Ludwig Wittgenstein's notion of aspect-seeing, and Stanley Cavell's notion of aspect-blindness, allow us to situate Abbas Kiarostami's quasi-documentary Close-Up as a radical revision of the genre that fundamentally challenges our assumptions about truth and representation in documentary film. Considering the film through the lens of Wittgenstein's and Cavell's philosophies of seeing puts pressure on the ethical dimension of the process of seeing as it is both enacted by and represented in the film. Kiarostami brings to the foreground the intransigent aspects (...) of documented reality and unsettles certain aspects of the documentary process. In doing so, he reveals our blind spots about what we think documentary film does, or ought to do. Close-Up blends layers of the real: part documented present and part re-enacted past, the film recreates the story of a real group of people who become actors playing themselves, re-enacting the story for Kiarostami's camera, repeating all of their “lines” exactly (or... (shrink)