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Postmodernism, with its interrogation of reality and the im/possibility of representation, presented a legitimation crisis for the documentary which would potentially signal the end. Gauging by the renewed interest in the documentary tradition (in theory and practice) it is obvious that postmodernism had the reverse effect on documentary, freeing a filmmaking practice that had become hopelessly trapped within its own representational contradictions. In response to the challenge postmodernism presented, documentary theorists and filmmakers cleared a new space for documentary, and in the process reconsidered the limitations of Western epistemology and the ideal of 'representing reality'. This new space is reflected in the renewed interest in a new and more self-reflexive documentary theory and practice from the early 1980's onward. This essay will examine the transition which the documentary tradition has undergone in light of the shift from modernity to postmodernity: the shift from Grierson's heavily didactic social documentary to cinema verite and direct cinema and, finally, to the self-reflexive postmodern documentary. A textual analysis of Patricia Gruben's Leylines (1993), a recent postmodern documentary, will allow me to demonstrate how the contemporary documentary deals with the postmodern questions of history, representation, authority, knowledge, and subjectivity. (Abstract shortened by UMI.)

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This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a theoretical framework that responds to matters of intersectionality and criticality in relation to the analysis of representations of disability. To this end, I employ a mixed method design, which is based on participant observation, the methods of the written festival and a critical disability studies (crip) analysis for examining selected documentary films alongside a thematic analysis of semi-structured interviews that were conducted with disabled viewers who attended the Emotion Pictures – Documentary and Disability Film Festival in Athens, Greece. Its findings indicate that representations of documentary films familiarise viewers with disability. This familiarisation and the development of political engagement by depicting crip killjoys are the key elements that create representations of a different context and meaning in comparison to those produced by media and fiction films. My analysis reveals that depictions of crip killjoys who are conscious of their political identity, speak out and take action are depictions that ask for political engagement. As such, they can produce good staring. Visibility and social dialogue are two of the benefits of disability film festivals that are highlighted by disabled viewers.