Indian Documentary Film and Filmmakers Practicing Independence

Shweta Kishore lectures in Film and Media at RMIT University in Ho Chi Minh City, and leads creative research collaborations with contemporary Vietnamese women artists. She gained a PhD from Monash university and is also a documentary practitioner. Her interests include how film studies, gender and social theory intersect in writing, and making and curating independent documentary film as a mode of critical and political practice.

List of Illustrations
Acknowledgements
Introduction

1. Histories and Cultures: Space, Filmmaker, Text, Spectator
Public Space and Democratic Instruments
An Involved Filmmaker
Text, Representation and Reflexivity
Spectator and Horizontal Communication

2. Method and Meaning
Filmmakers, Histories, Concerns, Aesthetics
Artisanal Production
Documentary as Signifying Practice

3. Documentary Financing and Production
NGOS and Useful Media
Institutionally Managed Practice
Self-Managed Practice
A Tactics of Practice; Decapitalisation and De-economisation

4. Documentary Circulation and Exhibition
The Regulated Public Domain
From Information to Emotion
Between Participant and Audience
A Tactics of Circulation: An Involved Publics and Decentering Copyright

5. People and Documentary
The Represented and Institutional Subject
Artist, Meanings, Obligation
Speaking with the Subject
Independent: Interdependent and Negotiated Consent Practice

Afterword
Filmography
Works Cited