Abstract
<jats:p>The document that forms the basis of documentary projects is often the result of a collaborative effort—a dialogue between witness and artist, witness and journalist, witness and historian. The process of collaborating on textual documents confronts us with important questions of authorship, authenticity, and the politics and ethics of writing and publishing. The chapter will look at how coproduction manifests itself in documentary texts, how it is acknowledged, and how theories of collaborative writing are applied to documentary texts. Particular attention will be paid to the categories of voice, collectivity, and authenticity in collaborative writing. Ales’ Adamovich and Daniil Granin’s book on the siege of Leningrad will serve as a case study to illustrate the affordances of collaborative writing for documentary aesthetics in a controlled discursive environment.</jats:p>