紀錄影片還是真相製造

What matters in a documentary film (what makes it good or bad) is not so much its subject/object as its perspective or, rather, position – the stand the filmmaker adopts in the face of the object/subject the film deals with. What is at issue in a documentary film is not the true (realistic) representation of reality but the quality and intensity of a plot related to a particular object or element of reality. A documentary film tells a story no less than a fiction or feature film, it just stages it according to different rules; it’s horizon is narration, not accurate depiction. All through the last decades, the dividing line between documentation and fiction has become thinner and thinner in the realm of cinema – both of them being placed under the regime of what Gilles Deleuze called the power(s) of the false (les puissances du faux) – “truth” as the effect of a smart narration. “Truth” has to be manufactured – no less in documentary film than in fictions.

Due to the persistence of the pandemic, I will give my course on documentary films in the hybrid form recommanded by our Institute. The course consisting in six lessons, I will send every Monday the course of the week in a written form to the students who have registered for it. I will enclose recommandations concerning the films or clips from films they have to watch in connection with the content of the course. If the students are willing to make comments or ask questions about the course and the films, they should then send me a message so that we can arrange a chat. At the end of the course, the students will have to write a comment on a film or a sequence of a film I will name. The course will begin... alain brossat emil: alainbrossat46@gmail.com

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alain brossat emil: alainbrossat46@gmail.com