ABSTRACT
Since the 1980s, the term 'Postmodern' has stood for an articulatedly vague awareness that Modernity has reached its end. Postmodernistic narration is revealed in the last major philosophical theory of film to date, namely that of Deleuze. It is immediately clear in the titles of his two volumes on cinema. Like the meaning of any philosophical term, the meaning of 'evidence' depends on the epistemological positions assumed. The position adopted by Nancy is first and foremost clearly a definition of evidence as an objective form of truth finding and not merely a subjective form of truth acknowledgement. In order for the positive to fulfil its function, it must of course be determined, at least sufficiently. Surrounding it in a fog in which the believers blunder about semiconceptually might make these people feel blessed, but it disappoints those who crave more detail.
