The chapter begins by acknowledging the fact that this is the second of three volumes in a wide-ranging study of an odd subject. On the one hand, every child knows what the word “documentary” signifies. On the other, “documentary” is one of the most embattled, blurred, and habitually loathed words to have participated in the ever-shifting discursive conjunction of arts, philosophy, semiotics, history of ideas, politics, society, and cinema. I move on to stress the three volumes’ raison d’être, highlighting its methodological innovations under a new scientific term: documentarology. This introductory chapter steadfastly endeavors to add body to the claim that “definitions” are an essential category of human knowledge and that it is the role of this volume to clarify, from a myriad of perspectives, the grounding argument of the book: that each of the definitions ever assigned to Documentary along its historical timeline is not a solitary, finite unit of signification. Rather, it is solely by virtue of the wholeness of the body of the definitions of Documentary that the intended reader can meld the philosophical with the historical dimension of Documentary. I sign off in the hope that this study will provide an account of how its systematic unconcealing of fundamental conceptual variables of Documentary definitions may serve as a sustainable component in reshaping our documentarological future trajectory.