ABSTRACT
Scholars have typically analysed the relationships between documentary-makers and their subjects by focussing on issues power and exploitation, but they are less often considered a form of work. This chapter examines the invisible emotional labour of documentary-making, asking what it means when a job entails the production of intimate connections, which are also subject to commercial pressures and imperatives. Documentary-makers often identify relationship-building as the single most important skill of their job, yet it takes place without adequate support or recognition, largely unsupported by broadcasters and production companies. This lack of status means that an appropriate professional framework has yet to be developed, with worrying consequences for training, regulation, and duty of care.
