This book explores the unique phenomenon of hypermodern documentary discourse and its connections inside the development of documentary film. It provides an understanding of the ramifications of the theoretical and aesthetic qualities surrounding documentaries, and focuses specifically on the audiovisual analysis of hypermodern documentaries, drawing from the thought of the French philosopher Gilles Lipovetsky. The book investigates these ideas in the context of film and media studies and cognitive and phenomenological perspectives, offering a way to understand the main ideas, subjects and markers of hypermodern theoretical formulae and the conjecture of aesthetics in documentaries.