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Film is not a language in the linguistic sense.

Therefore at first sight, this question boils down to a) can the  
camera lie, and b) realism. I would argue that strictly speaking,  
outside of context, the camera never lies. However, in practice, there  
is always some sort of context (filmic and extra-filmic), so that the  
camera - as we all know - may very well be lying. Realism is the wider  
set of strategies and conventions which makes us believe in the truth  
of an image. Even today, there are certain things of such phenomenal  
richness which Hollywood could never convincingly produce in the  
studio or computer. The collapsing twin towers of 9/11, for instance.  
Those were 'true' images.

Of course, I guess, you might be referring to a 'deeper' truth.  
Deleuze was dealing with that in the time-image. If (symbolic and  
conventional) realism doesn't suffice, try the Lacanian real. That  
hurts (Barthes' punctum in Camera Lucida). Hence, there are plural  
truths, not just one.

Henry





> In the context of writing about film, video and history.....I'm  
> trying to find material on film and the theory of truth. I wonder  
> for instance whether we ever say of a shot that it is true, the way  
> we say that a sentence is true. Or do we just talk about 'actual  
> footage' or 'video evidence' or something else. Has anyone ever  
> tried to formulate something like 'A shot is true if and only  
> if......? Or is there no point?
>
> Anyway is anyone aware of writing or films that reflect on the  
> conditions under which a shot (or a film) is 'true'? Or of writing  
> that says that truth is not a concept relevant to film?
>
> Ross
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