000			03823cam a22004454a 4500
001			musev2_76425
003			MdBmJHUP
005			20240815120830.0
006			m o d
007			cr||||||||nn|n
008			200721r20202012nyu o 00 0 eng d
020			_a9780615647104
035			_a(OCoLC)1176455031
040			_aMdBmJHUP _cMdBmJHUP
050		4	_aPN1995 _b.M36 2012
100	1		_aManchevski, Milcho, _eauthor.
245	1	0	_aTruth and Fiction: Notes on (Exceptional) Faith in Art / _cMilcho Manchevski.
264		1	_aBaltimore, Maryland : _bProject Muse, _c2020
264		3	_aBaltimore, Md. : _bProject MUSE, _c2020
264		4	_c©2020
300			_a1 online resource (40 pages): _billustrations
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aIssued as part of book collections on Project MUSE.
504			_aIncludes bibliographical references.
505	0		_aTruth and fiction : notes on (exceptional) faith in art / Milcho Manchevski -- Afterword : truth approaches, reality affects / Adrian Martin.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aReflecting upon his experience making his 2010 feature film Mothers, a cinematic triptych interweaving three narratives that are each, in their own way, about the often tenuous lines between truth and fiction, and one of which actually morphs into a documentary about the aftermath in a small Macedonian town where three retired cleaning women were found raped and killed in 2008 and the murderer turned out to be the journalist covering the story for a major Macedonian newspaper, the Oscar-nominated Macedonian-born and New York-based writer-director Milcho Manchevski writes that, "Most of us look at films differently or accept stories in a different way if we believe that they are true. We watch a documentary film in a different way from the way we watch a drama. We read a magazine article in a different way from the way in which we read a short story. Sometimes, we even treat a film that employs actors differently than a regular drama because we were told that it is based on something that really happened. We treat these works based on truth or reporting on the truth in different ways. Why? What is it in our relation to reality or in our relation to what we perceive to be reality that makes us value a work of artifice (an art piece) differently depending on our knowledge or conviction of whether that work of artifice is based on events that really took place?" In this extended essay, or letter, Manchevski ruminates the different ways in which both filmmakers and audiences create, experience, and absorb the cinematic narrative with a certain trust and faith in the artwork to render, not the factual truth, per se, but the importantly shared experience of trusting "the plane of reality created by the work itself," such that "we trust its inner logic and integrity, we have faith in what happens while we give ourselves to this work of art." Truth becomes a question of what artist and audience can see and feel together: what feels real becomes the world we inhabit. The book also includes an Afterword, "Truth Approaches, Reality Affects," by internationally renowned film scholar Adrian Martin.
588			_aDescription based on print version record.
650		0	_aMotion pictures _xProduction and direction.
650		0	_aMotion picture audiences.
650		0	_aMotion pictures _xPhilosophy.
655		7	_aElectronic books. _2local
710	2		_aProject Muse, _edistributor.
776	1	8	_iPrint version: _z9780615647104
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/76425/
999			_c234202 _d234201