The Geo-Doc: Geomedia, Documentary Film, and Social Change (Palgrave Studies in Media and Environmental Communication)

Foreword\nPreface\nAbstract\nAcknowledgements\nContents\nList of Figures\nChapter 1: Introduction\n	Bibliography\nChapter 2: Farming the Tools of Persuasion\n	2.1 Introduction\n	2.2 The Early Years\n	2.3 1895 to 1903\n	2.4 Canada, 1897\n	2.5 Europe, 1898–1901\n	2.6 Canada, 1902\n	2.7 England, 1907\n	2.8 Canada, 1919\n	2.9 The Emergence of Government Participation in Documentary Filmmaking\n		2.9.1 Canadian Overview\n		2.9.2 Government Film Offices in Canada, 1917 to 1924\n		2.9.3 The Ontario Motion Picture Bureau, 1917\n		2.9.4 The British Columbia Patriotic and Educational Picture Service, 1919\n		2.9.5 Quebec’s Ministry of Agriculture and Education, 1920\n		2.9.6 The Motion Picture Branch of Saskatchewan’s Bureau of Publications, 1924\n		2.9.7 National Film Offices in Canada, 1918 to 1939\n		2.9.8 The Controversial Vision and Influence of John Grierson\n		2.9.9 The National Film Board of Canada, 1939\n		2.9.10 Propaganda Documentary Filmmaking in the United States\n	2.10 Conclusion\n	Bibliography\n		Filmography\nChapter 3: Methods and Approaches to Documentary Influence\n	3.1 Introduction\n	3.2 Joris Ivens, 1898 to 1989\n	3.3 The Issue of Truth-Telling\n	3.4 Audience Engagement\n	3.5 The Four Functions of Documentary Practice\n	3.6 Production Methodologies to Promote Social Change\n	3.7 The Seven Modes of Documentary Film\n	3.8 Studio D\n	3.9 The Direct Approach to Influencing Social Change\n	3.10 Conclusion\n	Bibliography\n		Filmography\nChapter 4: Ecocinema and Semiotic Storytelling\n	4.1 Introduction\n	4.2 The Storytelling Modes of Ecocinema\n	4.3 Performing the Database Documentary\n	4.4 Semiotic Storytelling\n	4.5 Conclusion\n	Bibliography\n		Filmography\nChapter 5: The Documentary’s Digital Turn\n	5.1 Introduction\n	5.2 Digital Documentary and Social Change\n	5.3 The Interactive Documentary (or i-doc)\n	5.4 The Collaborative Documentary\n	5.5 Impact Measurement\n	5.6 Case Study: Sin by Silence (2009)\n	5.7 BRITDOC (UK): Founded in 2005\n	5.8 The Focus on Audience in Impact Measurement\n	5.9 Conclusion\n	Bibliography\n		Filmography\nChapter 6: Visible Volume: The Multilinear and Database Documentary\n	6.1 Introduction\n	6.2 The Multilinear Documentary\n	6.3 The Database Documentary\n	6.4 The Spatial and Temporal Turns\n	6.5 Quantitative GIS\n	6.6 Qualitative GIS\n	6.7 Conclusion\n	Bibliography\n		Filmography\n		GIS Project\nChapter 7: The Geo-Doc: A Locative Approach to Remediating the Genre\n	7.1 Introduction\n	7.2 Case Study: The Youth Climate Report GIS Project\n	7.3 YCR Project Background\n	7.4 CASE STUDY: The Youth Climate Report Film Series\n	7.5 The Youth Climate Report GIS Project: Methodology\n		7.5.1 Components\n		7.5.2 Curation\n		7.5.3 Production\n		7.5.4 Collaboration\n		7.5.5 Technical Systems\n		7.5.6 Social Media\n	7.6 The Youth Climate Report GIS Project: Applied Theory\n		7.6.1 Introduction\n		7.6.2 Communications Tool\n		7.6.3 Community Participation\n		7.6.4 Collaboration with the Changemaker\n		7.6.5 Presenting Directly to the Changemaker\n		7.6.6 Ecocinema\n		7.6.7 Digital Affordances\n		7.6.8 Multilinear Format\n	7.7 Conclusion\n	Bibliography\nChapter 8: Conclusion\n	8.1 Virtual Reality\n	8.2 Antarctica in Decline\n	8.3 The Evolution of the Filmmaker\n	Bibliography\n		Virtual Reality Projects\nAfterword\nIndex