In film studies in recent years, we have seen the (re)emergence of two fields of enquiry, both of which concern this essay. (1) The interest in what we have termed 'client-sponsored, instructional and governmental filmmaking existing outside the conventional theatrical contexts by which cinema is usually defined'. We have seen a number of conferences and anthologies appear that attest to this. (2) The reconsideration of the notion of the dispositif, that emerged due to the translation of Jean-Louis Baudry's seminal work in the 1970s. For us, research into what we term utilitarian filmmaking has been advantaged by the return to the dispositif, to what Adrian Martin calls 'the social machine' as well as Baudry's basic cinematic apparatus. After defining the characteristics of the utilitarian film, we will explore the particular considerations for audiences and spectatorship as they pertain to utilitarian film. We discuss the resonances of these conceptions for genre, including documentary studies, and spectatorial pleasure.

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This book presents in-depth case studies focusing on the major aspects of post-1990 documentary practices and styles. The book questions the meanings of ‘independence’ for documentaries made in the post-1990 context, a period of unrivalled disruption and creativity in the field. Written from a wide range of academic perspectives, the book sheds new light on historical, theoretical, and empirical issues pertaining to the independent documentary, in order to better comprehend the radical transformations of the form over the past twenty years. The book focuses on works and practitioners existing at the margins of the traditional media, the mainstream film industry, and the prevailing economic and socio-political systems. In doing so, it addresses an important gap in the global understanding of documentary practices and styles. The book provides critical and detailed insight into contemporary independent documentary makers and their varied works, practices and uses and offers a variety of perspectives and interpretations of under studied contemporary subject matters and styles, as well as production, distribution, and exhibition strategies.