Documentary''s Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens'' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the ''twenty-first-century documentary,'' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Documentary''s Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens'' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the ''twenty-first-century documentary,'' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.

Documentary''s Expanded Fields: New Media and the Twenty-First-Century Documentary offers a theoretical mapping of contemporary non-standard documentary practices enabled by the proliferation of new digital imaging, lightweight and non-operator digital cameras, multiscreen and interactive interfaces, and web 2.0 platforms. These emergent practices encompass digital data visualizations, digital films that experiment with the deliberate manipulation of photographic records, documentaries based on drone cameras, GoPros, and virtual reality (VR) interfaces, documentary installations in the gallery, interactive documentary (i-doc), citizens'' vernacular online videos that document scenes of the protests such as the Arab Spring, the Hong Kong Protests, and the Black Lives Matter Movements, and new activist films, videos, and archiving projects that respond to those political upheavals. Building on the interdisciplinary framework of documentary studies, digital media studies, and contemporary art criticism, Jihoon Kim investigates the ways in which these practices both challenge and update the aesthetic, epistemological, political, and ethical assumptions of traditional film-based documentary. Providing a diverse range of case studies that classify and examine these practices, the book argues that the new media technologies and the experiential platforms outside the movie theater, such as the gallery, the world wide web, and social media services, expand five horizons of documentary cinema: image, vision, dispositif, archive, and activism. This reconfiguration of these five horizons demonstrates that documentary cinema in the age of new media and platforms, which Kim labels as the ''twenty-first-century documentary,'' dynamically changes its boundaries while also exploring new experiences of reality and history in times of the contemporary crises across the globe, including the COVID-19 pandemic.