Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Ferrarini, Lorenzo

doi:10.1111/var.12131

Cited by 3 publications

(1 citation statement)

References 31 publications

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“…After decades of pitting “textual” and “visual” anthropologies against each other, there is increasing consensus that such comparisons are, intellectually speaking, a dead‐end street (cf. Ferrarini ; MacDougall ). They introduce a logic of “othering” whereby one medium acquires its particular qualities by setting it off against perceived characteristics of the other, with all the erasures, distortions, and blind spots that othering tends to produce (cf.…”

Section: Introductionmentioning

confidence: 99%

In Love with My Footage: Desirous Undercurrents in the Making of an Essay Film on Candomblé

Port¹

2018

Visual Anthropology Review

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What underlies the choices anthropologists make when opting for a pen or a camera, or for "the observational style" or "video experimentation"? In this essay, I look at anthropology as a practice of mediation. I take this practice to be driven by the desire to arrive at a full account of fieldwork experiences, and to be informed by the fantasmatic promises with which particular media have been endowed. You might think of the possibilities promised by the linear clarity of your word-processing environment; of the possibilities promised by the sensuousness of Forest of Bliss; of the way you found yourself seduced by such promises, moving in one direction, rather than another. To arrive at the details of the dynamics of anthropological mediations, I reflect on the making of my film about Brazilian Candomblé. I describe how I moved from writing about this religion to filming it, and how my initial attempts to make a film reminiscent of the "delinguified" sensory films coming out of the Harvard Sensory Ethnography Lab made way for the reintroduction of the word as proposed in the genre of the essay film. [Candomblé, desire, essay film, fantasy, mediation process]

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Section: Introductionmentioning

confidence: 99%

In Love with My Footage: Desirous Undercurrents in the Making of an Essay Film on Candomblé

Port¹

2018

Visual Anthropology Review

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Cine-recolección

Soler¹

2022

Proa: Rev. de Antrop. e Arte

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A partir de su participación en una película realizada por una familia qom de Resistencia (Chaco argentino), la autora pro-pone abordar el cine indígena como un proceso en constante reinvención que posibilita la emergencia de nuevas formas de percepción, autoconocimiento, resistencia y autoestima, y que pone de manifiesto mundos políticos y afectivos. El artículo indaga en las afectaciones mutuas de todos los participantes y muestra la flexibilidad de los roles constituidos a partir de los vínculos que se establecen. El análisis se estructura en tres etapas: rodaje, montaje y distribución, y pone de manifiesto la construcción afectiva del filme en los usos del humor y la mel-ancolía. Finalmente, se detiene en la visibilización que tiene la película en las redes políticas y sociales en las que se inserta al ser proyectada y en la singularidad con que es valorada por las distintas personas que la produjeron.

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Critical Visual Religion Approach: When Ethnographic Filmmaking Blends with the Critical Approach to Religion, a Japanese Case Study

Vecchi

2022

Religions

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This article draws on the research and practice developed during my doctorate and fieldwork in Japan. In this work, I consider the implication of using the critical religion approach and the visual ethnographic methodology for critically investigating what is commonly labelled as religion and its representation as observed in Japan with particular reference to my fieldwork in Tohoku. I begin by reviewing the concept of religion in Japan, in particular the character of the idea and the use of the critical religion approach. I continue with an analysis of ethnographic filmmaking, focusing on cases that inspired my visual ethnographic filmic approach. I discuss how the two methods informed each other, creating a visual ethnographic technique founded on the critical religion approach as well as sensory, participatory and creative ethnographic filmmaking methods I developed and applied to my documentary, Tohoku Monogatari—A Story from the Northeast of Japan. With this article, I contend the necessity of a critical approach to the representation of religions which could be achieved with what I named the critical visual religion approach.

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Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Cited by 3 publications

References 31 publications

In Love with My Footage: Desirous Undercurrents in the Making of an Essay Film on Candomblé

In Love with My Footage: Desirous Undercurrents in the Making of an Essay Film on Candomblé

Cine-recolección

Critical Visual Religion Approach: When Ethnographic Filmmaking Blends with the Critical Approach to Religion, a Japanese Case Study

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