The Construction of Chance in Cinema: contingency figures

“What type of realism is intended by the artistic expression? What kind of real do we refer to when reasoning about aesthetic truth or authenticity? In what sense does one speak of authenticity by claiming that art stands against the narrative, figurative naturalism or representation? According to J. Epstein, “cinema is truth, a story is a lie” (1983, p. 276); Heidegger considered that “truth happens in the Van Gogh’s painting” (1992, p. 44); and G. Deleuze and F. Guattari declared that “no art, no sensation, was ever representational” (1992, p. 170). If the real is the beacon for aesthetic authenticity, inspiring art realisms – and, especially, as we will see, the drive to conceal authorial marks – then the question arises about what this movement implies.”