In and out of this world: digital video and the aesthetics of realism in the new hybrid documentary

Landesman, Ohad

doi:10.1386/sdf.2.1.33_1

Cited by 11 publications

(6 citation statements)

References 7 publications

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“…Unlike those nonfiction films that explicitly signal reenacted or reconstructed scenes, in Kalanda there are no explicit lines separating the enacted from the observed. In this sense, it points in the same direction as the recent wave of "hybrid" documentaries that position themselves at the borders between fiction and nonfiction, without explicitly taking sides (Landesman 2008; Merewether 2009). Kalanda includes many scenes collaboratively agreed upon and then performed because the line separating the teaching of the apprentice from performing for the camera is often blurred.…”

Section: Enactive Filmmakingmentioning

confidence: 93%

Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Ferrarini

2017

Visual Anthropology Review

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In this article, I revisit the concept of ethnographic filmmaking in the first person, reviewing first the different interpretations of the first person in documentary filmmaking and then proposing an approach that stresses interaction and intersubjectivity. I term this approach enactive filmmaking, drawing inspiration from the films of Jean Rouch and the thought of cognitive scientist Francisco Varela. I discuss enactive filmmaking's interconnected aspects of sensory evocation, collaborative methods, and performativity as applied to the making of my documentary Kalanda—The Knowledge of the Bush, arguing for films in the first person in which the filmmaker provokes revelatory performances and is deeply changed by the experience of filming.

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Section: Enactive Filmmakingmentioning

confidence: 93%

Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Ferrarini

2017

Visual Anthropology Review

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“…One of these is the "creative" documentaries asked by the festivals, meaning the high lightening of the expressive issues of the documentary (IDFA, 2019). Another category is the broad category of hybrid mode (Landesman 2008), which means practically everything from the mixing of narrative modes to the use of digital technology. Another category is also the very new "interactive" documentary, which has many sub-genres like "the conversational mode as a conversation with a computer that is typified through forms of game-play; the hypertext mode as means of structuring user experience through a series of branching choices; the participative mode as two-way conversation between author and users that actively involves the user in production of material; the experiential mode as a way of utilizing space and embodiment to structure the user experience particularly where the experience of the real and the virtual become blurred" (Aston & Gaudenzi, 2012).…”

Section: Nd International Conference On Cultural Informatics Communimentioning

confidence: 99%

Documentary genres. Criteria and dominant theories

Skopeteas

2020

CICMS

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The most popular genres in the documentary film theory today are the ones proposed by Bill Nichols (2010) who introduced six modes of representation: poetic, expository, participatory, observational, reflexive, and performative. These six modes “establish a loose framework of affiliation within which individuals may work; they set up conventions that a given film may adopt; and they provide specific expectations viewers anticipate having fulfilled”. However, is this division capable to cover all the elements of a documentary film and therefore construct fixed categories that can serve all the needs of theorists, practitioners and audience? This paper will support that the genre classification by Bill Nichols is only based on representation and its relation with the voice of the narrator. However, there are several other issues within the documentary film that may lead to other classifications. To name some of them, the theme and the subject of the documentary, the narrative structure and the actuality depicted. In such a way, a full table of documentary genres will be provided at the end of the paper, which will cover all the aspects of this type of film.

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“…Another, partly linked, dichotomization that defines the way in which vernacular media of conflict have become conceptualized is the one between fiction and non-fiction, or between media texts that report realities and media texts that construct particular 'fictive realities'. While such categorizations have of course been investigated critically for a long time in film theory and philosophy, they have become particularly complicated in recent studies on 'hybrid' documentaries (Landesman, 2008). Such divisions seem to be particularly tenacious in the realm of vernacular media of conflict, where vernacular productions are usually seen as representing 'raw' reality, or at least edited/constructed versions of it.…”

Section: Violent Conflict and Vernacular Mediamentioning

confidence: 99%

Media and violent conflict: Halil Dağ, Kurdish insurgency, and the hybridity of vernacular cinema of conflict

Smets

Akkaya

2015

Media, War & Conflict

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This article analyses the life and work of Halil Dağ (1973Dağ ( -2008, a filmmaker who worked within the Kurdish insurgent movement, with two critical goals. First, the authors use Dağ's case to conceptualize vernacular cinema of conflict, defying traditional dichotomies between mainstream/ vernacular, and fiction/non-fiction. Secondly, through Dağ's case they seek to better understand the role of vernacular cinema of conflict for the Kurdish culture of resistance and the PKK insurgent movement in particular. Empirically, the article discusses unique ethnographic records (interviews and personal correspondence with Dağ) and a qualitative content analysis of his major films. The authors argue that the concept of vernacular cinema of conflict can serve a better comprehension of the hybrid character and impact of filmmaking in conflict zones.

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In and out of this world: digital video and the aesthetics of realism in the new hybrid documentary

Cited by 11 publications

References 7 publications

Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Enactive Filmmaking: Rethinking Ethnographic Cinema in the First Person

Documentary genres. Criteria and dominant theories

Media and violent conflict: Halil Dağ, Kurdish insurgency, and the hybridity of vernacular cinema of conflict

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