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.

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 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 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 This captivating collection which should certainly spur new debates in the field of documentary studies, hopefully with a new focus on the role of the popular and its implications.- Lance Hayward, University of Warwick, UK (Critical Studies in Television)

• AcknowledgmentsPart I: Popular Documentary Today1. Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts, by Christie Milliken and Steve F. Anderson2. Reclaiming the Popular for Public Interest Documentary, by Ezra WintonPart II: Documentary Ecologies3. Public Television's Role in the U.S. Documentary Ecology, by Patricia Aufderheide4. On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre, by Zoë Druick5. Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography, by Devon CouttsPart III: Short Forms and Web Practices6. From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries, by Sabiha Ahmad Khan7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex

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.

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 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 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 This captivating collection which should certainly spur new debates in the field of documentary studies, hopefully with a new focus on the role of the popular and its implications.- Lance Hayward, University of Warwick, UK (Critical Studies in Television)

• AcknowledgmentsPart I: Popular Documentary Today1. Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts, by Christie Milliken and Steve F. Anderson2. Reclaiming the Popular for Public Interest Documentary, by Ezra WintonPart II: Documentary Ecologies3. Public Television's Role in the U.S. Documentary Ecology, by Patricia Aufderheide4. On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre, by Zoë Druick5. Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography, by Devon CouttsPart III: Short Forms and Web Practices6. From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries, by Sabiha Ahmad Khan7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex

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.

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 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 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 This captivating collection which should certainly spur new debates in the field of documentary studies, hopefully with a new focus on the role of the popular and its implications.- Lance Hayward, University of Warwick, UK (Critical Studies in Television)

• AcknowledgmentsPart I: Popular Documentary Today1. Pop Docs: The Work of Popular Documentary in the Age of Alternate Facts, by Christie Milliken and Steve F. Anderson2. Reclaiming the Popular for Public Interest Documentary, by Ezra WintonPart II: Documentary Ecologies3. Public Television's Role in the U.S. Documentary Ecology, by Patricia Aufderheide4. On (Not) Falling from the Sky: Fly-Over Global Documentary as Capitalist Body Genre, by Zoë Druick5. Accelerating Deceleration: Slow Violence and Time-Lapse Cinematography, by Devon CouttsPart III: Short Forms and Web Practices6. From Elegy to Kitsch: Spectacles of Epistephelia in Food, Inc. and Early Food Documentaries, by Sabiha Ahmad Khan7. Errol Morris, The New York Times, Docmedia, and Op-Docs as Pop Docs, by Anthony Kinik8. Popular Music & Short Form Nonfiction: Is the Web a Forum for Documentary Innovation?, by Michael Brendan BakerPart IV: Auteurs, Politics and Popularity9. From the Essay Film to the Video Essay: Between the Critical and the Popular, by Allison de Fren10. Errol Morris and the Ends of Irony, by Jonathan Kahana11. Vérite: Lauren Greenfield and the Challenge of Feminist Documentary, by Shilyh WarrenPart V: Documentary Genres12. Citizenfour and the Anti-Representational Turn: Aesthetics of Failure in the Information Age, by S. Topiary Landberg13. Of Kids and Sharks: Victims, Heroes and the Politics of Melodrama in Popular Documentary, by Christie Milliken14. Strategies of the Popular Music Documentary's Recovery Mode, by Landon PalmerPart VI: Engaging Audiences15. Assembling Nanking: Archival Filmmaking in the Popular Historical Documentary, by Dylan Nelson16. Virality is Virility: Viral Media, Popularity and Violence, by Alexandra Juhasz17. Populism, Participation and Perpetual Incompletion: Performing an Urban History Commons, by Rick Prelinger18. The Armchair Juror: Audience Engagement in True Crime Documentaries, by George S. Larke-Walsh19. New (Old) Ontologies of Documentary, by Steve F. AndersonIndex