Abstract
The seven chapters of Andalucia, un siglo de fascinacion combines real and fictional elements in order to simulate truth and feign the rhetoric and strategies of different types of documentary. With the aim of reflecting on certain representative aspects of the Andalousian region –cultural and identity myths, historical episodes, traditions and artistic expressions–, Martin Patino spreads the post-modern game of the suspicion. The director scatters the Andalousian imaginary using mockumentaries that mixes reality and fiction. By using this fakery, Patino converts the style in the message and proposes an auto-reflexive thinking about the boundaries of documentary representation, the credibility of image, and its potentially manipulative nature.
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