Abstract
This article examines recent controversies over ‘faked’ and hoax documentaries by arguing that they suggest a return to the conditions of primitive cinema. In particular there are parallels in the conditions of the market for television documentary which in themselves are creating new forms of factual programming. These new forms of documentary have nothing in common with the their traditional role of the documentary in public service broadcasting. The faking controversies are symbolic of the new and hybridised spaces that documentary has colonised in the cultural ecology of contemporary TV.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
