Add to ORKGThis chapter uses my Film Farm experience to rethink the nature of the visible across genres of filmmaking – from the experimentally driven handmade film to other film forms. These genres of film are not normally spoken of as consonant or related practices, as their presumed larger aesthetic and social purposes are widely divergent. Whereas experimental film is premised on provoking a kind of interrogation of the visible, other films register visibility as the basis for truth claims about the real. Social-scientific motifs often drive the meaning of these films, their realism, and the ideology of the visible that supports it. They frame its truth claims, the presentation and consolidation of evidence, and the buttressing of argumentative lo...