The personal and the fictional: Aesthetic mediation in the Indian documentary

Author:

Mallik Santasil1ORCID

Affiliation:

1. ISNI: 0000000419368884 Western University

Abstract

This article traces two interrelated strands of documentary film aesthetics in India that have steadily developed since the early 2000s. One concerns the presiding influence of personal narratives and subjectivity, manifesting in diverse thematic interrogations. The other relates to the increased tendencies of working with the cinematographic tropes and idioms of fictional storytelling. These directions, evolving over distinctive historical circumstances, have significantly revised the generic assumptions of the documentary. Two films feature centrally in this discussion, Payal Kapadia’s A Night of Knowing Nothing and Shaunak Sen’s All that Breathes. Both uniquely explore the personal and fictional registers of working with the genre. While Kapadia intimately thinks through the reigning political crises in India, Sen devises inventive means to visualize the graded, interrelated layers of ecological catastrophe in the world’s most polluted capital city. A critical review of these films seeks to understand the emerging narratorial, formal and technical logic informing the hybrid nature of contemporary documentaries and their intersecting issues.

Publisher

Intellect

Subject

Visual Arts and Performing Arts,Communication

Reference42 articles.

1. Aesthetic for documentaries;Academia Letters,2021

2. “Sober encounters”: The neoliberal logics of human rights documentary and Indian feminist documentary filmmakers;Feminist Media Studies,2016

3. Jacques Ranciere and the fictional capacity of documentary;New Review of Film and Television Studies,2010

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