Television and globalization have transformed the traditional documentary almost beyond recognition, converting what was once a film genre devoted to public service and education into a popular televisual commodity with productions ranging from serious public affairs programming to TV "reality" shows and "docusoaps." Realer Than Reel offers a state-of-the-art overview of international documentary programming that investigates the possibilities documentary offers for local and public representation in a global age, as well as what actually constitutes documentary in a time of increasing digitalization and manipulation of visual media. David Hogarth focuses on public affairs, nature, and reality shows from around the world, drawing upon industry data, producer interviews, analyses of selected documentary programs, and firsthand observations of market sites. He looks at how documentary has become a transnational product through exports, co-ventures, and festival contacts; how local and regional "place" is represented in global documentary, especially by producers such as Discovery Networks International and the National Geographic Channel; how documentary addresses the needs of its viewers as citizens through public service broadcasting; and how documentary is challenging accepted conventions of factuality, sense, and taste. The concluding chapter considers the future of both documentary as a genre and television as a global factual medium, asking whether TV will continue to "document" the world in any meaningful sense of the term.

He concludes with a discussion of the recent international success of documentary television as one of Canada''s leading cultural exports, examining the effects of globalization and looking forward to the future of this genre. While principally an overview of the last half century and an analysis of current conditions, Documentary Television in Canada also includes detailed analysis of selected programs, such as the For the Record series on schizophrenia, "Warrendale" (by Allan King), "Images of Canada" (by Vincent Tovell), "The Valour and The Horror" episode, "Death by Moonlight" and "Shooting Indians" (by Ali Kazimi) among others.

This is the story of a young boy growing up in the seaside town of Blackpool. He is the youngest member of a typical loving family of four. The era is the nineteen sixties and despite having a very close bond with his mother, David has quite a job coming to terms with everything else. This includes School, God, Santa Claus and pretty much all other categories in-between.Later in life when he loses his Mum to dementia aged 81, things begin to take a downwards turn. The loss has affected him much more than he had ever expected. He loses interest in most things, until suddenly a number of unusual events begin to mysteriously point him back in the direction of all the things he loved - music, art and humour, to name but a few. Is someone somewhere trying to tell him something, and if so, who? As events begin to unfold and the universe starts to make a lot more sense, David realises that maybe he is finally moving towards happiness and his true life's purpose. Something that his mum and dad would have surely approved of. More reading and writing, and having a lot more faith.

Television and globalization have transformed the traditional documentary almost beyond recognition, converting what was once a film genre devoted to public service and education into a popular televisual commodity with productions ranging from serious public affairs programming to TV "reality" shows and "docusoaps." Realer Than Reel offers a state-of-the-art overview of international documentary programming that investigates the possibilities documentary offers for local and public representation in a global age, as well as what actually constitutes documentary in a time of increasing digitalization and manipulation of visual media. David Hogarth focuses on public affairs, nature, and reality shows from around the world, drawing upon industry data, producer interviews, analyses of selected documentary programs, and firsthand observations of market sites. He looks at how documentary has become a transnational product through exports, co-ventures, and festival contacts; how local and regional "place" is represented in global documentary, especially by producers such as Discovery Networks International and the National Geographic Channel; how documentary addresses the needs of its viewers as citizens through public service broadcasting; and how documentary is challenging accepted conventions of factuality, sense, and taste. The concluding chapter considers the future of both documentary as a genre and television as a global factual medium, asking whether TV will continue to "document" the world in any meaningful sense of the term.

He concludes with a discussion of the recent international success of documentary television as one of Canada''s leading cultural exports, examining the effects of globalization and looking forward to the future of this genre. While principally an overview of the last half century and an analysis of current conditions, Documentary Television in Canada also includes detailed analysis of selected programs, such as the For the Record series on schizophrenia, "Warrendale" (by Allan King), "Images of Canada" (by Vincent Tovell), "The Valour and The Horror" episode, "Death by Moonlight" and "Shooting Indians" (by Ali Kazimi) among others.

This is the story of a young boy growing up in the seaside town of Blackpool. He is the youngest member of a typical loving family of four. The era is the nineteen sixties and despite having a very close bond with his mother, David has quite a job coming to terms with everything else. This includes School, God, Santa Claus and pretty much all other categories in-between.Later in life when he loses his Mum to dementia aged 81, things begin to take a downwards turn. The loss has affected him much more than he had ever expected. He loses interest in most things, until suddenly a number of unusual events begin to mysteriously point him back in the direction of all the things he loved - music, art and humour, to name but a few. Is someone somewhere trying to tell him something, and if so, who? As events begin to unfold and the universe starts to make a lot more sense, David realises that maybe he is finally moving towards happiness and his true life's purpose. Something that his mum and dad would have surely approved of. More reading and writing, and having a lot more faith.