By 1981, Jean Rouch, the French ethnographer and filmmaker whose 1969 definition of Documentary was central to Chap. 12 herein, had already boasted eighty-seven films produced in over thirty-five years of continuous filmmaking since 1946. Tragically, twenty-three years later, at the age of eighty-six, Rouch would meet his demise in a car accident in northern Niger on February 18, 2004. As detailed in Chap. 12 herein, Rouch remains key among a distinguished cadre of admirably creative and unwaveringly dedicated cinéastes du monde. His 1981 contribution to the philo-historical journey of Documentary definitions is attributed to a moment that Steven Feld describes thusly: “In March 1981, Rouch decided to update his conclusion a second time. He wrote this text in Paris as his final thoughts on the interview.” Rouch writes: “For me as an ethnographer and filmmaker, there is almost no boundary between documentary film and films of fiction. The cinema, the art of the double, is already the transition from the real world to the imaginary world …” The chapter delves deep into Rouch’s metaphysics, heavily inspired by notions of Trans, Dance, and Magic examined in his 1960 doctoral thesis, “La religion et la magie Songhay.”