Abstract and Keywords
This article appears in the Oxford Handbook of Sound and Image in Digital Media edited by Carol Vernallis, Amy Herzog, and John Richardson. This essays looks at ways in which documentary films have, over the course of their history, appropriated new technology in their pursuit of greater realism. It takes as its primary focus the use of lightweight, handheld digital cameras by Agnes Varda in The Gleaners and I (2000) and Trinh T. Minh-ha in The Fourth Dimension (2001), arguing that Varda uses the new technology to extend her practice of cinécriture, viewing the camera as an extension of her hand, whereas Minh-ha uses it to challenge the coherence of representation, breaking it down into discrete pixels.
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