Neuzeit. Das betrifft auch die Frage, was Musik eigentlich sei. Je stärker man darüber nachgedacht hat, desto brüchiger, changierender ist die Annahme von einem substantiellen Wesenskern der Musik geworden. In diesem Buch geht es nicht um ästhetische oder theoretische Überlegungen dazu, sondern um die Frage, ob und auf welche Weise komponierte Musik sich selbst zum Gegenstand macht und so möglicherweise etwas von ihrem Kern preisgibt. Die optischen Metaphern von Verhüllung und Enthüllung erweisen sich dabei als ebenso hilfreich wie anschaulich. In einer Reihe von Beispielen, die vom 17. bis in die Gegenwart reichen, wird das Phänomen in seiner ganzen Vielfalt beschrieben. Dabei geht es nicht nur um Opern von Mozart bis Strauss, sondern auch um Monteverdis Vokalmusik, Haydns „Schöpfung“, die Sinfonien Bruckners oder Ligetis Etüden.
Das Theater der Elektrizität: Technologie und Spektakel im ausgehenden 19. Jahrhundert (Szene & Horizont. Theaterwissenschaftliche Studien #6)
by Ulf OttoDas Theater der Moderne gründet sich auf ästhetische Energien. Seit den 1880er Jahren aber sind es elektrische Energien, aus fossilen Brennstoffen in Kraftwerken erzeugt, die im Theater zu zirkulieren beginnen. Installiert wird eine mysteriöse Entität, die noch als Lebenskraft gehandelt wird und schon für Fortschritt durch Technik steht. Mit der Elektrifizierung des Theaters wird Elektroindustrie respektabel und Bühnenkunst modernistisch. Entsorgt werden die Kulissen, die im Scheinwerferlicht nur noch verstaubt erscheinen, und aus der Bildermaschine wird Raumkunst. Doch wichtiger sind die institutionellen Transformationen, die sich in bislang unbeachteten Koalitionen, Kontinuitäten und Konkurrenzen von technischen und ästhetischen Dingen abspielen. Ingenieurswissen, Kontrolltechniken und Versorgungssysteme ändern, wie Theater und Gesellschaft verschaltet sind. Der Interaktionsraum (zwischen-)menschlicher Leiblichkeit des 20. Jahrhunderts entpuppt sich als eine technische Konstellation.
Deutschsprachige Kinder- und Jugendliteratur im Medienverbund 1900-1945 (Studien zu Kinder- und Jugendliteratur und -medien #3)
by Petra Josting Marlene Antonia Illies Matthias Preis Annemarie WeberMit der Erforschung der deutschsprachigen Kinder- und Jugendliteratur und ihrer Medienverbünde im Zeitraum von 1900 bis 1945 sowie der Erfassung sämtlicher Daten in einem Onlineportal zur Recherche und visuellen Analyse liegt ein innovativer Beitrag zur Geschichtsschreibung der Kinder- und Jugendliteratur vor. Die Einleitung gibt Auskunft über Aufnahmekriterien, zentrale Quellen, theoretische Rahmungen sowie das Spektrum der eruierten Medienverbünde. Teil I versammelt drei Überblicksartikel zu den Medien Hörfunk, Film und Theater für Kinder und Jugendliche sowie einen Beitrag zur Konzeption und Entwicklung des Onlineportals. Im zweiten Teil werden 18 ausgewählte Medienverbünde vorgestellt, sortiert in die Kategorien Pioniere erobern die neuen Medien – Bühnenkinder wandern zum Rundfunk und/oder Film – Märchen im Film und Rundfunk – Klassiker in allen Medien – Schulgeschichten im Theater, Buch und auf der Leinwand – Verbrechen und Skandalöses auf der Leinwand – Politisches erobert Buch und Film.
Faust-Ikonologie: Stoff und Figur in der Bildkultur des 19. Jahrhunderts
by Carsten RohdeDie Geschichte des Faust-Stoffes seit Goethe ist lange Zeit vor allem unter ideologischen Gesichtspunkten gedeutet worden. Die vorliegende Studie untersucht erstmals tiefergehend die populärkulturellen Resonanzen von Faust in der sich formierenden Medienmoderne des 19. Jahrhunderts. Die ‚Explosion der Bilder‘ sorgt dafür, dass Stoff und Figur in einer nie dagewesenen Vielfalt und Breite als visuelles Phänomen in Erscheinung treten. Faust wird zu einer populären Projektions- und Identifikationsfigur, die mit ganz unterschiedlichen Formen, Funktionen und Kontexten in Verbindung steht. Ihre Omnipräsenz in der Bildkultur des Jahrhunderts ist sowohl Spiegel als auch Katalysator dieser Entwicklungen.
Traditioneller Fortschritt: Das Stuttgarter Hoftheater, die elektrische Moderne und die Großstadt (1851-1912) (Szene & Horizont. Theaterwissenschaftliche Studien #7)
by Miriam HöllerDie Studie über das Stuttgarter Hoftheater denkt Theater und Stadt zur Zeit der Elektrifizierung um 1900 zusammen. Welchen Einfluss hatte die Theatertechnik auf die werdende Großstadt? Wie wurde umgekehrt das Theater durch die Urbanisierung und Technisierung der Stadt geprägt? Die Studie untersucht anhand historischer Quellen diese Wechselbeziehung über die Analyse neuer räumlich-materieller Vernetzungen. Außerdem analysiert sie kollektive Großstadt-Imaginationen, die zwischen 1902 und 1912 bei der Planung eines Theaterneubaus in Stuttgart aufkamen und die insbesondere über die Architektur und Technik des Theaters verhandelt wurden. Zentral war dabei eine Aushandlung im Spannungsfeld von Tradition und Moderne. So zeigt die Studie, dass auch ein Hoftheater fern der Metropolen als Ort der Moderne erfahren werden konnte, und leistet somit am Schnittpunkt von Theater-, Technik-, Stadt- und Kulturgeschichte einen Beitrag zur Erforschung der Vielfalt des deutschen Theaters um 1900.
Performative Figuren queerer Männlichkeit: Eine Mediengeschichte von Film und Kino in Deutschland bis 1945 (Szene & Horizont. Theaterwissenschaftliche Studien #5)
by Christiane KönigDie medienkulturgeschichtliche Arbeit ist eine deutsche Kino- und Filmgeschichte von den 1890er Jahren bis 1945 mit Fokus auf queere Männlichkeit. Mit medienwissenschaftlichen Ansätzen zeigt die Studie, wie sich das ‚neue Medium’ Film durch performative Wiederaufführungen spektakulärer Elemente aus den Unterhaltungs- und Wissenskulturen des 19. Jahrhunderts konstituiert. Darin werden Körper, Begehren und Identitäten durch Differenzbildungen ständig remodelliert. Männliche Queerness bedeutet hier folglich nicht Repräsentation männlicher Homosexualität. Vielmehr ist sie dynamisches Ergebnis komplexer medialer Prozesse, in Verknüpfung mit Affekten und (Selbst-)Erkenntnissen auf und vor der Leinwand. Aufbauend auf dem queer-feministischen Konzept der queer performativity von Eve K. Sedgwick, erstellt die Autorin ein historisch situiertes Modell, mit dem sie verschiedene Figuren technisch-anthropomorpher queerer Männlichkeit des Mediums Film im ermächtigenden Sinne nachzeichnet. Die anhand von einzelnen Langfilmen herauspräparierten Figuren sind dabei stets mitbedingt durch Veränderungen der assemblage des Kino-Apparats über die Jahrzehnte bis 1945 sowie durch zeitgenössisch aktuelle Aspekte der Geschlechtergeschichte und der Geschichte der Sexualität in Deutschland.
Geschichte der literarischen Vortragskunst
by Reinhart Meyer-KalkusLiterarische Vortragskunst entstand in Deutschland in der zweiten Hälfte des 18. Jahrhunderts als ein von Schauspiel und anderen Vortragsgattungen (Rede, Predigt, Vorlesung etc.) unterschiedenes Sprachspiel des Vorlesens, Rezitierens und Deklamierens von Gedichten, Erzählungen und Dramen. Die vorliegende Untersuchung ist die erste umfassende Geschichte dieser Vortragskunst von Klopstock bis zu Kling, ja bis zum Poetry-Slam. Sie konzentriert sich auf die verschiedenen Akteure (Autoren, professionelle Rezitatoren, Deutschlehrer, Sprecherzieher und Laien) sowie auf deren Vortragsformate und Zuhörer im Kontext der Veränderung vortragsästhetischer Normen und mediengeschichtlicher Innovationen. Mit Rückgriff auf Einsichten der Medienwissenschaft, Performance-Analyse und Stimmforschung entwickelt sie einen analytischen Ansatz, um Vortragsformate und Vortragsweisen in ihrer Historizität zu beschreiben.
Filmtheorie: Eine Einführung
by Jens BonnemannDiese Einführung bietet einen Überblick über die wichtigsten Positionen der Filmtheorie von ihren Anfängen bis in die Gegenwart und schlägt einen Bogen von Hugo Münsterberg bis zu Vivian Sobchack. Die einzelnen Filmtheorien werden in chronologischer Reihenfolge vorgestellt, wobei ihre Hauptthesen, ihr Argumentationsaufbau wie auch ihre wechselseitigen Einflüsse und Abgrenzungen rekonstruiert werden. Inwiefern diese Ansätze dazu dienen können, das Verständnis von Filmen zu vertiefen, wird an konkreten Filmbeispielen gezeigt. Ein weiterer roter Faden innerhalb des Buchs ist der Vergleich mit Theorieangeboten aus der Bildtheorie und der philosophischen Ästhetik. Damit werden die jeweiligen Theoretiker in einen umfassenderen geistesgeschichtlichen Traditionsrahmen eingeordnet.
Arab Film and Video Manifestos: Forty-Five Years of the Moving Image Amid Revolution (Palgrave Studies in Arab Cinema)
by Kay DickinsonArab Film and Video Manifestos presents, in their entirety, five key documents that have fundamentally shaken up and helped change the face of image culture in the Middle East and beyond. The book collects together, for the first time, these influential, collectively written calls and directives that span a fifty-year period and hail from a range of different countries. Each urges a radical rethinking of film and video’s role in culture, its relation to politics, and its potential to instigate profound change. Kay Dickinson carefully positions the manifestos within their broader socio-historical contexts and provides supplementary reading and viewing suggestions for readers who cannot access Arabic-language sources.
Queering the Family in The Walking Dead
by John R. ZieglerThis book traces how The Walking Dead franchise narratively, visually, and rhetorically represents transgressions against heteronormativity and the nuclear family. The introduction argues that The Walking Dead reflects cultural anxiety over threats to the family. Chapter 1 examines the destructive competition created by heteronormativity, such as the conflict between Rick and Shane. Chapter 2 focuses on the actual or attempted participation of characters such as Carol and Negan in queer relationships. Chapter 3 interprets zombies as queer antagonists to heteronormativity, while Chapter 4 explores the incorporation of zombies into the lives of characters such as the Governor and the Whisperers. The conclusion asserts that The Walking Dead presents both queer alternatives to and damaging contradictions within the traditional heterosexual family model, helping to question this model and to consider the struggle of queer American families. Overall, this study holds special interest for students and scholars of queerness, zombies, and the family.
Religious Imaging in Millennialist America: Dark Gnosis
by Ashley CrawfordAshley Crawford investigates how such figures as Ben Marcus, Matthew Barney, and David Lynch—among other artists, novelists, and film directors—utilize religious themes and images via Christianity, Judaism, and Mormonism to form essentially mutated variations of mainstream belief systems. He seeks to determine what drives contemporary artists to deliver implicitly religious imagery within a ‘secular’ context. Particularly, how religious heritage and language, and the mutations within those, have impacted American culture to partake in an aesthetic of apocalyptism that underwrites it.
The Reasonable Audience: Theatre Etiquette, Behaviour Policing, And The Live Performance Experience
by Kirsty SedgmanAudiences are not what they used to be. Munching crisps or snapping selfies, chatting loudly or charging phones onstage – bad behaviour in theatre is apparently on the rise. And lately some spectators have begun to fight back…The Reasonable Audience explores the recent trend of ‘theatre etiquette’: an audience-led crusade to bring ‘manners and respect’ back to the auditorium. This comes at a time when, around the world, arts institutions are working to balance the traditional pleasures of receptive quietness with the need to foster more inclusive experiences. Through investigating the rhetorics of morality underpinning both sides of the argument, this book examines how models of 'good' and 'bad' spectatorship are constructed and legitimised. Is theatre etiquette actually snobbish? Are audiences really more selfish? Who gets to decide what counts as ‘reasonable’ within public space?Using theatre etiquette to explore wider issues of social participation, cultural exclusion, and the politics of identity, Kirsty Sedgman asks what it means to police the behaviour of others.
Theatre in the Context of the Yugoslav Wars
by Jana Dolečki Senad Halilbašić Stefan HulfeldThis book assembles texts by renowned academics and theatre artists who were professionally active during the wars in former Yugoslavia. It examines examples of how various forms of theatre and performance reacted to the conflicts in Serbia, Croatia, Bosnia and Herzegovina, Slovenia, and Kosovo while they were ongoing. It explores state-funded National Theatre activities between escapism and denial, the theatre aesthetics of protest and resistance, and symptomatic shifts and transformations in the production of theatre under wartime circumstances, both in theory and in practice. In addition, it looks beyond the period of conflict itself, examining the aftermath of war in contemporary theatre and performance, such as by considering Ivan Vidić’s war trauma plays, the art campaigns of the international feminist organization Women in Black, and Peter Handke’s play Voyage by Dugout. The introduction explores correlations between the contributions and initiates a reflection on the further development of the research field. Overall, the volume provides new perspectives and previously unpublished research in the fields of theory and historiography of theatre, as well as Southeast European Studies.
Staging Loss: Performance as Commemoration
by Michael Pinchbeck Andrew WestersideThis book locates and critically theorises an emerging field of twenty-first century theatre practice concerned, either thematically, methodologically, or formally, with acts of commemoration and the commemorative. With notions of memorial, celebration, temporality and remembrance at its heart, and as a timely topic for debate, this book asks how theatre and performance intersects with commemorative acts or rituals in contemporary theatre and performance practice. It considers the (re)performance of history, commemoration as a form of, or performance of, ritual, performance as memorial, performance as eulogy and eulogy as performance. It asks where personal acts of remembrance merge with public or political acts of remembrance, where the boundary between the commemorative and the performative might lie, and how it might be blurred, broken or questioned. It explores how we might remake the past in the present, to consider not just how performance commemorates but how commemoration performs.
Translating across Sensory and Linguistic Borders: Intersemiotic Journeys between Media
by Ricarda Vidal Madeleine CampbellThis book analyses intersemiotic translation, where the translator works across sign systems and cultural boundaries. Challenging Roman Jakobson’s seminal definitions, it examines how a poem may be expressed as dance, a short story as an olfactory experience, or a film as a painting. This emergent process opens up a myriad of synaesthetic possibilities for both translator and target audience to experience form and sense beyond the limitations of words. The editors draw together theoretical and creative contributions from translators, artists, performers, academics and curators who have explored intersemiotic translation in their practice. The contributions offer a practitioner’s perspective on this rapidly evolving, interdisciplinary field which spans semiotics, cognitive poetics, psychoanalysis and transformative learning theory. The book underlines the intermedial and multimodal nature of perception and expression, where semiotic boundaries are considered fluid and heuristic rather than ontological. It will be of particular interest to practitioners, scholars and students of modern foreign languages, linguistics, literary and cultural studies, interdisciplinary humanities, visual arts, theatre and the performing arts.
The Formation of Chinese Art Cinema: 1990-2003
by Li YangThe Formation of Chinese Art Cinema: 1990–2003 examines the development of Chinese art film in the People’s Republic of China from 1990, when the first Sixth Generation film Mama was released, to 2003, when authorities acknowledged the legitimacy of underground filmmakers. Through an exploration of the production and consecration mechanisms of the new art wave and its representative styles, this book argues that the art wave of the 1990s fundamentally defined Chinese art cinema. In particular, this vital art wave was not enabled by democratic liberalism, but by the specific industrial development, in which the film system transitioned from Socialist propaganda into a commercialized entity. Allowing Chinese art film to grow but at the same time denying its legitimacy, this paradoxical transition process shaped Chinese art film’s institutional and aesthetical alternative positioning, which eventually helped consolidate the art wave into art cinema. Ultimately, this book is a history of the Chinese portion of global art cinema, which also reveals the complex Chinese cultural experiences during the Reform Era.
The Use of Asian Theatre for Modern Western Theatre: The Displaced Mirror (Palgrave Studies in Theatre and Performance History)
by Min TianThis book is a historical study of the use of Asian theatre for modern Western theatre as practiced by its founding fathers, including Aurélien Lugné-Poe, Adolphe Appia, Gordon Craig, W. B. Yeats, Jacques Copeau, Charles Dullin, Antonin Artaud, V. E. Meyerhold, Sergei Eisenstein, and Bertolt Brecht. It investigates the theories and practices of these leading figures in their transnational and cross-cultural relationship with Asian theatrical traditions and their interpretations and appropriations of the Asian traditions in their reactional struggles against the dominance of commercialism and naturalism. From the historical and aesthetic perspectives of traditional Asian theatres, it approaches this intercultural phenomenon as a (Euro)centred process of displacement of the aesthetically and culturally differentiated Asian theatrical traditions and of their historical differences and identities. Looking into the displaced and distorted mirror of Asian theatre, the founding fathers of modern Western theatre saw, in their imagination of the 'ghostly' Other, nothing but a (self-)reflection or, more precisely, a (self-)projection and emplacement, of their competing ideas and theories preconceived for the construction, and the future development, of modern Western theatre.
European Film and Television Co-production: Policy and Practice (Palgrave European Film and Media Studies)
by Julia Hammett-Jamart Petar Mitric Eva Novrup RedvallThis volume offers an up-to-date analysis of film and television co-production in Europe. It brings together the voices of policy professionals, industry practitioners and media industry scholars to trace the contours of a complex practice that is of increasing significance in the global media landscape. Analysis of the latest production statistics sits alongside interviews with producers and the critical evaluation of public film policies. The volume incorporates contributions from representatives of major public institutions—Eurimages, the European Audiovisual Observatory and the European Commission—and private production companies including the pan-European Zentropa Group. Policy issues are elucidated through case studies including the Oscar-winning feature film Ida, the BAFTA-winning I am not a Witch and the Danish television serial Ride Upon the Storm. Scholarly articles span co-development, co-distribution and regional cinemas as well as emerging policy challenges such as the digital single market. The combination of qualitative and quantitative approaches, and the juxtaposition of industry and scholarly voices, provides a unique perspective on European co-production that is information-rich, complex and stimulating, making this volume a valuable companion for students, scholars, and industry professionals.
Movie Making as Critical Pedagogy: Conscientization Through Visual Storytelling (Palgrave Studies In Communication For Social Change)
by Grady WalkerCan the stories people tell influence the way they see the world? This book seeks to address that question through a study of the viability of movie making as a critical pedagogy activity. Positioned at the intersection of education and communication for social change, it explores the relationship between the generation of subjective knowledge through storytelling and analysis, and systemic change. Central to the book is a case study from Nepal. By using video as the action element and analytical material of coursework, youth participants generated a new critical awareness, engendered by themes arising from group discussion. Through the analysis of these themes participants initiated an emergence known as conscientization. Led by two critical educators, participants used the production, screening, and analysis of their own movies to propel the course, or praxis, forward. This book seeks to inform the practice of critical pedagogy both practically and theoretically, and also offers a contribution to the fields of participatory action-research and communication for social change.
European Television Crime Drama and Beyond (Palgrave European Film and Media Studies)
by Kim Toft Hansen Steven Peacock Sue TurnbullThis book is the first to focus on the role of European television crime drama on the international market. As a genre, the television crime drama has enjoyed a long and successful career, routinely serving as a prism from which to observe the local, national and even transnational issues that are prevalent in society. This extensive volume explores a wide range of countries, from the US to European countries such as Spain, Italy, the Scandinavian countries, Germany, England and Wales, in order to reveal the very currencies that are at work in the global production and circulation of the TV crime drama. The chapters, all written by leading television and crime fiction scholars, provide readings of crime dramas such as the Swedish-Danish The Bridge, the Welsh Hinterland, the Spanish Under Suspicion, the Italian Gomorrah, the German Tatort and the Turkish Cinayet. By examining both European texts and the ‘European-ness’ of various international dramas, this book ultimately demonstrates that transnationalism is at the very core of TV crime drama in Europe and beyond.
Poetics of Slow Cinema: Nostalgia, Absurdism, Boredom
by Emre ÇağlayanThis book discusses slow cinema, a contemporary global production trend that has recently gained momentum in film theory and criticism. Slow films dispense with narrative progression in favour of a contemplative mood, which is stretched out to the extreme in order to impel viewers to confront cinematic temporality in all its undivided glory. Despite its critical reputation as an oblique mode of film practice, slow cinema continues to attract, challenge and provoke audiences. Focusing on filmmakers Béla Tarr, Tsai Ming-liang and Nuri Bilge Ceylan, this book identifies nostalgia, absurd humour and boredom as intrinsic dimensions of slow cinema and explores the ways in which these directors negotiate local filmmaking conventions with the demands of a global cinephile niche. As the first study to treat slow cinema both as an aesthetic style and as an institutional discourse, Poetics of Slow Cinema offers an illuminating perspective on the tradition’s historical genealogy and envisions it with a Janus-faced disposition in the age of digital technologies—lamenting at once the passing of difficult, ambiguous modernist film and capitalizing on the yearning for its absence.
A Post-Nationalist History of Television in Ireland
by Edward BrennanThis book explores the question of how society has changed with the introduction of private screens. Taking the history of television in Ireland as a case study due to its position at the intersection of British and American media influences, this work argues that, internationally, the transnational nature of television has been obscured by a reliance on institutional historical sources. This has, in turn, muted the diversity of audience experiences in terms of class, gender and geography. By shifting the focus away from the default national lens and instead turning to audience memories as a key source, A Post-Nationalist History of Television in Ireland defies the notion of a homogenous national television experience and embraces the diverse and transnational nature of watching television. Turning to people’s memories of past media, this study ultimately suggests that the arrival of the television in Ireland, and elsewhere, was part of a long-term, incremental change where the domestic and the intimate became increasingly fused with the global.
Critical Distance in Documentary Media
by Gerda Cammaer Blake Fitzpatrick Bruno LessardThis 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.