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Max Kestner

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Max Kestner fortæller i en artikel, hvordan han mener, at dokumentarfilm aldrig viser virkeligheden som den er. Jeg vil nu diskuterer hans synspunkter.
Skildrer dokumentarfilm virkelig sandheden eller er det blot en slags fiktion, som ikke er mere sand end en spillefilm? For Max Kestner er svaret, at dokumentarfilm aldrig viser virkeligheden. Han skriver, at det ikke er meningen at dokumentarfilm skal skildre virkeligheden, for den er uden for vores vinduer og hvis det er den vi vil se kan vi kigge ud af dem. For mig er svaret, at dokumentar film hverken viser sandheden eller virkeligheden, men dog er genren tættere på det virkelige liv end en spille film trods alt er. Det fremgår tydeligt af Max Kestners artikel, hvordan han instruerer sine film i en retning så de bevidst kommer til at fremstå som fiktionsfilm. Han skriver f.eks: ”… at jeg instruerer mine film. For jeg sætter en ære i det. Alle film, også dokumentarffilm er instruerede.” ”Der ikke er nogen væsentlig forskel på det vi kalder fikition, og det, vi kalder dokumentar.”
Det virker som om, han er for dybt inde i sin egen måde at instruere dokumentarfilm på, at han helt glemmer værdien af de dokumentarfilm, hvor instruktøren har pillet mindst muligt ved historien og de medvirkende. Max Kestner har ret i, at det er nødvendigt at vælge fra eller til i forhold til alt, når en dokumentarfilm skal laves og på den måde aldrig vil kunne vise virkeligheden hundrede procent. Men med det sagt, tager han ikke højde for , at man kan komme tættere på virkeligheden end i en fiktionsfilm og derfor kan der argumenteres imod hans påstand om, at der ikke er væsentlig forskel på fiktions – og dokumentargenren.
Udfra Max Kestners påstand kan man drage spørgsmålet om, hvorfor der overhovedet er en dokumentar genre, hvis den, efter Kestners mening, alligevel ligger så tæt op af fiktionsgenren? Hvis begge genre har samme kendetegn og er opbygget efter samme regler og forudsætninger, burde der vel ikke skelles mellem dem? Kestner har på i sin artikel fået de to ting til at smelte sammen, men fiktionens kendemærke er netop, at den er uvirkelig hele vejen igennem. De medvirkend er ikke mennesker der lever i virkeligheden, men roller, som er spillet af skuespillere og selvom historien i fiktionsgenren muligvis er taget fra den virkelige verden er den stadig blot opdigtet og ikke virkelig. Instruktøren bestemmer igennem hele filmen, hvordan alt skal ske, hvornår det skal ske og hvad der skal ske. Altså er en fiktionsfilm iscenesat helt til mindste detalje, hvor en dokumentar derimod kan være mere fri. Der er de medvirkende f.eks. ikke bare fiktionsroller, men virkelige menensker, som lever i det virkelige liv.
Bogen, Den Iscenesatte Virkelighed, skrevet af Gitte Horsbøl og Jette Meldgaard Harboe, handler om, hvordan fjernsynets fremstilling af virkeligheden, bliver dokumentargenren forklaret detaljeret. I bogen arbejdes der med forskellige former for dokumentarer. Der er endda prøvet at definere hvad en dokumentar er. En ordbogs definition er: ” (kort)film bestående af scener fra det virkelig liv.” – men problemstillingen i den definition er ordet ”scener” og ”virkelige liv” for ordet scene kender vi fra fiktionsverden, mens virkelige liv hører til i fakta-genren. Bogen har derfor meget bredt selv defineret genren: ”En tv-dokumentar er en udsendelse, der tager sit udgangspunkt i virkeligheden”
Hvis man går ud fra dokumentaren som den er defineret i Den Iscenesatte Virkelighed, stemmer den overens med Max Kestners mening. For han tager udgangspunkt i virkeligheden og bygger så videre derefter, for at fremstille lige præcis den historie han vil fortælle publikum. I bogen står der også, hvordan der oftere og oftere bliver brugt fikitionskoder som empati, identifikation og spænding til at fastholde seerens opmærksomhed.
Altså kan Max Kestner have ret i, at virkeligheden aldrig er virkelig når den bliver filmet.

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