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In this exciting interdisciplinary collection, scholars, activists, and media producers explore the emergence of Indigenous media: forms of media expression conceptualized, produced, and created by Indigenous peoples around the globe. The contributors describe how native peoples use both traditional and new media to combat discrimination, advocate for resources and rights, and preserve their cultures, languages, and aesthetic traditions.

Cinema has long shaped not only how mass violence is perceived but also how it is performed. Today, when media coverage is central to the execution of terror campaigns and news anchormen serve as embedded journalists, a critical understanding of how the moving image is implicated in the imaginations and actions of perpetrators and survivors of violence is all the more urgent. If the cinematic image and mass violence are among the defining features of modernity, the former is significantly implicated in the latter, and the nature of this implication is the book's central focus.

Documentary Testimonies examines documentary films that compel us to bear witness, move us to anger or tears, and possibly mobilize us to action.

Patricia Zimmermann describes the shifting terrains socially engaged documentary artists and experimental filmmakers encounter in the aftermath of corporate consolidation and technological transformations. Public space has been chiseled away and politically conscious documentaries forced to go underground. Viewing an array of subjects through technologies ranging from high-end video, camcorders, cable access, digital imaging systems, and media piracy, Zimmermann charts the intricately layered relationships between independent documentary, power, money, and culture.

What would it mean to come to terms with the fact that there are things which happen in front of cameras that are not simply true or false, not simply representations and references, but rather opportunities, events, performances, things that are done and done for the camera, which come into being in a space beyond truth and falsity that is created in view of mediation and transmission?

Barbie Zelizer reveals the unique significance of the photographs taken at the liberation of the concentration camps in Germany after World War II. She shows how the photographs have become the basis of our memory of the Holocaust and how they have affected our presentations and perceptions of contemporary history’s subsequent atrocities.

Due to its ability to freeze a moment in time, the photo is a uniquely powerful device for ordering and understanding the world. But when an image depicts complex, ambiguous, or controversial events--terrorist attacks, wars, political assassinations--its ability to influence perception can prove deeply unsettling. Are we really seeing the world "as it is" or is the image a fabrication or projection? How do a photo's content and form shape a viewer's impressions?

The Right to Play Oneself collects for the first time Thomas Waugh’s essays on the politics, history, and aesthetics of documentary film, written between 1974 and 2008. Woven through the volume is the relationship of the documentary with the history of the Left, including discussions of LGBT documentary pioneers and the firebrand collectives that changed the history of documentary.

Creating the Witness examines the role of film and the Internet in creating virtual witnesses to genocide over the past one hundred years. Leshu Torchin’s broad survey of media and the social practices around it investigates the development of popular understandings of genocide to achieve recognition and response, ultimately calling on viewers to act on behalf of human rights.

Photographs of the Holocaust bear a double burden: to act as history lessons for future generations so we will “never forget” and to provide a means of mourning. In Trespassing through Shadows, Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history.