Virtual Library

This first collection of essays to focus exclusively on queer, lesbian, and gay documentary argues that documentary films and videos speak with a sense of political and social urgency, acting as testaments to the importance of reclaiming history and asserting the importance of these points of view. 

From film festivals to university campuses, from private homes to first-run theaters, people everywhere are viewing and discussing gay, lesbian, queer, bisexual, and transgender films and videos. Between the Sheets, In the Streets considers these videos and films, testifying to the unavoidable connections between sexuality (the sheets) and activism (the streets) for all who identify as gay, lesbian, or queer in the 1990s.

The activist documentary program Challenge for Change/Société nouvelle, which ran from 1967 to 1980 and produced films in both French and English, stands out as a particularly influential and original part of the National Film Board of Canada's critically acclaimed body of work. The films produced by this program were among the first to add portable video to the tested arsenal of 16mm, and challenged audiences, subjects, and filmmakers to confront sexism, poverty, and marginalization in the hope of developing community as well as political awareness and empowerment.

Pioneering participatory, social change-oriented media, the program had a national and international impact on documentary film-making, yet this is the first comprehensive history and analysis of its work. The volume's contributors study dozens of films produced by the program, their themes, aesthetics, and politics, and evaluate their legacy and the program's place in Canadian, Québécois, and world cinema. An informative and nuanced look at a cinematic movement, Challenge for Change reemphasizes not just the importance of the NFB and its programs but also the role documentaries can play in improving the world.

Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the past one hundred years. Leshu Torchin’s broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response, ultimately calling on viewers to act on behalf of human rights.

On the heels of Woodstock, a group of teen campers are inspired to join the fight for disability civil rights. A spirited look at grassroots activism.

Documentary Testimonies examines documentary films that compel us to bear witness, move us to anger or tears, and possibly mobilize us to action.

Comprising ten new essays and a substantive introduction, this interdisciplinary volume examines audiovisual testimonial practices, forms, and institutions. Topics include: technologies of capture, storage and circulation; problems of historical veracity/frail memory; generation of video archives--official, renegade, and ephemeral; limits and potentialities of documentary as public record; architectonics of memory; ethics of witnessing and commemoration; human rights and activist publics.

The essays provide in-depth analysis of archives of social suffering tied to particular locales: Cambodia, Chiapas, Darfur, India, Indonesia, Korea, New Orleans, Norway, Rwanda, South Africa, and Washington, DC. The contributors focus on the generation and use of testimony by public administrators and institutions, human rights activists, documentary filmmakers, and others with interest in environmental justice, human rights, social advocacy, and the commemoration/prevention of genocide. Thus, this volume aims to investigate, from a critical and translocal perspective, testimony as social practice.

In this exciting interdisciplinary collection, scholars, activists, and media producers explore the emergence of Indigenous media: forms of media expression conceptualized, produced, and created by Indigenous peoples around the globe. The contributors describe how native peoples use both traditional and new media to combat discrimination, advocate for resources and rights, and preserve their cultures, languages, and aesthetic traditions. By representing themselves in a variety of media, Indigenous peoples are also challenging misleading mainstream and official state narratives, forging international solidarity movements, and bringing human rights violations to international attention.

This volume addresses Indigenous self-representation across many media forms, including feature film, documentary, animation, video art, television and radio, the Internet, digital archiving, and journalism. Together the essays reveal the crucial role of Indigenous media in contemporary media at every level: local, regional, national, and international.

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to “give a voice to the voiceless,” an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations—tropes that reinforce their status as the “other” and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other.

Can a modern democracy impose a prolonged military occupation on another people while retaining its core democratic values? Since Israel conquered the territories of the West Bank and Gaza Strip in the 1967 war, the military has imposed thousands of orders and laws, established military courts, sentenced hundreds of thousands of Palestinians, enabled half a million Israeli "settlers" to move to the Occupied Territories and developed a system of long-term jurisdiction by an occupying army that is unique in the entire world.

The Law In These Parts attempts to ask some crucial questions that are often skirted or avoided: Can such an occupation be achieved within a legal framework that includes genuine adherence to the principles of rule-of-law? Should it? What are the costs that a society engaged in such a long term exercise must bear? And what are the implications of the very effort to make a documentary film about such a system?

After becoming a mother, a filmmaker uncovers the untold history of China's one-child policy and the generations of parents and children forever shaped by this social experiment.

The wave of uprisings and revolutions that swept the Middle East and North Africa between 2010 and 2012 were most vividly transmitted throughout the world not by television or even social media, but in short videos produced by the participants themselves and circulated anonymously on the internet.

In The People Are Not an Image, Snowdon explores this radical shift in revolutionary self-representation, showing that the political consequences of these videos cannot be located without reference to their aesthetic form. Looking at videos from Tunisia, Bahrain, Syria, Libya, and Egypt, Snowdon attends closely to the circumstances of both their production and circulation, drawing on a wide range of historical and theoretical material, to discover what they can tell us about the potential for revolution in our time and the possibilities of video as a genuinely decentralised and vernacular medium.