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The History of Authorship in Ethnographic Film: Anthropology, Creative Practice, and the Politics of Representation

Clark Bell

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Published in Beyond Observation: A History Of Authorship In Ethnographic Film (Anthropology Creative Practice And Ethnography)

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A Group Of People Sitting In A Circle, Discussing A Film Beyond Observation: A History Of Authorship In Ethnographic Film (Anthropology Creative Practice And Ethnography)

Ethnographic filmmaking is a complex and multifaceted practice that has its roots in both anthropology and the creative arts. As such, it is a field that has been constantly evolving, with new technologies and approaches emerging all the time. One of the most important developments in ethnographic filmmaking in recent years has been the increasing emphasis on the role of the filmmaker as author. This shift has led to a number of important debates about the ethics of ethnographic filmmaking, the role of the filmmaker in the production of knowledge, and the relationship between ethnography and art.

Beyond observation: A history of authorship in ethnographic film (Anthropology, Creative Practice and Ethnography)

by Paul Henley

4 out of 5

Language	:	English
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The Early Days of Ethnographic Film

The early days of ethnographic filmmaking were marked by a strong emphasis on objectivity and scientific detachment. Filmmakers sought to document the lives of other cultures as accurately as possible, and they often used their films to make generalizable claims about human behavior. However, this approach was soon criticized for being too simplistic and for ignoring the complex relationship between the filmmaker and the people they were filming.

In the 1960s and 1970s, a new generation of ethnographic filmmakers emerged who began to challenge the traditional conventions of the field. These filmmakers, such as Jean Rouch and Timothy Asch, argued that it was impossible to be truly objective in ethnographic filmmaking, and that the filmmaker's own subjectivity was an important part of the filmmaking process. They also began to experiment with new forms of ethnographic filmmaking, such as participant observation and reflexivity.

The Rise of the Author

In the 1980s and 1990s, the role of the filmmaker as author became increasingly important in ethnographic filmmaking. This shift was due in part to the rise of new technologies, such as video and digital editing, which made it easier for filmmakers to create more personal and expressive films. It was also due to a growing awareness of the importance of the filmmaker's own subjectivity in the production of knowledge.

As ethnographic filmmakers began to embrace their role as authors, they also began to experiment with new ways of representing their subjects. They began to use more subjective and creative techniques, such as personal voiceover and poetic imagery. They also began to work more closely with their subjects, and to give them a greater voice in the filmmaking process.

The Politics of Representation

The increasing emphasis on the role of the filmmaker as author in ethnographic filmmaking has also raised a number of important questions about the politics of representation. Who has the right to tell the stories of other cultures? How can filmmakers avoid exoticizing or romanticizing their subjects? How can they ensure that their films are respectful and culturally sensitive?

These are complex questions that have no easy answers. However, they are important questions to ask, as they go to the heart of the relationship between ethnography and art. Ethnographic filmmaking is a powerful tool that can be used to promote understanding and empathy between different cultures. However, it is also a tool that can be used to perpetuate stereotypes and to exploit the people it purports to represent.

The history of authorship in ethnographic film is a complex and ever-evolving one. As the field continues to develop, it is likely that we will see even more new and innovative approaches to ethnographic filmmaking. However, one thing is for sure: the role of the filmmaker as author will continue to be a central issue in the debate about the ethics and politics of ethnographic filmmaking.

References

Asch, T. (1994). The anthropology of film. Cambridge: Cambridge University Press.
Banks, M. (2001). Visual methods in social research. London: Sage.
Ruby, J. (2000). Picturing culture: Explorations in film and anthropology. Chicago: University of Chicago Press.
Stoller, P. (1992). The cinematic anthropology. Madison: University of Wisconsin Press.

Beyond observation: A history of authorship in ethnographic film (Anthropology, Creative Practice and Ethnography)

by Paul Henley

4 out of 5