Makers of documentaries largely determine audio visual history with their choice of subject matter and the way in which they carry out their research. How are these choices reached and does a cineaste choose from the vast amounts of material he has collected after and during his research? In his article Respect for Coincidence, the documentary film maker Hans Keiler describes the role of coincidence in his work. 'The half finished plan disappears into a file, a graveyard of new ideas from which it makes a miraculous reappearance some ten years later thanks to a coincidental meeting.'
How to Cite:
Keller, H., 1998. Achting voor het toeval: Over de mapjes van een documentairemaker. Journal for Media History, 1, pp.85–92.