'Truth 24 Frames a Second': Documentary in the 21st Century
Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where
facts thems...
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This in person film studies course examines the state of documentary filmmaking in the first quarter of the 21st century. Using recent and current examples we will ask whether and if so how films like The Bibi Files, Soundtrack to a Coup D’Etat, No Other Land, Wilding, Three Minutes: A Lengthening, All the Beauty and the Bloodshed, Cow, Flee, Collective, Once Upon a Time in Iraq, Dreams of a Life and My Old School tell us things about our world which fiction simply can’t reach. The course proposes that true stories are more urgent than ever and that the modes and methods of documentary today all too often leave the tired tropes of fiction far behind.
What will we cover?
This course will cover a range of topics - including the uses of dramatic reconstruction, animation, first person presentation (on or off screen) and subjectivity, partisanship and activist campaigning, and archive-based documentary - to ask whether the form’s avowed ‘objectivity’ is at risk – or was always a misnomer. In an era when facts themselves are being challenged by so-called ‘alternative facts’) and ‘fake news’ are the claims of documentary past their sell-by-date or, in fact, more urgent and valuable than ever before?
What will I achieve? By the end of this course you should be able to...
Subject a documentary to detailed critical analysis
Demonstrate familiarity with the key stylistic and critical terms necessary for documentary discussion and analysis
Have a broad awareness of important moments and modes in documentary history
Be familiar with a range of theoretical perspectives on documentary
Feel confident in discussing films in a group setting.
What level is the course and do I need any particular skills?
The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for documentary and discussing it. The course provides an introduction to documentary but is also useful for those wishing to build on existing knowledge of the subject.
How will I be taught, and will there be any work outside the class?
Classes will involve short lectures with power point and the screening of film extracts, followed by group discussion. There will be some reading and viewing expected outside of the classroom.
Are there any other costs? Is there anything I need to bring?
Film extracts will be screened free of charge during classes and links will wherever possible be provided to freely available online versions of complete films referred to or discussed in class.
When I've finished, what course can I do next?
Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk
Dr Paul Kerr began his career working at the BFI, working in the National Film Archive, and as a freelance film and TV critic and lecturer. He then spent over 20 years as a producer and director, making arts and history programmes, including dozens of documentaries, for the BBC and Channel 4, as well as international broadcasters. More recently he was a Senior Lecturer in Film and Television at Middlesex University until 2024. His books include Hollywood Independent: How the Mirisch Company Changed Cinema (2023); The Hollywood Film Industry; and MTM: Quality Television and two co-authored dossiers, Multiplatforming Public Service Broadcasting and Drama Documentary. He has published articles in journals including Screen, Transnational Cinemas, The Historical Journal of Film, Radio and Television and Critical Studies in Television as well as The Guardian, The Sunday Times, The Observer, Broadcast, NME and The New Statesman.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.
product
https://www.citylit.ac.uk/truth-24-frames-a-second-documentary-in-the-21st-century919473'Truth 24 Frames a Second': Documentary in the 21st Centuryhttps://www.citylit.ac.uk/media/catalog/product/t/r/truth_24_frames_a_second_documentary_in_the_21st_century-hf395-1080.jpg7979GBPInStock/Courses/Courses/Culture, history & humanities/Courses/Culture, history & humanities/Film studies/Introductory & general/Courses/Culture, history & humanities/Film studies22851177154815801228511771580<p text-align:start="">Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, reflexively accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists who are increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future - and if so why it matters.</p>002925585'Truth 24 Frames a Second': Documentary in the 21st Century7979https://www.citylit.ac.uk/media/catalog/product/t/r/truth_24_frames_a_second_documentary_in_the_21st_century-hf395-1080_2.jpgInStockDaytimeWedKeeley StreetAvailable courses5-10 weeksWeekday2026-05-20T00:00:00+00:00Beginners, Some experience, Advanced, Suitable for allMay 2026Culture, history & humanitiesHF3957979'Truth 24 Frames a Second': Documentary in the 21st Century635179Paul Kerrtruth-24-frames-a-second-documentary-in-the-21st-century/hf395-2526<p text-align:start="">Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, reflexively accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists who are increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future - and if so why it matters.</p>0000-Available|2026-05-20 00:00:00<p text-align:start="">This in person film studies course examines the state of documentary filmmaking in the first quarter of the 21st century. Using recent and current examples we will ask whether and if so how films like The Bibi Files, Soundtrack to a Coup D’Etat, No Other Land, Wilding, Three Minutes: A Lengthening, All the Beauty and the Bloodshed, Cow, Flee, Collective, Once Upon a Time in Iraq, Dreams of a Life and My Old School tell us things about our world which fiction simply can’t reach. The course proposes that true stories are more urgent than ever and that the modes and methods of documentary today all too often leave the tired tropes of fiction far behind.</p><p text-align:start="">Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, reflexively accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists who are increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future - and if so why it matters.</p><p text-align:start="">This course will cover a range of topics - including the uses of dramatic reconstruction, animation, first person presentation (on or off screen) and subjectivity, partisanship and activist campaigning, and archive-based documentary - to ask whether the form’s avowed ‘objectivity’ is at risk – or was always a misnomer. In an era when facts themselves are being challenged by so-called ‘alternative facts’) and ‘fake news’ are the claims of documentary past their sell-by-date or, in fact, more urgent and valuable than ever before? </p><ul><li>Subject a documentary to detailed critical analysis</li><li>Demonstrate familiarity with the key stylistic and critical terms necessary for documentary discussion and analysis</li><li>Have a broad awareness of important moments and modes in documentary history</li><li>Be familiar with a range of theoretical perspectives on documentary</li><li>Feel confident in discussing films in a group setting.</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for documentary and discussing it. The course provides an introduction to documentary but is also useful for those wishing to build on existing knowledge of the subject.</p><p text-align:start="">Classes will involve short lectures with power point and the screening of film extracts, followed by group discussion. There will be some reading and viewing expected outside of the classroom.</p><p text-align:start="">Film extracts will be screened free of charge during classes and links will wherever possible be provided to freely available online versions of complete films referred to or discussed in class.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk</p>Film studiesIntroductory & generalvirtual637951HF395NONEWed20/05/26 - 24/06/2612:30 - 14:3012:3014:306 sessions (over 6 weeks)65-10 weeksDaytimeWeekdayKSKeeley StreetPaul KerrBeginners, Some experience, Advanced, Suitable for allAvailable courses2026-05-20T00:00:00+00:00May 2026Culture, history & humanities7979'Truth 24 Frames a Second': Documentary in the 21st Centurytruth-24-frames-a-second-documentary-in-the-21st-century/hf395-2526<p text-align:start="">Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, reflexively accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists who are increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future - and if so why it matters.</p>0000-Available|2026-05-20 00:00:00<p text-align:start="">This in person film studies course examines the state of documentary filmmaking in the first quarter of the 21st century. Using recent and current examples we will ask whether and if so how films like The Bibi Files, Soundtrack to a Coup D’Etat, No Other Land, Wilding, Three Minutes: A Lengthening, All the Beauty and the Bloodshed, Cow, Flee, Collective, Once Upon a Time in Iraq, Dreams of a Life and My Old School tell us things about our world which fiction simply can’t reach. The course proposes that true stories are more urgent than ever and that the modes and methods of documentary today all too often leave the tired tropes of fiction far behind.</p><p text-align:start="">Godard’s definition of cinema is particularly apt for documentary. But today, the form is at a crossroads, with attacks on the BBC’s recent Trump Panorama attracting questions about ‘objectivity’, with a confusing spectrum of styles - from first person, self-shot, iPhone filmmaking at one end to mega budget, celebrity-fronted or -focused storytelling at the other. Is documentary up to the challenges of an era where facts themselves are in doubt – or is it the last hope of an otherwise overly massaged media, reflexively accused of ‘fake news’? When is factual filmmaking no longer factual? Reality television and co-called ‘constructed reality’ increasingly call into question the veracity of documentary protagonists who are increasingly cast – and paid – to be entertaining. Through the lens of current and recent releases, we look at animated documentary, activist documentary, archival documentary, and autobiographical documentary among other recent developments - and ask if the form has a future - and if so why it matters.</p><p text-align:start="">This course will cover a range of topics - including the uses of dramatic reconstruction, animation, first person presentation (on or off screen) and subjectivity, partisanship and activist campaigning, and archive-based documentary - to ask whether the form’s avowed ‘objectivity’ is at risk – or was always a misnomer. In an era when facts themselves are being challenged by so-called ‘alternative facts’) and ‘fake news’ are the claims of documentary past their sell-by-date or, in fact, more urgent and valuable than ever before? </p><ul><li>Subject a documentary to detailed critical analysis</li><li>Demonstrate familiarity with the key stylistic and critical terms necessary for documentary discussion and analysis</li><li>Have a broad awareness of important moments and modes in documentary history</li><li>Be familiar with a range of theoretical perspectives on documentary</li><li>Feel confident in discussing films in a group setting.</li></ul><p>The course is suitable for all levels and you do not require any particular skills - just an enthusiasm for documentary and discussing it. The course provides an introduction to documentary but is also useful for those wishing to build on existing knowledge of the subject.</p><p text-align:start="">Classes will involve short lectures with power point and the screening of film extracts, followed by group discussion. There will be some reading and viewing expected outside of the classroom.</p><p text-align:start="">Film extracts will be screened free of charge during classes and links will wherever possible be provided to freely available online versions of complete films referred to or discussed in class.</p><p>Look for other Film Studies courses under History Culture and Writing/Film Studies at www.citylit.ac.uk</p>Film studiesIntroductory & generalconfigurable
15481580Introductory & generalhttps://www.citylit.ac.uk/courses/humanities/film-studies/introductory-general1/2/285/1177/1580/15481/Courses/Culture, history & humanities/Film studies/Introductory & general
