When cinematic forms move between imitation and staging, when the real is recreated and the imagined is framed in a documentary way, a space is created in which montage not only orders, but also deceives, disguises and seduces. What is the role of editing when it not only structures narrative but also produces the index of the real, when editing sequences are supposed to generate more credibility than the filmed material itself possesses? And what does authenticity mean when the "real" itself becomes an effect of the editing technique?
Using the example of the cinema mockumentary Diamante and various scripted reality formats, strategies of image and sound montage that both imitate and simulate reality will be discussed: What aesthetic and ethical questions arise when supposed credibility is constructed through editing? What is the relationship between the work of editors, audience expectations, intended effects and the inherent production logic of these hybrid formats? And how does our understanding of documentary veracity change when hybrid formats deliberately undermine the boundaries between fact and fiction?
Guests: Benno Aselmeyer (Editor), Belkis Rashid-Körner (Producer filmpool, requested), Oliver Held (Editor), Erik Winker (Producer Corso Film)
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