Unlike reenactment per se, pretext is generally recognized only by other documentary makers or those familiar with the production process.
Understanding the archival document for its role in a non-cinematic archive.
Foregrounding the photographer-subject relationship.
Reverse engineering the enigma.
Poetic documentary, between trope and cliché.
Walking the line between omnivorism and discernment.
The affinity of conspiracy material for puzzle-film construction.
So frequently, festival documentaries imagine a foreign spectator, looking from the outside in.
The symbiotic relationship between biography and personality.
When the historical recollective documentary film takes on elements of the essay film – or vice versa.
How best to explain the convergence of the documentary world with experimental cinema?
The expressive possibilities of anti-realist Foley sound.