The manifestations of political power structures in documentary film.

The aim of this practice-led research is to explore the ways in which the political and social power structures between filmmaker and protagonist are manifested in the aesthetics and cinematic means of documentary film. Through a synthesis of filmmaking practice and “hidden knowledge” with critical theories from the fields of cultural studies and political philosophy the research devise methodological approaches to the critical analysis of documentary films in light of the political and material conditions of their emergence. By exploring filmmaking practice, both through the practical aspects of the research as well as through experiences made and reported by filmmakers, and placing those in the context of wider theories pertaining to issues of power structures and representation, it sheds light on the different aspects which must be considered when approaching the analysis of a documentary film for its ideological and political content. The work also asserts that in order to fully understand and analyse a documentary film, a wider range of factors must be considered, most prominently the material conditions of the filmmaking process. Those include the financing and commissioning of the film, the conditions of its production as well as its distribution and reception. Drawing on methodologies of dialectical materialism in cultural studies, the research approaches the studied films as well as the practical experiences in a holistic fashion, contextulaising them in historical, political and cultural processes instead of viewing them as isolated texts divorced from social context