ABSTRACT
When contributors view the final cut, they must navigate a difficult transition from documentary subject to representational object. Scholars have previously discussed the uncanny effect of seeing oneself on screen, and the loss of control it denotes. Building upon these debates, I consider how the production arrangements are utilised to manage the politics of representing human subjects, exploring themes of time, memory, and authorship. When the documentary is broadcast, contributors are exposed to the judgements of critics and audiences, and can become the focus of additional media attention. This chapter shares their perspectives on the marketing and consumption of the documentary, and subsequently, the resumption of ordinary life when the experience of media participation comes to an end.
