The Suspension of Belief

Most of the time, a work of art–especially a dramatic work–is at pains to draw you into the story. In addition to the suspension of disbelief with regard to the story, there is a sort of suspension of the senses with regard to the technique, in which we enter into the world of the work of art on its own terms. The observer┬áis not usually intended to focus on the technical means of producing the artistic effect, or the means by which the story is told. The tools used to create the work are not part of the work itself. Most of the time, these are means to an end. The viewer can of course be conscious of them, but they are still tools and techniques, and not the subject of the work of art.

Sometimes, however, an artist will employ a self-conscious or even self-referential display of these tools or techniques, intentionally drawing attention to the means of making the work, in order to convey a meta-message, or to enrich the storytelling in surprising and paradoxical ways. The medium of film has perhaps some of the greatest potential for showing the viewer the methods of its own production. But it is important to remember that the filmmaker, when showing you the “behind the scenes” footage as part of the main product, has made a conscious choice of what to reveal. Moving what should be┬ábehind the scenes in front of the camera does not make the product less scripted, more authentic, more real. No one is under the illusion that “reality” TV shows show us anything that isn’t scripted up front and then shaped in the editing room to form whatever narrative is desired. But should we not be just as skeptical about documentary films? And on the other side of the coin, are fictional films less true because they are made-up stories?

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