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As a documentary educator and practitioner in Australia, 'truth' is an area of concern for both my students and I in undertaking the risky capturing and the representation of the lives of others. Documentaries are deceptively difficult to make, especially for the novice, and most especially when considering hybrid non-fiction genre forms. The questions my students pose often centre on how much can they blend reality in the 'post truth' moment, and what are the practical and ethical challenges of doing so? This paper urges teachers and makers alike to refer to established documentarians who investigate at truthful depictions that often transcend the didactic recitation of facts. Citing the examples of Conjuring the Rolling Thunder Revue: A Bob Dylan Story (directed by Martin Scorsese, 2019) and The Rehearsal (created by and starring Nathan Fielder, 2022), I present a pragmatic discussion as to how disruptive non-fiction form a pure triadic relationship between participants, audiences, and filmmakers, which necessarily involves the overlap of ethics and creativity. I refer to a recent student hybrid documentary film Bustard Head (directed by Lucy Lakshman, 2021) as an example outcome of this pedagogically oriented approach. [ABSTRACT FROM AUTHOR]

The article provides an analysis of texts and images in national, comparative and world context. Topics discussed include breaking of texts into fiction and nonfiction and into disciplinary fields like philosophy, literature, and history, sub-disciplines like social history, economic history, cultural history and intellectual history, and literary studies having claims among national literatures.