Dreaming a Narrative and Conjuring an Image: Collaborative Filmmaking with People and Spirits in Melanesia

Wolffram, Paul

doi:10.1080/08949468.2018.1445712

Cited by 4 publications

(3 citation statements)

References 17 publications

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“…Instead, Rouch advocated the “development of film as a vehicle for the creation of a ‘shared anthropology’ … First and foremost is his concern that one’s knowledge about another culture be produced in a way that can be shared with members of that culture” (Ginsburg 1995, 65; see also Henley 2009, 317–22; Rouch 1974). Later scholarship developed collaborative filmmaking as “a kind of ethnographic work in which ordinary boundaries between image maker and subject, between scholar and ordinary men and women dissolve or become permeable” (Elder 1995, 101; see also Wolffram 2018).…”

Section: Collaboration In Ethnographic Filmmentioning

confidence: 99%

“…Instead, Rouch advocated the "development of film as a vehicle for the creation of a 'shared anthropology'… First and foremost is his concern that one's knowledge about another culture be produced in a way that can be shared with members of that culture" (Ginsburg 1995, 65; see also Henley 2009, 317-22;Rouch 1974). Later scholarship developed collaborative filmmaking as "a kind of ethnographic work in which ordinary boundaries between image maker and subject, between scholar and ordinary men and women dissolve or become permeable" (Elder 1995, 101; see also Wolffram 2018). Such notions of collaboration have shaped more recent uses of reenactment, given that "all film is a relationship between the filmmaker and subjects and that 'cinema truth' comes from collaboration between these two.… Reenactment was a way to respond to a specific filmmaking challenge" (Kahana 2009b, 68).…”

Section: Collaboration In Ethnographic Filmmentioning

confidence: 99%

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Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Boellstorff¹

2021

Visual Anthropology Review

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The film Our Digital Selves: My Avatar Is Me (Bernhard Drax, director: 74m, 2018, https://youtu.be/GQw02 -me0W4) chronicles the experiences and insights of disabled persons in the virtual world Second Life. In this article, I focus on the making of the film through collaboration between researchers, filmmakers, and community. By discussing techniques of what I term virtual enactment, I explore how Our Digital Selves constitutes paraethnographic film created through a triple collaboration between community members, filmmakers, and ethnographers. This concept can contribute to visual anthropology as a set of representational and analytical techniques responsive to emergent cultures and communities.

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Section: Collaboration In Ethnographic Filmmentioning

confidence: 99%

Section: Collaboration In Ethnographic Filmmentioning

confidence: 99%

Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Boellstorff¹

2021

Visual Anthropology Review

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“…Several considerations motivated me to (re)produce the participants' stories. First, although participatory practices aim to provide a platform for the participants to tell their stories, the outcomes are not always aesthetically pleasing to various audiences (Lobo & Barry, 2020;Wolffram, 2018). Second, asking the participants to generate 'quality' photographs by instructing them to develop their technical ability would create a power difference between the participants and I as a 'professional' photographer.…”

Section: Co-creationmentioning

confidence: 99%

Collaborative Creative Artistic Photography: Storytelling with People with a Refugee Experience

Hazaveh¹

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<p>Existing literature on media depictions of refugees shows that they are predominantly negative and reinforce stereotypes by representing refugees as either threats or passive victims. The absence of names, faces, voices, personal stories and individual histories in these representations marginalise the lives and experiences of refugees. This study develops a method I call Collaborative Creative Artistic Photography (CCAP) to enable people with refugee backgrounds and their collaborators to tell their stories and, by extension, challenge dominant stereotypes about refugees. The four participants in this study and the researcher- artist use CCAP to jointly explore, create and curate stories from refugee experiences. As an iterative method, CCAP synthesises various existing methods to identify important aspects of the participants’ lives from their perspectives and to enhance the communication of the stories. The resulting photographs and stories culminated in an exhibition, titled Mementos.1 This event was accompanied by the publication of a booklet containing the photographs and stories. The depiction of the participants settled into their new homes, engaged in diverse activities such as participating in cultural and religious events and striving for the betterment of themselves, their families, and communities, provide the audience with alternative narratives. While the collaborative model that this research-practice propose is context-dependent, developed through the researcher interaction with the participants, it contributes to scholarship concerning ethical and creative considerations in the process of photographic representation of refugees. The written component of the thesis details the model for future artistic practices to open up a space for refugees to construct their stories. This collaborative model can also be applied, modified or transferred to other arts-based practices that aim to represent marginalised communities whose voices are seldom heard.</p>

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Collaborative modes of audiovisual media: literature review and conceptual proposal

Balaguer,

Alberich-Pascual

2023

Studies in Documentary Film

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Dreaming a Narrative and Conjuring an Image: Collaborative Filmmaking with People and Spirits in Melanesia

Cited by 4 publications

References 17 publications

Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Collaborative Creative Artistic Photography: Storytelling with People with a Refugee Experience

Collaborative modes of audiovisual media: literature review and conceptual proposal

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