“…Siguiendo a Plantinga (2005), los documentales poseen unos fines muy concretos: in which the film's makers openly signal their intention that the audience (1) take an attitude of belief toward relevant propositional content (the «sa-ying» part), (2) take the images, sounds, and combinations thereof as reliable sources for the formation of beliefs about the film's subject and, in some cases, (3) take relevant shots, recorded sounds, and/or scenes as phenomenological approximations of the look, sound, and/ or some other sense or feel of the pro-filmic event. (The «showing» part) (2005: 114-115) El falso documental parte de la base realista del segundo (es decir, el documental), donde el productor audiovisual articula el discurso sobre ejes factuales y míticos para certificar sus referencias y que su narrativa no sea puesta en duda (Dittus, 2013). World War Three: inside the war room ha vertebrado sus presupuestos sobre ambos ejes, evidenciando que «popular factual entertainment can be more than merely diverting, and at times can engage with political and social issues» (Roscoe, 2004: 293).…”