A HITCHCOCKIAN RE-CREATION OF THE FIRST MODERN MASS SHOOTING | The New Yorker
Documentary filmmakers labor in a state of lack—above all, a lack of documents. One of the best recent documentaries also has one of the best recent titles: “The Missing Picture.” The essence of documentary filmmaking is the creation of images to take the place of those that don’t exist or can’t be found, and in recent years documentary filmmakers have done that by by fabricating substitutes for those images, whether in dramatic reënactments or through animation. The fundamental dividing line in documentary practice is the one between images that are made and images that are found—between original images and archival footage—and both often fall rapidly into the trap of conventions that stunt their use.
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