ABSTRACT
We are so eager for “truth”. But neither in life, nor theory, nor arts or politics is truth given, and figuring out what appears to be true and what appears to be false requires approaches that demand time and persuasive skills; not only rational and argumentative proficiencies, but also artistic ones, which deal with a series of elements of aesthetic nature, and above all, of affective and emotional accuracy. The accuracy I am dealing with in this chapter is not scientific nor is it philosophical. It doesn’t only imply a particular rational argument and exactness but also a certain structure of affective acceptability built through a framework of timing and conditioning of the truth/falsehood relationship. By demonstrating functionality and protocols of a specific genre of cinema and its relation to truth, outlined throughout the twentieth century, my intention is to highlight difficulties (more or less unmet accuracies of the affective nature) that mockumentaries (mock-documentaries) channel while creating a common ground for what has been seen and heard as true.
