The Orpheus Complex (a one night thesis)

All filmmakers are in a since victims of an 'Orpheus complex' in that they are constantly attempting 'return to life' moments, feelings and/or people which have passed. The fallacy of this being that once an image is recorded it has passed. Thus filmmakers are for the most part 'chasing their own tails (tales)' in a vain effort to mummify constant death. Death, not only of the moment that is being reenacted, but also the death of the act of reenactment which, in a since, is dying as it is being recorded.
Filmmakers tend to find comfort in reenactment, however a reenactment that attempts to deceive itself as well as its audience into buying the illusion of a 'first time' represent for me the biggest misunderstanding of the filmmaking process. A film that refuses to acknowledge its deception is akin to a painting that sells itself as a window. In such presentation their is no room for respect for one's audience. Many filmmakers are all too willing to speak on the deception of sunlight, moonlight, explosion, etc., but rarely, within the context of narrative is the deception of a 'first time' ever addressed. However, it is this deception that I find to be most intriguing. It comes from something ingrained into many of us from an early age. The urge to recreate, to see a flower and then attempt to draw that flower. What differentiates that sort of recreation and a cinematic one is the suspension of disbelief.
We see Russel Crowe as James Braddock, and are expected to believe we are seeing James Braddock - back from the dead via movie magic. In contrast, in the Todd Haynes film I'm Not There, at no point are we expected to believe that Richard Gere is Bob Dylan.
Here Haynes is an example of a filmmaker that is not only aware of the deception, but one that has chosen to incorporate it.
The burden of creation is a misnomer, as it is plain to see that it is the burden of recreation that compels us. What films like I'm Not There and Chronik der Anna Magdalena Bach by Jean-Marie Straub and Dani
Huillet teach us is the possibility of a reconciliation of Orpheus and a rejection of deception. A recreation by self-aware re-creators.