Abstract

Defends the idea that documentary is a distinctive and important cinematic category, though an essentially vague one. This notion depends on that of a trace. A documentary must involve traces of its subject, and not merely testimony of it. Defines an ideal documentary as one where there is a certain kind of coherence between the narrative and the trace‐content of the work. Argues that the notion of an ideal documentary explains much in our attitude towards, and practice concerning those things we commonly label documentaries.