The term “experimental documentary” indicates a certain hesitation, if not doubt, about the concept of reality. How can reality itself be captured and represented? What are the right structures, concepts and patterns to exhibit reality? The term “documentary” refers to a “real” event, which is examined. So in one sense, “experimental documentary” questions our traditionally accepted patterns of reality, presented in logical, homogenous and narrative structures, which are able to capture and represent a reality. In another sense, the experimental documentary can be seen as an illusion, a suggestion and, in the best of cases, a diminution, directed by simplified intentions.
How can documentaries deal with events that, for example, were never officially documented either in writing or with audiovisual aids? Is this the limit of true representation?
Experimental narratives. South African filmmaker Simon Gush defies such a limitation in his work Invasion. His film re-enacts eyewitness statements in a simple and understated fashion: Actors sit on a chair in an empty, uncomfortable room, and read the accounts of those who wish to remain anonymous. An image of a landscape surrounding an artificial lake is shown on-screen. The landscape itself is insignificant, and difficult to locate. The texts speak of a South African military attack against a water resort in Lesotho, the small, land-locked kingdom surrounded by South Africa on all …
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