Camille Deprez is Research Assistant Professor, Academy of Film, Hong Kong Baptist University. A specialist of Indian documentary cinema and French colonial documentary in Asia, she is the co-editor of Post-1990 Documentary: Reconfiguring Independence (Edinburgh University Press, 2015). Judith Pernin is Post-Doctoral Research Fellow at the French Centre for Research on Contemporary China (CEFC) in Hong Kong. Her research area is in the history of Chinese documentary film, and post-1990 independent documentary film and visual arts in China.

Camille Deprez and Judith Pernin have gathered together a collection of in-depth case studies which raise many critical questions relating to the field of documentary film studies. The breadth and scope of this book, the novelty of approaches and topics contained within it, the variety of contexts explored, and arguments raised, will be of interest to film scholars, students and practitioners alike.

• Acknowledgments; Introduction, Camille Deprez and Judith Pernin; Part 1: History and Spaces of Resistance; CH. 1: Post-unification (East) German Documentary and the Contradictions of Identity, Barton Byg; Chapter 2: No Going Back: Continuity and Change in Australian Documentary, Deane Williams and John Hughes; Chapter 3: A Space in Between: The Legacy of the Activist Documentary Film in India, Camille Deprez; Chapter 4: Languages, Speech and Voice: The Heritage of Jean Rouch and Pier Paolo Pasolini in Convention: Black Wall / White Holes, Eric Galmard; Chapter 5: Chris Marker: Interactive Screen and Memory, Kristian Feigelson; Part 2: The Personal Experience; Chapter 6: The Survivor-Perpetrator Encounter and the Truth Archive in Rithy Panh’s Documentaries, Raya Morag; Chapter 7: Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries, Juliette Goursat; Chapter 8: ‘We All Invented Our Own Algeria’: Habiba Djahnine’s Letter to My Sister as Memory-Narrative, Sheila Petty; Chapter 9: From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa, Liani Maasdorp; Chapter 10: A Personal Vision of the Hong Kong Cityscape in Anson Mak's Essayistic Documentary Films One Way Street on a Turntable and On the Edge of a Floating City, We Sing, Mike Inghaml Part 3: Displacement, Participation and Spectatorship; Chapter 11: Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace, Aida Vallejo; Chapter 12: Material Traces of Lebanon: A Documentary Aesthetics of Feeling in the Art Gallery, Tess Takahashi; Chapter 13: Autonomous Navigation? Multiplicity and Self-reflexive Aesthetics in Sergio Basso’s Documentary Film Giallo a Milano and Web Documentary Made in Chinatown, Hilary Chung and Bernadette Luciano; Chapter 14: Fukushima and the Shifting Conventions of Documentary: From Broadcast to Social Media Netizenship, Mick Broderick and Robert Jacobs; Chapter 15: Independent Documentaries and Online Uses in China: From Cinephilia to Activism, Judith Pernin; Conclusion, Camille Deprez and Judith Pernin.

Camille Deprez is Research Assistant Professor, Academy of Film, Hong Kong Baptist University. A specialist of Indian documentary cinema and French colonial documentary in Asia, she is the co-editor of Post-1990 Documentary: Reconfiguring Independence (Edinburgh University Press, 2015). Judith Pernin is Post-Doctoral Research Fellow at the French Centre for Research on Contemporary China (CEFC) in Hong Kong. Her research area is in the history of Chinese documentary film, and post-1990 independent documentary film and visual arts in China.

Camille Deprez and Judith Pernin have gathered together a collection of in-depth case studies which raise many critical questions relating to the field of documentary film studies. The breadth and scope of this book, the novelty of approaches and topics contained within it, the variety of contexts explored, and arguments raised, will be of interest to film scholars, students and practitioners alike.

• Acknowledgments; Introduction, Camille Deprez and Judith Pernin; Part 1: History and Spaces of Resistance; CH. 1: Post-unification (East) German Documentary and the Contradictions of Identity, Barton Byg; Chapter 2: No Going Back: Continuity and Change in Australian Documentary, Deane Williams and John Hughes; Chapter 3: A Space in Between: The Legacy of the Activist Documentary Film in India, Camille Deprez; Chapter 4: Languages, Speech and Voice: The Heritage of Jean Rouch and Pier Paolo Pasolini in Convention: Black Wall / White Holes, Eric Galmard; Chapter 5: Chris Marker: Interactive Screen and Memory, Kristian Feigelson; Part 2: The Personal Experience; Chapter 6: The Survivor-Perpetrator Encounter and the Truth Archive in Rithy Panh’s Documentaries, Raya Morag; Chapter 7: Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries, Juliette Goursat; Chapter 8: ‘We All Invented Our Own Algeria’: Habiba Djahnine’s Letter to My Sister as Memory-Narrative, Sheila Petty; Chapter 9: From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa, Liani Maasdorp; Chapter 10: A Personal Vision of the Hong Kong Cityscape in Anson Mak's Essayistic Documentary Films One Way Street on a Turntable and On the Edge of a Floating City, We Sing, Mike Inghaml Part 3: Displacement, Participation and Spectatorship; Chapter 11: Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace, Aida Vallejo; Chapter 12: Material Traces of Lebanon: A Documentary Aesthetics of Feeling in the Art Gallery, Tess Takahashi; Chapter 13: Autonomous Navigation? Multiplicity and Self-reflexive Aesthetics in Sergio Basso’s Documentary Film Giallo a Milano and Web Documentary Made in Chinatown, Hilary Chung and Bernadette Luciano; Chapter 14: Fukushima and the Shifting Conventions of Documentary: From Broadcast to Social Media Netizenship, Mick Broderick and Robert Jacobs; Chapter 15: Independent Documentaries and Online Uses in China: From Cinephilia to Activism, Judith Pernin; Conclusion, Camille Deprez and Judith Pernin.

Camille Deprez is Research Assistant Professor, Academy of Film, Hong Kong Baptist University. A specialist of Indian documentary cinema and French colonial documentary in Asia, she is the co-editor of Post-1990 Documentary: Reconfiguring Independence (Edinburgh University Press, 2015). Judith Pernin is Post-Doctoral Research Fellow at the French Centre for Research on Contemporary China (CEFC) in Hong Kong. Her research area is in the history of Chinese documentary film, and post-1990 independent documentary film and visual arts in China.

Camille Deprez and Judith Pernin have gathered together a collection of in-depth case studies which raise many critical questions relating to the field of documentary film studies. The breadth and scope of this book, the novelty of approaches and topics contained within it, the variety of contexts explored, and arguments raised, will be of interest to film scholars, students and practitioners alike.

• Acknowledgments; Introduction, Camille Deprez and Judith Pernin; Part 1: History and Spaces of Resistance; CH. 1: Post-unification (East) German Documentary and the Contradictions of Identity, Barton Byg; Chapter 2: No Going Back: Continuity and Change in Australian Documentary, Deane Williams and John Hughes; Chapter 3: A Space in Between: The Legacy of the Activist Documentary Film in India, Camille Deprez; Chapter 4: Languages, Speech and Voice: The Heritage of Jean Rouch and Pier Paolo Pasolini in Convention: Black Wall / White Holes, Eric Galmard; Chapter 5: Chris Marker: Interactive Screen and Memory, Kristian Feigelson; Part 2: The Personal Experience; Chapter 6: The Survivor-Perpetrator Encounter and the Truth Archive in Rithy Panh’s Documentaries, Raya Morag; Chapter 7: Contesting Consensual Memory: The Work of Remembering in Chilean Autobiographical Documentaries, Juliette Goursat; Chapter 8: ‘We All Invented Our Own Algeria’: Habiba Djahnine’s Letter to My Sister as Memory-Narrative, Sheila Petty; Chapter 9: From the Ashes: The Fall of Apartheid and the Rise of the Lone Documentary Filmmaker in South Africa, Liani Maasdorp; Chapter 10: A Personal Vision of the Hong Kong Cityscape in Anson Mak's Essayistic Documentary Films One Way Street on a Turntable and On the Edge of a Floating City, We Sing, Mike Inghaml Part 3: Displacement, Participation and Spectatorship; Chapter 11: Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace, Aida Vallejo; Chapter 12: Material Traces of Lebanon: A Documentary Aesthetics of Feeling in the Art Gallery, Tess Takahashi; Chapter 13: Autonomous Navigation? Multiplicity and Self-reflexive Aesthetics in Sergio Basso’s Documentary Film Giallo a Milano and Web Documentary Made in Chinatown, Hilary Chung and Bernadette Luciano; Chapter 14: Fukushima and the Shifting Conventions of Documentary: From Broadcast to Social Media Netizenship, Mick Broderick and Robert Jacobs; Chapter 15: Independent Documentaries and Online Uses in China: From Cinephilia to Activism, Judith Pernin; Conclusion, Camille Deprez and Judith Pernin.