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The book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. It is focused on interacting and engaging with remembering through different memory sites.

Travelling along a timeline of memory, Tanja Sakota takes us on a journey through South Africa, Germany, Poland and Bosnia/Herzegovina. Using a camera and short film format, Sakota hosts several workshops in different countries focused on interacting and engaging with remembering through different memory sites. The author sits at the core but the book is an interdisciplinary work shaped around films made by different workshop participants using film to access personal interpretations of space and place. Questions that underpin the uncovering of memories are: How does one use a camera to make the invisible visible? How does one remember events that one hasn't necessarily experienced? How does one use film to interrogate the past from the future present? As the journey evolves, workshop participants and readers alike enter into a conversation around practice-based research, autoethnography and film.

Cognitive psychology --- Amateur films --- Documentary-style films --- Memory in motion pictures. --- Place (Philosophy) in motion pictures. --- History and criticism.

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This book is the first to take comedy seriously as an important aspect of the popular mockumentary form of film and television fiction. It examines the ways in which mockumentary films and television programmes make visible—through comedy—the performances that underpin straight documentaries and many of our public figures. Mockumentary Comedy focuses on the rock star and the politician, two figures that regularly feature as mockumentary subjects. These public figures are explored through detailed textual analyses of a range of film and television comedies, including A Hard Day’s Night, This is Spinal Tap, The Thick of It, Veep and the works of Christopher Guest and Alison Jackson. This book broadens the scope of existing mockumentary scholarship by taking comedy seriously in a sustained way for the first time. It ultimately argues that the comedic performances—by performers and of documentary conventions—are central to the form’s critical significance and popular appeal. .

Culture --- Documentary films. --- Motion picture acting. --- Cultural and Media Studies. --- Documentary. --- Popular Culture. --- Screen Performance. --- Cultural studies --- Film acting --- Moving-picture acting --- Acting --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- Study and teaching. --- Documentary-style films --- History and criticism. --- Documentaries, Fake (Motion pictures) --- Documentary films, Fake --- Documentary films, Fictionalized --- Documentary films, Mock --- Fake documentaries (Motion pictures) --- Fake documentary films --- Fictionalized documentary films --- Mock documentary films --- Mockumentaries (Motion pictures) --- Mockumentary films --- Pseudo-documentary films --- Quasi-documentary films --- Semidocumentary films --- Motion pictures --- Comedy. --- Popular Culture . --- Comedy Studies. --- Comic literature --- Literature, Comic --- Drama --- Wit and humor --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Popular culture.