Awards

• Winner of Best Edited Collection in Popular and American Culture 2021 (United States)
• Winner of Ray and Pat Browne Culture Award - Bests Critically Edited Volume 2021 (United States)

Overview

Full Product Details

9780253056887

Table of Contents

Reviews

Anderson and Milliken's book is no less than a groundbreaking study. Its exclusive focus on popular documentaries digs an alternative route next to the lane of popular fiction. -- Ohad Landesman, Tel Aviv University Milliken and Anderson's excellent volume on popular documentary is both a long time coming and absolutely rooted in this moment in the history of documentary media. The volume fills an almost shocking gap in scholarly writing on popular documentary-especially given the value documentary studies places on its connection with the political-and it does so as the stakes of shared knowledge of the world have never been higher. Together, the chapters in this volume compellingly explore a range of documentary media forms while always interrogating what the popular actually entails. -- Josh Malitsky, author of A Companion to Documentary Film History More and more often I encounter first-year students who arrive at college and tell me right away that they love documentaries-thanks, I believe, to the rising popularity of the form on streaming sites like Netflix. . . . They and many, many viewers are consuming just the kinds of popular documentary texts that this collection addresses. -- Jennifer Malkowski, author of Dying in Full Detail: Morality and Digital Documentary

Author Information

Christie Milliken is Associate Professor in the Department of Communication, Popular Culture and Film at Brock University. She is author of journal articles and book chapters on sex education film and video, 1960s cinema, and AIDS video activism. Steve F. Anderson is Professor of Digital Media in the UCLA School of Theater, Film and Television and in the Department of Design Media Arts. He is author of Technologies of History: Visual Media and the Eccentricity of the Past and Technologies of Vision: The War Between Data and Images.

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