Resumen

This proposal is an exploration where film and new media art (particularly post-internet art) are approached from a perspective of the so-called post-truth. To do this, it starts from questioning the ideas ofobjectivity and the subject/object pair from two related points of view: how these ideas are interpreted in documentary films and how they play a role in the current scientific method crisis. This serves to give context to the problem of the image as a system of representation in both realms (film and science), and how truth is portrayed particularly in the realm of the technical image, serving to aesthetic and scientific purposes. Having mapped out this epistemological tension, three types of films are briefly discussed - the biopic, the intimate documentary and the false documentary - emphasizing on the latter and presenting it as the direct forerunner of the so-called “fakes” on the Internet. Moreover, the pair truth-objectivity is challenged in favor of false narratives that through humor or irony depict critical issues in a more engaging way. In order to do this, several examples are presented showing how the historical evolution of the single screen of the cinema into the multiple screens of the network society not only hybridizes creators with consumers,but expands with diversity the prior unequivocalness of the objectivity discourse. Finally, the concept of the amphibian filmmaker is posed, as a metaphor of a creator who is able to move on these fuzzy aesthetic territories being faithful to an artistic vision but also to a social and activist ethos.