This paper will offer a response to our current preoccupation with diversifying the ways in which the media and related cultural forms represent, use and manipulate real events, to be investigated here against the backdrop of recent important technological advances. In this, the second decade of the 21st century, we are witnessing a particularly significant convergence of momentous historical events and huge changes to our audiovisual media, an inevitable and welcome consequence of which is a global reassessment of how images are compiled, constructed, valued and received. Within this overarching framework, my attention will remain on factual and historical representation and, more specifically, what happens to the integrity of the original facts, documents and documentary at a time when the use of these fact related forms by other media is altering our understanding of them completely. With the proliferation of DVD and the arrival of new, primarily internet-based viewing and distributing platforms, recognised, discrete categories such as ‘documentary’, ‘dramatisation’ and ‘fiction’ are undergoing radical reassessment. In 1999, James M. Moran pondered the problem documentary theory faced from ‘the digital code’s circumvention of analogue recording’ (Collecting Visible Evidence, eds. Gaines and Renov: 267). Belief in the indexical properties of the factual analogue image has since been questioned (cf. my New Documentary), but the impact of the digital on how we interpret the authenticity of the factual image is only now being fully realised. In the digital age documents are available to be reworked, not just by filmmakers but also by viewers.