Abstract
This article examines the relationship between intention and meaning in documentary cinema. It argues that audience assumptions about the film-maker's intentions have limited the interpretation of documentary more than any other category of film. Evidence is drawn from Luis Buñuel's Land with Bread (1932), Leni Riefenstahl's The Triumph of the Will (1934), Michael Moore's Roger and Me (1989) and Arlene Bowman's Navajo Talking Picture (1986).
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