Del Cine-Ojo a Dogma 95

The documentary, that cinema in the photographic way that for so long was considered a minor product, now reappears not only as an auteur cinema, but as one of the most appropriate products for the new contemporary reflection on the cultural industry and its exceptionality . The idea, the camera, the form and the staging of reality generated, from the very beginning, different proposals, which are examined here based on their theoretical contributions, the works and the historical conditions in which they were made. The plurality of the foundational period, that of the decade of the twenties and thirties, meant the appearance of authors such as Vertov, Epstein or Grierson. But there were moments, throughout the twentieth century, in which the real also found its own cul de sac. The answer was called neorealism, Nouvelle Vague, Free Cinema and direct cinema: to observe what happens. In the sixties the militant cinema broke, with the Latin American boom and the return of theory. The last part of the book, in short, focuses on the influence and presence of the documentary in the fin-de-siècle fiction.