[ecrea] New Book - Cognitive Theory and Documentary Film

Mette Kramer and I are pleased to announce our new edited book 
“Cognitive Theory and Documentary Film” (Palgrave Macmillan). The book 
explores factual media content, such as fake news, web videos, wildlife 
documentaries, docudramas, first-person documentaries and slow TV, from 
a cognitive perspective, featuring contributions from scholars in 
psychology, neuroscience, film studies and film practice.

https://www.palgrave.com/gb/book/9783319903316


Below are some of the reviews:

“The editors of Cognitive Theory and Documentary Film make ambitious 
claims about the usefulness of cognitive theory for understanding the 
documentary as well as the fiction film—and their volume more than 
delivers. Equipped with a fuller picture of the mind as embodied and 
socially networked, the authors here offer exciting approaches to a wide 
range of work including biographies, animations, nature films, 
docudramas and ‘fake news’ websites, while attending as well to the 
creative processes and aims of documentary filmmakers.” (Cynthia 
Freeland, Professor of Philosophy, University of Houston, USA)

“Cognitive film research is about narrative fiction, or so it seems. 
This milestone volume presents the cognitive approach to documentary. 
Specialists in the field—some of them documentarists themselves—paint a 
vivid picture of the rich experiences that an exceptionally multifarious 
genre gives rise to. They document how people watching documentaries 
construct and engage with other people, their minds, emotions, 
realities, truths and actions. Moreover they highlight in convincing 
detail the amazing variety of aesthetics displayed by documentaries 
supporting viewers’ experiences.” (Ed Tan, Professor of Media 
Entertainment University of Amsterdam, The Netherlands)

“Represents a welcome first foray into the relation of cognitive theory 
to documentary film studies.  It not only expands our conceptions of 
documentary but asks us to consider not only how we see reality through 
films but how films shape our notions of reality.  The ideas are complex 
but are made more accessible through the straightforward writing of many 
of its contributors.” (David MacDougall, Professor of Visual 
Anthropology , Australian National University, Australia)

“This unique collection is likely to become a landmark in documentary 
studies. It is ambitious, innovative, sometimes provocative but always 
rigorous. Its pioneering approach to the complex relationship between 
selfhood, emotion, subjectivity, cognition and the art of the record is 
utterly convincing and inherently valuable.” (Anita Biressi, Professor 
of Media and Society, University of Roehampton, UK)

“Cognitive Theory and Documentary Film is an exceptionally rewarding 
read. Featuring probing accounts of such timely topics as post-truth, 
stereotyping, trans-species empathy, and filmmakers’ use of cognitive 
theory, the volume more than delivers on its ambitious promises. 
Featuring a formidable team of contributors and evidencing great clarity 
of purpose, Cognitive Theory and Documentary Film provides conceptual 
tools, arguments, and examples that deserve attention, within and beyond 
the academy.” (Mette Hjort, Chair Professor of Humanities and Dean of 
Arts, Hong Kong Baptist University, Hong Kong)

“This collection of essays, through the emphasis on thought processes, 
brings an original approach to documentary reception and representation. 
Even more important, this book will expand the reach and boundaries 
within the study of cognitive theory itself, which can only benefit from 
the further influence of documentary production on this field. Thus the 
reader has a view from both ends of the telescope, and in a truly 
interdisciplinary fashion, which surely has to be welcomed.” (Jane 
Chapman, Professor of Communications, Lincoln University, UK)

“Brylla and Kramer’s impressive interdisciplinary and international 
selection of scholars lead a ground-breaking extension of cognitivist 
theory into documentary film studies.” (Trevor Ponech, Associate 
Professor of English, McGill University, Canada)


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