Documentary and Disability
This edited collection of contributions from media scholars, film practitioners and film historians connects the vibrant fields of documentary and disability studies. Documentary film has not only played an historical role in the social construction of di
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Catalin Brylla • Helen Hughes Editors
Documentary and Disability
Editors Catalin Brylla School of Film, Media and Design University of West London London, UK
ISBN 978-1-137-59893-6 DOI 10.1057/978-1-137-59894-3
Helen Hughes School of Literature and Languages University of Surrey Guildford, UK
ISBN 978-1-137-59894-3 (eBook)
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FOREWORD
Documentary and Disability unfolds a truly powerful relation. As a technique of affect/ion it unleashes the felt ‘density of the concrete’ (Wahl 2017), that is, the attachments and detachments of bodies, minds and things that make up the experiences of dis- as well as enabling realities. The density of the concrete, and this is Wahl’s point, is not given, but is what is being ‘pursued’ (ibid.) by those who engage with it, by those who are affected by it. Whereas a philosophy of dis/ability would concentrate on the creation of concepts, documentary film – as a practice and work of art – pursues the creation of percepts of dis/ability (Deleuze & Guattari 1994). Documentary percepts of dis/ability come into being and dwell upon the ‘ordinary’ complexity, struggles, sufferings and joys of everyday life experiences. With the documentary film we are in the midst of the thickness of humans, non-humans and things; we are in the midst of a
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