Documentary style as post-truth monstrosity in the mockumentary horror film

This article argues that the mockumentary horror film uses its stylistic hybridity to address the ontological and epistemic challenges posed to factual media in a post-truth and post-modern age through an analysis of the film Apollo 18 (Gonzalo López-Gallego, 2011). By adopting the visual aesthetics associated with factual media, and particularly those associated with post-9/11 surveillance culture, the form challenges the endurance of longstanding cultural structures (news, documentary, factual broadcasting) upon which our conceptualisation of the world is founded. In this respect, the boundary-crossing aesthetics parallel longstanding conceptualisation of the monster in horror. This aesthetic approach is most clearly manifested through the emulation of medium-specific textural artefacts which accrue across the film in a structured manner to create a situation in which the documentary investigation records its own destruction. The mockumentary horror film literalises the broader conceptual failure of the documentary project to work through and make sense of unresolved traumas and stand up to the threats posed by the epistemic horrors of a post-truth cultural turn