". . . a valuable and important book . . ." —The Year's Work in Critical and Cultural Theory Representing Reality is the first book to offer a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image. "[Nichols] has written a road-block of a book which reconfigures the debate on the documentary at a new level of sophistication and complexity which can only be ignored at the risk of ignoring the whole area of documentary film." —Sight and Sound " . . . the most important book on documentary film yet published." —Canadian Journal of Film Studies

`This is an admirable book which can be recommended to students with confidence, and is likely also to become an indispensable source of reference for those researching fact construction' - Discourse & Society How is reality manufactured? The idea of social construction has become a commonplace of much social research, yet precisely what is constructed, and how, and even what constructionism means, is often unclear or taken for granted. In this major work, Jonathan Potter offers a fascinating tour of the central themes raised by these questions. Representing Reality overviews the different traditions in constructionist thought. Points are illustrated throughout with

To what degree, Nichols asks, does ideology inform images in films, advertising, and other media? Does the cinema or any other sign system liberate or manipulate us? How can we as spectators know when the media are subtly perpetuating a specific set of values? To address these issues, the author draws from a variety of approaches -- Marxism, psycholanalysis, communication theory, semiotics, structuralism, the psychology of perception. Working with two interrelated theories -- ideology and image-systems, and ideology and principles of textual criticism -- Nichols shows how and why we make emotional investments in sign sytsems with an ideological context.

A fascinating examination of how we are both played by language and made by language: the science underlying the bugs and features of humankind’s greatest invention. Language is said to be humankind’s greatest accomplishment. But what is language actually good for? It performs poorly at representing reality. It is a constant source of distraction, misdirection, and overshadowing. In fact, N. J. Enfield notes, language is far better at persuasion than it is at objectively capturing the facts of experience. Language cannot create or change physical reality, but it can do the next best thing: reframe and invert our view of the world. In Language vs. Reality, Enfield explains why language is bad for scientists (who are bound by reality) but good for lawyers (who want to win their cases), why it can be dangerous when it falls into the wrong hands, and why it deserves our deepest respect. Enfield offers a lively exploration of the science underlying the bugs and features of language. He examines the tenuous relationship between language and reality; details the array of effects language has on our memory, attention, and reasoning; and describes how these varied effects power narratives and storytelling as well as political spin and conspiracy theories. Why should we care what language is good for? Enfield, who has spent twenty years at the cutting edge of language research, argues that understanding how language works is crucial to tackling our most pressing challenges, including human cognitive bias, media spin, the “post-truth” problem, persuasion, the role of words in our thinking, and much more.

A watershed event in the field of sociology, this text introduced “a major breakthrough in the sociology of knowledge and sociological theory generally” (George Simpson, American Sociological Review). In this seminal book, Peter L. Berger and Thomas Luckmann examine how knowledge forms and how it is preserved and altered within a society. Unlike earlier theorists and philosophers, Berger and Luckmann go beyond intellectual history and focus on commonsense, everyday knowledge—the proverbs, morals, values, and beliefs shared among ordinary people. When first published in 1966, this systematic, theoretical treatise introduced the term social construction,effectively creating a new thought and transforming Western philosophy.

This book offers a conceptual overview of documentary filmmaking practice. It addresses numerous social issues and how they are presented to the viewer by means of style, rhetoric, and narrative technique. The volume poses questions about the relationship of the documentary tradition to power, the body, authority, knowledge, and our experience of history. This study advances the pioneering work of Nichols's earlier book, Ideology and the Image. The rigorous discussion of modes of documentary representation, the relationship between narrative and nonfiction, and the representation of the body (including a chapter on pornography, ethnography, and power), give this book enormous value for the study of visual anthropology and ethnographic film. The often neglected relationship between signifier and referent is the special focus of this intensive study of documentary film. The concluding discussion of the representation of the body will also be of special interest to semioticians.

A key collection of essays that looks at the specific issues related to the documentary form. Questions addressed include `What is documentary?' and `How fictional is nonfiction?'