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The Documentary This page intentionally left blank The Documentary Politics, Emotion, Culture Belinda Smaill © Belinda Smaill 2010 Softcover reprint of the hardcover 1st edition 2010 978-0-230-23751-3 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2010 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978-1-349-31491-1 ISBN 978-0-230-25111-3 (eBook) DOI 10.1057/9780230251113 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. 10 9 8 7 6 5 4 3 2 1 19 18 17 16 15 14 13 12 11 10 Contents List of Illustrations vi Acknowledgements vii Part I Documentary and Pleasure 1 Introduction: Representation and Documentary Emotion 3 2 Pleasure and Disgust: Desire and the Female Porn Star 26 Part II Pain and the Other 3 Injury, Identity and Recognition: Rize and Fix: The Story of an Addicted City 53 4 Women, Pain and the Documentaries of Kim Longinotto 71 Part III The Labour of Authorship: Caring and Mourning 5 Loss and Care: Asian Australian Documentary 97 6 Civic Love and Contemporary Dissent Documentary 114 Part IV Past, Present and Future: Hope and Nostalgia 7 Children, Futurity and Hope: Born into Brothels 139 8 Nostalgia, Historical Time and Reality Television: The Idol Series 161 Epilogue 182 Notes 189 Bibliography 200 Index 210 v List of Illustrations 2.1 Annabel Chong in Sex: The Annabel Chong Story (Gough Lewis 1999). Courtesy of Omni Int/Greycat/The Kobal Collection/Jesse Fischer 37 2.2 Linda Lovelace: Courtesy of The Kobal Collection 38 3.1 Rize (David Lachappelle 2005). Courtesy of David Lachapelle Studios/Hsi/Darkfibre Ent/The Kobal Collection 67 6.1 The Corporation (Jennifer Abbott and Mark Achbar 2003). Courtesy of Big Pictures Media Corporation/The Kobal Collection 118 6.2 Enron: The Smartest Guys In The Room (Alex Gibney 2005). Courtesy of HDNet Films/Jigsaw/The Kobal Collection 126 6.3 Morgan Spurlock in Super Size Me (Morgan Spurlock 2004). Courtesy of Roadside/Goldwyn/The Kobal Collection 128 7.1 Born into Brothels: Calcutta’s Red Light Kids (Zana Briski & Ross Kaufman 2004). Courtesy of HBO/Thinkfilms Inc. The Kobal Collection 152 vi Acknowledgements I am grateful to friends and colleagues in Film and Television Studies at Monash University in Melbourne who offered a supportive and enlivened intellectual environment during the completion of this book. In particular, I wish to thank those who read pieces and ver- sions of chapters: Adrian Martin, Julia Vassilieva, Con Verevis, Deane Williams, and I would especially like to thank Therese Davis who offered particular support and intellectual engagement. Earlier versions of chapters have appeared elsewhere and I thank the publishers for granting permission to reprint the follow- ing: ‘The Documentaries of Kim Longinotto: Women, Change and Painful Modernity’ in Camera Obscura 71 (2009) 43–74; ‘Documentary Investigations and the Female Porn Star’ in Jump Cut: A Review of Contemporary Media 51 (2009); ‘Affective Authorship: Contemporary Asian Australian Documentary’ in Studies in Australasian Cinema 2:2 (2008): 157–70; ‘Injured Identities: Pain, Politics and Documentary’ in Studies in Documentary Film 1:2 (2007) 151–63. vii This page intentionally left blank .