Can Film Show the Invisible?

Suhr, Christian; Willerslev, Rane

doi:10.1086/664920

Cited by 49 publications

(12 citation statements)

References 18 publications

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“…These include, but are not limited to, photography, film, video diaries, and drawings (Murray & Nash, 2017). These visual methods are often used to study abstract concepts and contexts (Murray & Nash, 2017), highlight subtleties in agency and practices, capture emotions (MacDougall, 1998; Suhr & Willerslev, 2012), engage hard-to-reach populations (Milne, Mitchell, & de Lange, 2012; Pain, 2012), raise awareness, and advocate for social change (Catalani et al, 2012; Gubrium, Hill, & Flicker, 2014).…”

Section: Introductionmentioning

confidence: 99%

Is Film as a Research Tool the Future of Public Health? A Review of Study Designs, Opportunities, and Challenges

et al. 2019

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Among public health researchers, there is growing interest in film methods due to their ability to highlight subtleties in practices, capture emotions, engage hard-to-reach populations, and advocate for social change. Still, little is known about strengths and challenges associated with using film methods in public health. This review synthesizes peer-reviewed, public health research studies that apply film methods, and describes opportunities and challenges. Of the 3,431 identified articles, 20 met the inclusion criteria. Fifteen different film methods were found that offer numerous methodological strengths, including the ability to provide rich descriptions, capture emic perspectives, increase comfort in participation, empower participants, and be used for advocacy. Future studies may explore engaging participants throughout the entire research process and using visuals created in the study to communicate findings. Keeping in mind their challenges, film methods are long overdue in public health and provide unique opportunities to capture sensory data.

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Section: Introductionmentioning

confidence: 99%

Is Film as a Research Tool the Future of Public Health? A Review of Study Designs, Opportunities, and Challenges

et al. 2019

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“…Although we experience what we see as fully-fledged threedimensional objects (unlike a screen which gives us a 2D flat image) we can only see them in space from the perspective of where we are at any moment: "because vision is everywhere […] we as perspectival beings are able to see things from somewhere." 48 Therefore, when we frame in filming we are already selecting and imposing a perspective on what we see, whether we acknowledge it or not. As Jean Rouch, a French ethnographic filmmaker, has argued quoting Dziga Vertov, film editing doesn't start in the editing room with the editor; it starts with framing:…”

Section: Recognizing Our Framingmentioning

confidence: 99%

Moving with the Screen on Zoom: Reconnecting with Bodily and Environmental Awareness

Loussouarn

2021

IJSD

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Rather than seeing Zoom as a replacement for practicing movement and dance in a shared physical space, I propose to consider our relationship with the screen on Zoom as a movement in its own right. Using my experience of teaching movement on Zoom, I ask how we can connect with another via the screen without losing awareness of our bodies and the space which we're in. I argue that Zoom is a place of 'moving selfies' in dialogue where we can engage critically with the screen by practicing seeing with the whole body and moving with diffuse awareness and where we can critically reflect on our own habits of framing the world and its biases.

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“…We felt restrained by feeling similar to them, taking images of and from people without their approval. Similarly, we started to realize that focusing on tourism as an obstacle or potential threat reinforces the binary hosts and guests (Smith 1977) often mapped onto the relationship between tourists and local inhabitants. Consequently, after a few uncomfortable situations, we decided not to use the camera in the initial phases of fieldwork.…”

Section: "Lukomir Through the Lens": Strategies And Perspectivesmentioning

confidence: 99%

A Long Term Visual Ethnography in a Bosnian Village: Tracking Epistemological and Methodological Issues

Filak¹

2017

EAZ

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A long term visual ethnography in a Bosnian village: Tracking epistemological and methodological issuesАbstract: The ethnographic film titled Lukomir, my home (2018) is a visual ethnography of the daily life of an elderly couple from Lukomir, the highest mountain village in the Federation of Bosnia and Herzegovina. It depicts transhumant sheepherders' yearly migration cycle, during which they travel every winter with their flock of sheep from the Bjelašnica mountain ridge to the villages 30 km away, in the vicinity of Sarajevo. The film tracks the different spatial and material dimensions of their migration as well as their relationship to a life-style that is slowly disappearing. We see and sense the couple's connection to the land, animals, and the overall changes to their social world. The film as a visual ethnography serves as a basis for the discussion of the anthropological understandings one can attain through audiovisual material in comparison to written research. Every research topic makes us expand upon our methodologies in various ways in order to explore how we need to look at a certain issue. The mutually constitutive exploration of one's research topic and the employment of various visual media can reveal connections, sensorial dimensions and worldviews that otherwise perhaps would not be apparent. Through a reflexive analysis of the filming process as well as our field research, we can consider these important epistemological as well as methodological questions in the production of anthropological knowledge.

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Can Film Show the Invisible?

Cited by 49 publications

References 18 publications

Is Film as a Research Tool the Future of Public Health? A Review of Study Designs, Opportunities, and Challenges

Is Film as a Research Tool the Future of Public Health? A Review of Study Designs, Opportunities, and Challenges

Moving with the Screen on Zoom: Reconnecting with Bodily and Environmental Awareness

A Long Term Visual Ethnography in a Bosnian Village: Tracking Epistemological and Methodological Issues

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