This book explores the ways in which the political and social power
structures between filmmaker and protagonist are manifested in the
aesthetics of documentary film. Using a synthesis of filmmaking
practice and critical theories from the fields of cultural studies
and political philosophy, the research devises methodological
approaches to the analysis of documentaries in light of the
political and material conditions of their emergence. By exploring
filmmaking practice and placing it in the context of wider theories
pertaining to issues of power structures and representation, it
sheds light on the different aspects which must be considered when
approaching the analysis of a documentary film for its ideological
and political content.
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