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Nasleđe, Kragujevac
2016, vol. 13, iss. 35, pp. 291-305
article language: Serbian
document type: Review Paper
published on: 02/02/2017
doi: 10.5937/naslKg1635291R
Pseudo-documentary in the context of contem­porary art practices
University of Kragujevac, Faculty of Philology and Arts, Department of Fine Arts

e-mail: vladimir.rankovic@kg.ac.rs

Abstract

Although a pseudo-documentary refers to reality just as a documentary does, its relation with the subject is different - it is the opposite of the one that a documentary establishes with the same subject. As a representation of reality, a documentary is not a product of fiction. A documentary is characterized as fiction opposed to both the real and the possible. In the case of a pseudo-documentary, fiction is opposite to the real, but not to the possible. A pseudo-documentary treats fiction as a possibility while it portrays it as reality. If a documentary seeks the truth, then, perceived from that same position, a pseudo-documentary would be a lie used in search of truth. Consequently, a pseudo-documentary could be categorized as a documentary hybrid, considering that it is a form in which both faction and fiction are found, and which appropriates codes and conventions, as well as documentary genre patterns. As a distinctively creative treatment of truth, a pseudo-documentary approach is ever more present in the strategies of many contemporary authors, which has led to a pseudo-documentary taking a prominent place in the contemporary fictional narrative, i.e. in contemporary art practice in general.

Keywords

documentary; pseudo-documentary; art; faction; fiction

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