The New Boundaries of Documentary Cinema: the Production of Realness in Times of an Omnipresent Image
Article Sidebar
Main Article Content
Abstract
The word «documentary», applied to the audiovisual field, seems to be increasingly ambiguous. Nowadays, it is possible to find many taxonomies and genres within what is called documentary film as «documentaries» are produced. Nevertheless, something seems to remain clear: the documentary is in opposition to the so-called fiction films. At least, this is an a priori perception still operating among the spectators, warranting an image as «documentary»: it is assumed that the images are real in relation to the world that has created them. The main objective of this article is to propose an ethical/political perspective in order to think the division and juxtaposition of fiction and documentary. Today, with the many transformations that have affected documentary cinema, the frontier that separates it from fiction, is defined by this ethical/political thought related to the notion of ‹author› and the construction of the real thing inside an image.
Article Details
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
All contents of this electronic edition are distributed under the Creative Commons license of "Attribución-shareAlike 4.0 Internacional" (CC-BY-SA). Any total or partial reproduction of the material must mention its origin.
The rights of academic works published in this publication belong to their authors., who grant to AISTHESIS: Revista Chilena de Investigaciones Estéticas the license for its use. The management of the permits and the authorization of the publication of the images (or of any material) that contains copyright and its consequent rights of reproduction in this publication is the sole responsibility of the authors of the articles