In this paper we theorize gothumentary not as a subgenre, but as a critical concept. Through this concept we analyse some of the ways documentary and the Gothic have come together as discursive and rhetorical modes in cinema in order to address similar questions: how the past manifests in the present, how a subject can be represented and interpreted through documents, and how the limits of knowledge are drawn in our representations. Recent cinematic texts such as Capturing the Friedmans (d. Andrew Jarecki), In the Realms of the Unreal (d. Jessica Yu), Must Read After My Death (d. Morgan Dews), Cropsey (d. Joshua Zeman and Barbara Brancaccio), and Resurrect Dead (d. Jon Foy) show the potential of the Gothic to undermine longstanding notions that positivistic strategies of representation are the key to what documentary has to offer both audiences and scholars. We theorize that the Gothic tradition’s engagement with the pleasures and torments of the text, along with its manifest anxieties regarding representation, can provide a critical intervention in the current crisis surrounding documentary realism. In contrast to conventional documentary modes, the films included in this study emphasize possibility over conclusiveness to suggest that perhaps the most productive way of thinking about the mysteries of our world is through speculation, interpretation, contemplation, and a certain fearful wonderment.
Original Title
Gothumentary: The Gothic Unsettling of Documentary’s Rhetoric of Rationality
In this paper we theorize gothumentary not as a subgenre, but as a critical concept. Through this concept we analyse some of the ways documentary and the Gothic have come together as discursive and rhetorical modes in cinema in order to address similar questions: how the past manifests in the present, how a subject can be represented and interpreted through documents, and how the limits of knowledge are drawn in our representations. Recent cinematic texts such as Capturing the Friedmans (d. Andrew Jarecki), In the Realms of the Unreal (d. Jessica Yu), Must Read After My Death (d. Morgan Dews), Cropsey (d. Joshua Zeman and Barbara Brancaccio), and Resurrect Dead (d. Jon Foy) show the potential of the Gothic to undermine longstanding notions that positivistic strategies of representation are the key to what documentary has to offer both audiences and scholars. We theorize that the Gothic tradition’s engagement with the pleasures and torments of the text, along with its manifest anxieties regarding representation, can provide a critical intervention in the current crisis surrounding documentary realism. In contrast to conventional documentary modes, the films included in this study emphasize possibility over conclusiveness to suggest that perhaps the most productive way of thinking about the mysteries of our world is through speculation, interpretation, contemplation, and a certain fearful wonderment.
In this paper we theorize gothumentary not as a subgenre, but as a critical concept. Through this concept we analyse some of the ways documentary and the Gothic have come together as discursive and rhetorical modes in cinema in order to address similar questions: how the past manifests in the present, how a subject can be represented and interpreted through documents, and how the limits of knowledge are drawn in our representations. Recent cinematic texts such as Capturing the Friedmans (d. Andrew Jarecki), In the Realms of the Unreal (d. Jessica Yu), Must Read After My Death (d. Morgan Dews), Cropsey (d. Joshua Zeman and Barbara Brancaccio), and Resurrect Dead (d. Jon Foy) show the potential of the Gothic to undermine longstanding notions that positivistic strategies of representation are the key to what documentary has to offer both audiences and scholars. We theorize that the Gothic tradition’s engagement with the pleasures and torments of the text, along with its manifest anxieties regarding representation, can provide a critical intervention in the current crisis surrounding documentary realism. In contrast to conventional documentary modes, the films included in this study emphasize possibility over conclusiveness to suggest that perhaps the most productive way of thinking about the mysteries of our world is through speculation, interpretation, contemplation, and a certain fearful wonderment.
Abstract In this paper we theorize gothumentary not as a subgenre, but as a critical concept. Through this concept we analyze some of the ways documentary and the Gothic have come together as discursive and rhetorical modes in cinema in order to address similar questions: how the past manifests in the present, how a subject can be represented and interpreted through documents, and how the limits of knowledge are drawn in our representations. Recent cinematic texts such as Capturing the Friedmans (Andrew Jarecki, 2003), In the Realms of the Unreal (Jessica Yu, 2004), Must Read After My Death (Morgan Dews, 2007), Cropsey (Joshua Zeman and Barbara Brancaccio, 2009), and Resurrect Dead (Jon Foy, 2011) show the potential of the Gothic to undermine longstanding notions that positivistic strategies of representation are the key to what documentary has to offer both audiences and scholars. We theorize that the Gothic traditions engagement with the pleasures and torments of the text, along with its manifest anxieties around representation, can provide a critical intervention in the current crisis around documentary realism. In contrast to conventional documentary modes, the films included in this study emphasize possibility over conclusiveness to suggest that perhaps the most productive way of thinking about the mysteries of our world is through speculation, interpretation, contemplation, and a certain fearful wonderment. While Gothic tropes have been present in documentary filmmaking since early cinema, we are noticing an increase in the combination of the two discourses in recent nonfiction films such as Wisconsin Death Trip (James Marsh, 1999), Capturing the Friedmans (Andrew Jarecki, 2003), In the Realms of the Unreal (Jessica Yu, 2004), Grizzly Man (Werner Herzog, 2005), Must Read After My Death (Morgan Dews, 2007), Cropsey (Joshua Zeman and Barbara Brancaccio, 2009), Double Take (Johan Grimonprez, 2009), and Resurrect Dead (Jon Foy, 2011), to name only a few. Here, Gothic and documentary discourses collide at the intersection of the dread of knowledge (epistephobia) and the desire for knowledge (epistephilia). Rather than presenting persuasive narratives that reach definitive conclusions, the gothumentary combines the Gothic tradition of unsettling our relationships with what we think we know with questions GOTHUMENTARY 2 brought out in experimental and hybrid documentary to push the spectator into more active modes of inquiry around how the historical world is represented. In the gothumentary, knowledge is often elusive, even monstrous in its resistance to the documentarians efforts. The gothumentary subject or event may be too large or too small to be represented satisfactorily by any means. The gothumentary conjures a world that is uncanny in its resistance to our attempts to seek knowledge, and its truths are often emotional, multiple, conflicting, partial or highly personal. In juxtaposing the documentarys discourses of rationality and sobriety with the Gothics focus on affect, excess and inscrutability, the gothumentary creates a space for the reevaluation of the philosophical and cultural relevance of both forms. As the mechanical eye made the world more visually available in the 19 th century, a dilemma around the purpose of looking became increasingly apparent: should we look for knowledge or for pleasure? (Cowie 1999: 26). Following the Enlightenment push to manage, contain and understand the place of desire in all realms of experience, the use of cinema as a prosthetic device could only be accepted by what documentary scholar Bill Nichols calls the discourses of sobriety, if the pleasures of cinema were renounced in its documentary uses. Early experimentations in Continental Europe by avant-garde filmmakers like Jean Vigo, Alberto Cavalcanti, Dziga Vertov, Joris Ivens and Jean Epstein, attempted to acknowledge nonfiction cinemas poetic and affective representational possibilities, asking viewers to think more deeply about issues prior to the demands of state power, like subjectivity, representation and perception (Nichols 2001: 583). The Griersonian documentary, which was favored by state and corporate production in service of reactionary goals, pushed aside the avant-garde documentary of the 1920s as a potential source of lineage for the genre over the next half century (Nichols 2001: 586). As a result, by the 1930s, the split along these lines seemed to be finalized: the enjoyment of cinemas spectacle belonged solely to the fiction spectator, while the documentary spectator (supposedly) looked only to know. The result of this emphasis on seeing for knowledge, not pleasure, was a mandate that the documentary produce positivistic knowledge claims, whether or not there was enough evidence, visual or otherwise, to support totalizing claims. Throughout its history, but especially since observational cinemas failure to convey satisfactorily an objective world by de-emphasizing the filmmaking apparatus, documentary has experimented with reflexivity to GOTHUMENTARY 3 address its problems around the roles of realism and representation. The convergence of Gothic and documentary strategies in the gothumentary film highlights the potential for reflexivity to produce critical relationships between filmmaker, text and audience at the intersection of three conceptual axes: hermeneutics, desire, and epistemology. Gothumentary deploys the contemporary Gothics polyvocal and polysemic textuality, its emphasis on endless interpretation by its narrators, and its evocation of a reality that defies representation, in service of a mysterium hermeneutics that challenges the exclusive reign of positivism which has dominated much of the documentary tradition. Capturing the Friedmans (2003) illustrates the gothumentarys mingling of pleasure and dread in contemplating an event that resists representation. The desired subjects of a disturbing case of alleged pervasive child molestation are front-and-centre in the film, but their chill reserve, and fragmented or unreliable access to memories of the events, suggests that no combination of evidence, testimony and (re)framing will lay open the real story, which is fraught with both terror and melancholy. Additionally, the films uncanny proliferation of accounts by its social actors causes viewers to shift allegiances throughout the film, highlighting an irresolvable perspectivism. Jareckis film constructs a sublime awareness of a world in flux, possibly unrepresentable in the enormity of its traumas and truths. In gothumentary, the pleasure is less in solving all of the mysteries of the text than in acknowledging its limitations. Gothumentarys goal is not one of disambiguation, as we find in positivistic discourse, but one of sustained acts of hesitation that stress polysemy of meaning and plurality of enunciation to hold open the possibility for interpretation. The hermeneutics of gothumentary are negativistic: though interpretations are building up, the void becomes the ultimate focus, the foregrounded problem. The knowledge produced is of an absence or lack due to the ever-widening circles of further questions that surround new knowledge. In the gothumentary, decoding reality is seen as always already based on a Nietzschean notion of infinite interpretation, an acknowledgement that there are no complete texts. In reading the evidence presented in the gothumentary, we seek not to close the circle to discover the incontrovertible truth of the thing-in-itself, but rather to discover more about the dimensions of the yawning chasm of mystery between ourselves and what we seek to grasp some part of. GOTHUMENTARY 4 Roger B. Salomon has argued that the ambiguous situation common to the narratives of Gothic and horror represents precisely the paradigm of truth in the contemporary worldits radically subjective, limited, or otherwise objectively unratifiable dimension (Salomon 2002: 76). The gothumentary, like the Gothic narrative, does not so much nihilistically eliminate solutions in its emphasis on indeterminacy of meaning (Salomon 2002: 87), but instead withholds solutions, to emphasize documentary construction and reception as an extended act of interpretation. The ambiguous situation is our postmodern reality, and gothumentaries open up and address that reality by resisting easy solutions and closure. As we find in films like Grizzly Man, Resurrect Dead, and Must Read After My Death, the gothumentary often turns its focus upon what Edgar Allan Poe called the text which does not permit itself to be read ([1840] 1984: 388). Its central subjects (often deceased or otherwise absent, always enigmatic) and objects (often ruins, cryptic texts, or abandoned spaces) elude the grasp of the documentary camera, which circles around them. The central figure of the gothumentary is fragmented and reachable only through the documents they have left behind. Though these documents are often not intended to be presented to the public, they confront us nonetheless. They do not address us; in fact, the texts are often addressed as if to their own creators as a form of introspection or self-interrogation. We collude with the filmmakers in trespassing upon these personal transmissions, hoping to become worthy of deciphering their deeper significance. In the gothumentaries that focus on the documents left behind by individuals who have been pushed to the margins and who would otherwise have no voice, the airing of these records holds redemptive possibilities. In Must Read After My Death (2007), for example, protagonist, Allis, has left upon her death her audio confessions and home movies to her family, who knew nothing of the pain she experienced while living in a suburban patriarchal hell. As we examine the images of the happy family, her voice intercedes to confront the spectator with the knowledge that, while these images are not faked or intentional deceptions, without the voice that conveys experience, they can only tell the story we already think we know, which is revealed to be an impoverished fabrication. In this case, a voice desperately calls out from the past demanding redemption for an injustice that the images are unable or unwilling to confirm, and thus unsettles the conventionalized strategies we rely upon to feel that we know what has happened in the past. GOTHUMENTARY 5 Resurrect Deads (2011) narrative revolves around the quest of several young men to crack the ubiquitous cryptic missives left embedded in the streets of major cities by a reclusive visionary. The excessiveness of the energy the creator of the Toynbee tiles puts out to communicate his message is matched by his equally intense desire to remain hidden. He is a traumatic ghostly figure who demands redemptive power through being heard and not seen. The (dreadful) pleasure of watching the documentarians quest to find this man lies in the anticipation that he will be exposed, potentially disclosing his motives, and in the equally disturbing possibility that he will not emerge to decode his communication. In Resurrect Dead, we see that there may be more power in probing the limits of the documentary subject-as-cipher than there is in reaching conclusive statements about the real man at the films center. Foys film is ultimately satisfied with its ability to open up a space for interpretation around this enigmatic individuals motives and what the documentarians desire to know about him says about the spectators own experience of the world. The Gothics reflexive tendency to hold considerations of the real in sway, through limited perspective and an excessive play of codes, signs and images (Botting 1996: 175), is key to its usefulness in such films as Must Read and Resurrect Dead that wish to call attention to the pleasures, torments and manipulative powers of representation, the strategies of truth-telling, and the way knowledge is constructed. While Gothic reflexivity can be effective in promoting critique through such ruptures, there is a danger in elevating the Gothic to a place where it becomes an infallible tool for critique in documentary. There are many clear instances in which Gothic and documentary discourse combine in commercialized and/or purely spectacular manners, such as in fantastical pseudo- documentaries (FP-Ds) like Chariots of the Gods? (1970), and reality television series like Discovery Channels A Haunting (2005-07) and Syfys Ghost Hunters (2004-present). However, when Gothic stylization, tropes, and narrative are combined with experimental and hybrid documentary strategies of representation, the resulting textsthose we call gothumentariesare capable of deeply unsettling the spectators naturalized relationships with knowledge, reality, representation, memory, history and the self. As a critical concept, gothumentary is not meant merely to indicate documentary explorations of traditionally Gothic subject matter, but instead often suggests a mode of documentary concerned with the notion GOTHUMENTARY 6 of knowledge itself as monstrous, especially when it is unattainable. Additionally, the gothumentary subverts conventional documentary bids for transparency, such as one finds in many made-for-TV documentaries, by highlighting the process by which knowledge is constructed in documentary. Monstrous subjects alone (serial killers, traumatic events, the paranormal) cannot constitute the gothumentary; rather, gothumentary focuses on the monstrosity of subject matter not typically conceived as monstrous, such as a document, a timid individual, or a trusted institution. This aspect of gothumentarys approach to the real is key in distinguishing the mode from what we call F-PDs, which are teleologically oriented only towards rendering the world strange through juxtaposing speculation with strings of unanswered questions and evidence often extracted from historical or cultural contexts. For Gary D. Rhodes, in FP-Ds such as the television series In Search of (1976-1982), and Unsolved Mysteries (1987-present), the question becomes the answer (Rhodes 2005: 157). That is, the potentially critically productive ambiguity inherent in an open, What If? ending, is here a fulfillment of FP-D conventions; open endings in the FP-D serve largely to fulfill a narrative drive to take events that are explicable within the disciplines of archaeology, anthropology or geography, and tilt them rhetorically towards the supernatural. The FP-D plays reflexively into the genre expectations of an often rather savvy audience that expects it to turn away from rational explanations to the fantasy of a possible world where skeptics are fools and believers in the preternatural and supernatural see their unconventional conclusions supported, if not by evidence, then by an opening-outward that the FP-D emphasizes in its final Or is it? moments. FP-Ds may flirt with questioning the positivistic conclusions of rational (scientific) discourse, as Rhodes suggests, but, unlike gothumentaries, they do not highlight themselves as acts of interpretation that open up critical pathways. The ambiguities evoked by FP-Ds can be read generically (and ironically) as rhetorical closure to the narrative. Accordingly, the FP-D is retrograde in its aesthetics, following an expository formula in which, according to Rhodes [i]magery and utterance combine to lead the audience to a monolithic conclusion to their esoteric questions: the exalted truth, rendered impersonally and without apparent bias (Rhodes 2005: 159). Contrary to the FP-Ds rhetorical and narrative play, gothumentary is a more critically productive reflexive modea form of both meta- documentary and meta-horror. It reenacts Gothic and horror genre GOTHUMENTARY 7 conventions with the purpose of revealing monstrous ruptures in the real that genre conventions typically convey through patently fictional events and recognizable (because often formulaic) iconographic and narrative constructs. Framing the world as though teetering on the brink of the inscrutable and the irrational, the gothumentary points to and disrupts our vague or illusory sense of the real by rendering it through the conventions of the darkly fantastic, while still maintaining a link to the historical world, so crucial within the documentary tradition. Because the gothumentary filmmaker has recognized the inability of one explanation to satisfy the central mystery of the text (that is, s/he has embraced the Nietzschean notion of infinite interpretation), the focus becomes an examination of the text and texture of evidence in which the available documents insufficiencies, contradictions and over-determined meanings become vulnerable to multiple probings. As documentary theorist Stella Bruzzi observes in her analysis of the Zapruder tapea compulsively viewed 22-second, 8mm home movie that shows the clearest view of the Kennedy assassinationno matter what degree of purity, clarity or value a piece of footage possesses, there will always be essential questions that no amount of viewing will be able to answer (Bruzzi 2000: 13-21). In the case of the Kennedy assassination, neither the killer nor the motive could be proven through the photographic evidence available. But because vision has long been linked to knowledge, the Zapruder tape has been viewed and reviewed ad nauseum, in the hopes of finding some previously unrecognized evidence. Bruzzi calls this expectation that visible evidence will give up the secrets of what it represents, the Zapruder paradox, attributing the problem to a confusion over the explanatory capabilities of the re-presentation (Bruzzi 2000: 16). Gothumentary openly speaks to the ever widening whys? around the failure of evidence, visible or otherwise, to tell us what we really want to know about the past and about how the past persists in the present, informing us in almost imperceptible ways about aspects of ourselves nearly successfully repressed, and just about forgotten. For instance, in films like Cropsey, Resurrect Dead, Capturing the Friedmans, In the Realms of the Unreal and Must Read After My Death, the filmmakers present a wealth of evidence that circles endlessly around mysteries that will never be solved. Unlike the way evidence is collected, analyzed and deployed by the press, the justice system, and academic institutions, these films allow for and preserve interpretive openings that these institutions are neither equipped, nor mandated to pursue. Gothumentary films thus GOTHUMENTARY 8 turn their focus on the general problems around documentarys reliance on readable evidence. In Cropsey (2009), for example, one interviewee discusses the less-than-incontrovertible nature of a photograph used to indict Staten Island resident Andre Rand as a child murderer, pointing out the multiple readings about Rands character that could be imposed upon the photo, which shows Rand in an ostensibly abject posture, head-down and hunched over, eyes rolled upwards. The film presents a sort of Kuleshov test, the interviewees voice heard over the photograph as he offers different interpretations of the image as representing either a heroic humanitarian or a brutal murderer, to suggest the tenuous claim the photo has to representing the real Rand. The film also holds itself up to scrutiny in this manner, featuring Rands open criticism of the filmmakers in a letter in which he remarks on the futility of their documentary to ever intervene as evidence in his case. Cropsey filmmakers Joshua Zeman and Barbara Brancaccio also appear as investigative social actors in their own film, voicing their doubts, frustrations and suspicions about the evidence they have collected, and filming themselves probing Rands supposed former haunts, being denied an interview with him, and opening and reading aloud his letters to them. Questions regarding whether Rands letters are his attempts to manipulate the documentarians further serve to render evidence in the film as increasingly suspect, even unreadable. Cropsey suggests that we can still learn from evidence of this sort, but the lessons will be different; we may not get the answer, but will learn about the problem of looking at and understanding evidence. Similar to the mockumentarys highlighting of the power of documentary form to create convincing manipulations of the real in service of hoax, gothumentaries often self-consciously exploit the possibilities of fiction in service of complicating the reality they construct. The visual record as presented by gothumentary can be characterized by a number of strategies derived from fictionand especially genre filmmaking. Via impressionistic imagery, such films as The Sound of Insects: Record of a Mummy (2009) and In the Realms of the Unreal: The Mystery of Henry Darger (2004) convey a sense of their absent subjects (similar to Resurrect Dead and Must Read After My Death), constructing them via juxtapositions of their own artistic or introspective output via journal writing and/or illustrations. Both films have limited to no access to visual records of the subjects they trace: in Sound, the mummys journala daily account of his suicide by starvation in the forestis the only record of his existence; and in Realms, three photographs of Darger; GOTHUMENTARY 9 hundreds of Dargers paintings, collages and sketches; and Dargers 1,500-page work of fantasy, provide the primary access to his existence. Accordingly, both films rely heavily upon images that attempt to evoke their subjects, as well as to render the world they (and we) live in as unsettling. While Gothic narrative strategies have long acknowledged the power of the document in the service of heightened realism, documentary film has drawn on the power of the sublime and the visual lure (spectacle) to engage its viewers affectively in its narrative quest for knowledge, even as the genre has ostensibly positioned itself against this practice. The desire to know and to seeand even to take pleasure through seeinghas always been present in nonfiction photographic media, and it has been theorized that documentary itself has developed according to different limitations regarding the styles, techniques and narratives that expose us to people, events, places and ideas. Nichols has shown (1991, 1994, 2001) that documentary has moved towards an increasing emphasis on mediation in order to convey a higher degree of realism, which has its parallels in 20 th and 21 st century Gothics formal and thematic extrapolation of earlier Gothics focus on proliferations of (often inscrutable, fragmented or illegible) documents and the fear and desire generated in contemplating them. It has been only recently, however, that documentary theory and public discourse have begun to acknowledge a place for desire, affect and the (Lacanian) real within the documentary frame due to an unfortunate division that was made in the early days of cinema and reasserted in the interwar period. Michael Renov (2004) and Elizabeth Cowie (1999, 2011) have both urged contemporary documentary film theory to take into account the spectators desire for knowledge and spectacle, factuality and affect. An ever-growing body of gothumentary films have combined the subjective, emotional, visual (and aural) pleasures of the non-fiction filmic experience, still largely disavowed by todays mainstream documentary, with Gothic reflexive strategies to challenge the very foundations of documentarys use of visible evidence to construct reality and knowledge as comprehensible, objective and accessible. Nichols sees films that combine an avant-garde impulse with a documentary orientation as particularly well suited to the task of disabus[ing] their viewers of any commonsense reality (Nichols 2001: 592). Such uses of documentary discourse to engage spectators with their own powers of interpretation and critical engagement with perception is a GOTHUMENTARY 10 crucial step towards rescuing documentary from its Griersonian alignment with state and corporate propaganda. Gothumentary signals a new strategy for bringing desire, dread, pleasure and active viewership back into documentary as a way of undermining the discourses of sobriety, ultimately presenting a real challenge to how they have co-opted our visions of what reality is. By creating a spectatorship that is actively involved in the construction of the text, gothumentary constitutes a return- of-the-repressed of avant-garde possibilities in documentary, reintegrating the pleasures of textuality not as a simple erotics, but as an integral part of a meaning-making process that encourages a critical understanding of the historical world through being moved by it. Gothumentary legitimates the scrutinizing gaze of the spectator, encouraging productive pleasurable looking. Cowie argues that documentary imagery responds to two types of desire: there is, first, the desire for reality held and reviewable for analysis as [] a world of evidence confirmed through observation and logical interpretation, and, second, the desire for the real not as knowledge but as image, as spectacle (Cowie 1999: 19). Gothumentary films highlight the tension between these two desires, questioning the first by exploring the possibilities of the latterthat is, by constructing a pleasurable gaze that seeks to scrutinize, however successfully that scrutiny produces conventional proofs. The gothumentary gaze seeks a different kind of knowledge, one gained through the contemplation of affect rather than through teleological structures. The degree to which the gothumentary deploys visual technology to bring viewers into an affective relationship to their world parallels popular mockumentary horror films, such as The Blair Witch Project (1999) and the Paranormal Activity series (2009, 2010, 2011). In these films, the visual record is rendered suspect in that it often fails to capture the (usually monstrous) object the amateur filmmakers have set their sights on. The camera in mockumentary horror falls into the hands of obsessive recorders with the urge to chronicle every moment of lived experience, and yet still fails to capture anything meaningful. In the Paranormal Activity films, the technology used in service of self-surveillance by the films haunted families is at least as monstrous in its pervasiveness in the home as the presence of demons. And the failure of the documentary project in Blair Witch prompts Brigid Cherry to remark that the film is about the way technology gets in the way of seeing (Cherry 2009: 188). James Keller extends this point, arguing that in many ways the subject of GOTHUMENTARY 11 Blair Witch is the progressive loss of control of the cinema process (Keller 2004: 60). As one Blair Witch character admits, the visual record offers only a filtered reality, one that deflects attention from a traumatic and ultimately unreachable real. Not unlike these and other mockumentary horror films, gothumentary films are a site where fiction and nonfiction strategies converge to create ruptures in the way we frame the world in our visual representations. Gothumentary unsettles, destabilizes and defamiliarizes those constructs we conjure to (re)present reality. It functions not merely through an evocation of terror, but through a deployment of Gothic tropes and affect to disrupt the conventional documentarys positivist drive, creating a critical distance between text and spectator in service of questioning both reality and its representation. The gothumentary is the result of specific historical convergences and epistemological impasses that require a mysterium hermeneutics to emphasize more interpretive modes of reception. Stemming from the three axes upon which documentary and the Gothic join to form a critical concept hermeneutics, epistemology and desirewe can identify several major strategies of representation found in recent gothumentary films, including, but not limited to: an undermining of the visual record; an emphasis on the failure of evidence to satisfy our epistephilic desires; a reflexive focus on, or evocation of, unreadable objects, subjects or texts; a reconfiguration of the pleasurable gaze of the spectator as both active and productive; and an over-determination of meaning that acts as a counterpoint to conventional documentary representations and strategies. The intervention of the Gothic into documentary foregrounds a trend that has been unfolding in documentary for several decades towards eschewing positivistic, conclusive containments of subjects, objects and events, to emphasize a new basis for documentary realism. In these films, failures of interpretation can be seen to produce an opening up of a field on which to explore our anxieties around how we form and communicate our relationships to reality. In this way, it could be said that the gothumentary moves its viewers closer to a sense of the real by acknowledging where we cant go in service of seeking truths. Gothumentary is about revealing ruptures in rational discourses; it is about asking different questions of reality and knowledge, about stressing absences and negatives rather than the revelations and truths required by positivism.
GOTHUMENTARY 12 Bios
Kristopher Woofter and Papagena Robbins are PhD candidates in Film Studies at Concordia University, Montreal. Kristopher teaches horror film and the American Gothic at Dawson College, Montreal. Papagena has taught courses in nonfiction film at Concordia University, and has presented frequently on experimental documentary.
References
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