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Audiovisual forgery is a filmic practice -which has undergone a certain rise since the mid-1970s- that simulates aesthetic modes and the strategies of discursive construction of the documentary genre. Together with this stylistic appropriation, the fake also proposes a self-reflexive meditation on the limits of representation, the credibility of the image and its potentially lying and manipulative character. This article approaches the phenomenon from a historical perspective in order to then define the reflexive, poetic and rhetorical characteristics that define it. [ABSTRACT FROM AUTHOR]