The Film Society of Lincoln Center’s extraordinary series “Art of the Real,” which runs from today through April 26th (and which I write about in the magazine this week), is nourished by deep roots extending to the very source of the history of cinema. Already in 1895, the primordial documentary, the Lumière brothers’ film of employees leaving the company’s factory, was staged by the filmmakers. And the film that turned their invention, the “cinématographe,” into a terrifying spectacle, “Arrival of a Train at La Ciotat,” contains the definitive and enduring gesture of acknowledged mutual implication, the glance at the lens of the camera. From the start, the documentary cinema was infused with French aestheticism and French psychology. The documentary was defined not as a naïve and spontaneous capture of preëxisting reality but, rather, as a creation, a work of art.