Abstract

The status of reality in cinema has been questioned since the invention of the movie camera. Reality, facts, and staging, among other issues, are aspects that have to be addressed in the filmmaking process and categorization of a film. This paper analyses the divergence of reality and cinematic representation in documentary filmmaking, a so-called non-fictional practice intended to document reality. In this filmmaking process, the artist is looking to create a specific narrative around the topics addressed in the film. As Maya Deren states,

(...) reality is first filtered by the selectivity of individual interests and modified by prejudicial perception to become experience; as such it is combined with similar, contrasting or modifying experiences, both forgotten and remembered, to become assimilated into a conceptual image; this in turn is subject to the manipulations of the art instrument; and what finally emerges is a plastic image which is a reality in its own right.

The manipulation of the political and the treatment of reality in cinema is the undeniable freedom of the artist. Aesthetic composition can either show or deny facts and shape the storytelling in any direction. In a time where digital manipulation of the cinematic work increasingly subverts what is commonly understood as a representation of reality, the ethical aspect of filmmaking and the critical agency of the audience become all the more important. This paper proposes a move away from the categorization of films into genres and advances the urgency of finding innovative ways of thinking and experiencing cinematic works.