"With relatively little in the field of documentary spectatorship to build on, Middleton should be commended for the innovative manner in which he brings theories such as psychoanalysis and phenomenology, developed from and typically to narrative fiction films, to bear on the documentary form. In addition to its contributions to the field of documentary spectatorship, the book represents a valuable addition to the study of contemporary comedy as well. The multimedia focus of the text makes it an appealing resource to scholars of cinema, television, and Internet media." -- Cortland Rankin, International Journal of Communication "Middleton''s work.lays the theoretical foundation for empirical research on the specific effects of such awkward moments on viewer experiences.[I]n Middleton''s hands ''awkwardness'' becomes a useful tool for understanding crucial aesthetic and ethical issues of contemporary film and media." -- Trent Griffiths, Deakin University, Australia, in Studies in Documentary Film "This is a scholarly, lucid book written in a clear and engaging style. It presents a powerfully expressed argument and makes a unique contribution to the field of spectatorship that will certainly appeal to scholars of documentary, reality television and comedy studies.

" -- Kirsty Fairclough-Isaacs,University of Salford, UK, in Comedy Studies "This book brilliantly analyzes the formal techniques, affective qualities, and ethical implications of the comedic turn in documentary film and reality television that was instigated by the work of Christopher Guest and Michael Moore and has culminated in prank films and reaction videos. Jason Middleton presents a sophisticated and readable rumination on a serious subject, drawing upon theoretical discourses of comedy, spectatorship, and shame to argue that intentional and unintentional awkward moments define the temporal and emotional lacunae of the post-Fordist workplace depicted in The Office; destabilize documentary authority itself in films by Sacha Baron Cohen and the Yes Men; and promote ethical detachment in de-realized images proffered by reaction videos." -- Maria Pramaggiore, North Carolina State University, USA "While there have been many studies that theorize the idea of the spectator with relation to class, race, and/or gender, ''awkward'' humor has never really been examined with such a precise focus as it in this book. It will make a unique and lasting contribution to spectatorship studies, and moves well beyond work already done in the field, in a style that is refreshingly free of jargon, and written in a direct, accessible manner."-- Wheeler Winston Dixon, University of Nebraska, Lincoln, USA " This book offers a brilliant plumb-line that cuts through, and links, unanticipated bodies of contemporary nonfiction media to the affective, ethical, political and funny claims they make about the world and for their audiences. Looking to a diverse and complex body of programming, including mockumentary, reality TV, social media, and television, Jason Middleton uses the most contemporary of tropes--Awk-ward--to reveal how and why we are forced to, or enjoy, looking away. The disrupted encounters he focuses upon, which induce shame, contempt, implication or insulation, tell us much about our contemporary spectatorial delight in a documentary unknowing that occurs through broken encounters fuelled by misrecognition, deception, displeasure, or the absence of an ethical response."-- Alexandra Juhasz, Pitzer College, USA p;lt;/I> "While there have been many studies that theorize the idea of the spectator with relation to class, race, and/or gender, ''awkward'' humor has never really been examined with such a precise focus as it in this book.

It will make a unique and lasting contribution to spectatorship studies, and moves well beyond work already done in the field, in a style that is refreshingly free of jargon, and written in a direct, accessible manner."-- Wheeler Winston Dixon, University of Nebraska, Lincoln, USA " This book offers a brilliant plumb-line that cuts through, and links, unanticipated bodies of contemporary nonfiction media to the affective, ethical, political and funny claims they make about the world and for their audiences. Looking to a diverse and complex body of programming, including mockumentary, reality TV, social media, and television, Jason Middleton uses the most contemporary of tropes--Awk-ward--to reveal how and why we are forced to, or enjoy, looking away. The disrupted encounters he focuses upon, which induce shame, contempt, implication or insulation, tell us much about our contemporary spectatorial delight in a documentary unknowing that occurs through broken encounters fuelled by misrecognition, deception, displeasure, or the absence of an ethical response."-- Alexandra Juhasz, Pitzer College, USA Jason Middleton uses the most contemporary of tropes--Awk-ward--to reveal how and why we are forced to, or enjoy, looking away. The disrupted encounters he focuses upon, which induce shame, contempt, implication or insulation, tell us much about our contemporary spectatorial delight in a documentary unknowing that occurs through broken encounters fuelled by misrecognition, deception, displeasure, or the absence of an ethical response."-- Alexandra Juhasz, Pitzer College, USA.