The power and influence of film and documentaries in public discourse and in formal pedagogical practices is recognized as critical. The content and message of a documentary are likely to be regarded as the ‘truth’. This is generally located in the belief that since a documentary is focused on a real-life event, it seeks to objectively expose key issues and concerns to reveal the veracity of the phenomenon under scrutiny. This article explores the portrayal of fact and fiction through film and documentary as exemplified by Deepa Mehta’s film Anatomy of Violence and Leslee Udwin’s film India’s Daughter (2016 and 2015 respectively), selected for their focus on the rape and murder of a Delhi student dubbed by the media as ‘Nirbhaya’ in 2012. The article investigates how these two media forms make use of fact or fiction to enhance understanding of a key social quandary, examining notions of temporality, spatiality, determinism and patriarchy.

中文翻译：

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通过事实和虚构的强奸文化的表演性：印度的女儿与暴力解剖学探索

电影和纪录片在公共话语和正式教学实践中的力量和影响被认为是至关重要的。纪录片的内容和信息很可能被视为“真相”。通常认为，由于纪录片的重点是现实生活，因此它试图客观地揭示关键问题和关注点，以揭示受到审查的现象的真实性。本文通过电影和纪录片探索事实和虚构的描写，例如迪帕·梅塔（Deepa Mehta）的电影《暴力解剖学》（Anatomy of Violence）和莱斯利·乌德温（Leslee Udwin）的电影《印度的女儿》（India's Daughter）（分别是2016年和2015年），它们被选作重点研究强奸和谋杀德里达·米勒的德里学生。 2012年被媒体称为“ Nirbhaya”。