Monday, May 12, 2008

295 紀實與紀錄片



Cartier-Bresson, the photographer, used to say that photographing people was appalling. That it was some sort of violation of them. It was even barbaric, he said. Because you were, essentially, stealing something from them. You were imposing something on them. He sensed the inherent unfairness of this transaction.

All writer, all storyteller are imposing their own narrative on something. I mean all art, in some ways, is a lie. It looks like a picture of something, but it isn't that thing. It's a representation of that thing. Your documentary is, on some level, going to be a lie. It's your construction of things. I mean, I'll say that right now, if you'd like. It's true. I mean, your documentary itself, going to be a lie. It's your construction of things. It's how you wish to represent the truth, and how you've decided to tell a particular story. By that I don't mean that certain things don't happen. Of course they do. It's not that there is no such thing as truth. But we come to like and trust a certain story, not necessarily because it's the most absolutely truthful, but because it's a thing that we tell ourselves which make sense of the world, at lease at this moment.

Michael Kimmelman
Chief Art Critic - The New York Times



Michael Kimmelman


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