• Acknowledgments Notes on Contributors Foreword: Why Documentaries Matter Introduction: The Filmed Documentary PART I: DOCUMENTARY VALUES
• 1. The Question of Evidence, the Power of Rhetoric and Documentary Film-- Bill Nichols
• 2. 'I'll Believe It When I Trust the Source': Documentary Images and Visual Evidence-- Carl Plantinga
• 3. 'The Performance Documentary': The Performing Film-Maker, the Acting Subject-- Stella Bruzzi
• 4. On Truth, Objectivity and Partisanship: The Case of Michael Moore-- Douglas Kellner
• 5. CGI and the End of Photography as Evidence-- Taylor Downing
• 6. Drawn From Life: The Animated Documentary-- Andy Glynne
• 7. Dramadoc? Docudrama? The Limits and Protocols of a Televisual Form-- Derek Paget
• 8. Ambiguous Audiences-- Annette Hill
• 9. Life As Narrativised-- Brian Winston
• 10. The Dance of Documentary Ethics-- Pratap Rughani
• 11. Deaths, Transfigurations and the Future-- John Corner PART II: DOCUMENTARY PARADIGMS
• 12. Problems in Historiography: The Documentary Tradition Before Nanook of the North-- Charles Musser
• 13. John Grierson and the Documentary Film Movement-- Ian Aitken
• 14. Challenges For Change: Canada's National Film Board-- Thomas Waugh and Ezra Winton
• 15. Grierson's Legacies: Australia and New Zealand-- Deane Williams
• 16. New Deal Documentary and the North Atlantic Welfare State-- Zoe Druick and Jonathan Kahana
• 17. The Triumph of Observationalism: Direct Cinema in the USA-- Dave Saunders
• 18. Russian and Soviet Documentary: From Vertov to Sokurov-- Ian Christie
• 19. The Radical Tradition in Documentary Film-making, 1920s-50s-- Bert Hogenkamp
• 20. Le Groupe des trente: The Poetic Tradition-- Elena Von Kassel Siambani
• 21. Cinema Verite: Vertov Revisited-- Genevieve Van Cauwenberge
• 22. Beyond Sobriety: Documentary Diversions-- Craig Hight PART III: DOCUMENTARY HORIZONS
• 23. Eastwards-- Abe Mark Nornes
• 24. Africa N.-- Frank Ukadike
• 25. Images From the South: Contemporary Documentary in Argentina and Brazil-- Ana Amado and Maria Dora Mourao
• 26. 'Roadblock' Films, 'Children's Resistance' Films and 'Blood Relations' Films: Israeli and Palestinian Documentary Post-Intifada-- Il Raya Morag
• 27. Sacred, Mundane and Absurd Revelations of the Everyday - Poetic Verite in the Eastern European Tradition-- Susanna Helke PART IV: DOCUMENTARY VOICES
• 28. First-Person Political-- Alisa Lebow
• 29. Feminist Documentaries: Finding, Seeing and Using Them-- Julia Lesage
• 30. Pioneers of Black Documentary Film-- Pearl Bowser
• 31. LGTBs' Documentary Identity-- Christopher Pullen
• 32. Docusoaps: The Ordinary Voice as Popular Entertainment-- Richard Kilborn
• 33. Reality TV: A Sign of the Times?-- Anita Biressi and Heather Nunn PART V: DOCUMENTARY DISCIPLINES
• 34. Anthropology: The Evolution of Ethnographic Film-- Paul Henley
• 35. Science, Society and Documentary-- Tim Boon
• 36. History Documentaries for Television-- Ann Gray
• 37. Music, Documentary, Music Documentary-- Michael Chanan
• 38. Art, Documentary as Art-- Michael Renov PART VI: DOCUMENTARY FUTURES
• 39. Documentary as Open Space-- Helen de Michiel and Patricia R. Zimmermann
• 40. 'This Great Mapping of Ourselves': New Documentary Forms Online-- John Dovey and Mandy Rose
• 41. New Platforms for 'Docmedia': 'Varient of a Manifesto'-- Peter Wintonick Afterword: The Unchanging Question-- Brian Winston Index.
• (source: Nielsen Book Data)

Powerfully posing questions of ethics, ideology, authorship and form, documentary film has never been more popular than it is today. Edited by one of the leading British authorities in the field, The Documentary Film Book is an essential guide to current thinking on documentary film. In a series of fascinating essays, key international experts discuss the theory of documentary, outline current understandings of its history (from pre-Flaherty to the post-Griersonian world of digital 'i-Docs'), survey documentary production (from Africa to Europe, and from the Americas to Asia), consider documentaries by marginalised minority communities, and assess its contribution to other disciplines and arts. Brought together here in one volume, these scholars offer compelling evidence as to why, over the last few decades, documentary has come to the centre of screen studies.
(source: Nielsen Book Data)

In Imaging Reality: The Faber Book of Documentary, Oscar-winning documentary-maker Kevin Macdonald (One Day in September, Touching the Void) and leading broadcaster/historian Mark Cousins (The Story of Film) offer an expanded, revised edition of their 'definitive, inspirational' (Independent) compendium on the roots and history of the documentary film. Imagining Reality takes the reader on a tour of the evolution of documentary film as an increasingly vibrant, polemical, experimental and entertaining form. It gathers a wide-ranging collection of writings by and about such groundbreaking documentary-makers as Vertov, Flaherty, Marcel Ophuls, Chris Marker, Kieslowski, Claude Lanzmann, and Nick Broomfield. The story is carried up to date by attention to the success documentaries have had among mainstream movie audiences in recent years, including Michael Moore's Bowling For Columbine and Fahrenheit 9/11, The Buena Vista Social Club, Spellbound, Capturing The Friedmans, Etre Et Avoir, and The Fog Of War.
(source: Nielsen Book Data)

Ben wen xian she ji de nei rong guang fan, bao gua ji lu dian ying qi yuan yu li shi, dao yan yu zuo pin, fang fa yu ji qiao, li lun yu mei xue, dian shi yu ji lu, xian zhuang yu wei lai deng fang mian.

This work rewrites the history of documentary film to take account of technological change. Winston explores the role of such figures as Grierson, Flaherty and Dziga Vertov, and examines both the principles and practice of the major movements in documentary, such as "cinema verite". He offers a revised definition of the essential difference between fiction and documentary, and identifies the ethical base of any film practice which attempts to capture "truth".
(source: Nielsen Book Data)

• Prólogo / Ismail Xavier
• Introducción
• Capítulo I. Vistas, actualidades y "travelogues"
• Capítulo II. Modernidad, progreso y Estado nación
• Capítulo III. La representación de las ciudades
• Capítulo IV. La cuestión social y los sujetos populares
• Capítulo V. Otras caras de la modernidad: la educación, la ciencia y la salud
• Capítulo VI. La producción de riqueza: el cobre y el caucho
• Capítulo VII. Los "travelogues": la mirada desde el otro.