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The contributions analyse (post-)conflict as well as non-conflict contexts, which too often are studied in isolation from one another. It shows that the fate of bodies in the transition from life to death can provide a key to understanding fundamental ways in which sovereignty is claimed and performed.

This book looks at sovereignty as a particular form of power and politics.

Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life.

Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. The book consists of a set of essays, each focused on a particular theme derived from the author’s own experience as a filmmaker. The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging and corporate authorship.

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