Abstract

The aims of my paper are triple: 1) to offer a panoramic view on the evolution of theoretical reflections on documentary definition, specially into the contemporary analytic aesthetics; 2) to evaluate the solution proposed by Carl Plantinga defining documentary as AVR (Assserted Veridical Representation); and 3) to contrast the aforementioned theoretical problem with an example of new documentary film, My Architect (2003) by N. Kahn, wich I find particulary interesting and significant concerning that problem. My thesis is that new documentary emphasis in subjective involvement of both filmmaker and spectator results in a more deep understanding of documentary nature