In the wake of the Haitian revolution, the approaching Black or “slave” lead state burned their oppressors’, the French, land in attempts to make their domain uninhabitable, to even barely repent for their devilish sins. To take this historical reference and translate it, especially, in the Guardian article that states, “He’s (Livingston) equally keen to point out to new viewers that Paris is Burning is not where the story finishes.” Although these stories end on a weary undertone, it basks that one can not effectively write history of the impossible. Impossible things like revolutions, queer (specially trans) liberation, or the structural feature of silencing targeted individuals though historical production. To continue, “if permanently controversial — Paris is Burning, are surely the types of artistic endeavors which can help change perceptions and militate against such erasure.”

In regard to the Film Art chapter 10, focusing on Documentary, it is the impossible to completely consider the retroactive significance of authentically shaping experience within film. However, “A documentary claims. to present factual information about the world.” Therefore, one can see how this paradoxical relationship creates an immense pressure and risk of ill-exposure for the director. This is why no matter how realistic a historical reflection may be, there is a “blurring of boundaries” whether it be through mockumentaries, turning film into fiction or realistic to the individual like in Word Is Out. This then develops categories, ones that not only aid to shape our experience but our perception of truth within a film.