The text presents divergent understandings of the concept of objectivity, as they have been appearing in the theory and practise of documentary film of the 20th
century. We focus specifically on the representational paradigm and its theoretical and practical oppositions. The oppositions are mainly presented from the standpoints of the so-called new documentary and from those of the authors of the french cinema verite movement. This disagreement can be traced back to one of the fundamental theoretic antagonisms of the german classical philosophy, which manifested itself in the Spinozism controversy in the late 18. century.

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