Soul of the Documentary

Hongisto, Ilona

doi:10.1515/9789048525294

Cited by 54 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…categories and consequently begin to fabricate visions of alternative ways of being in this world". 29 On the one hand, starting from the idea that, in anthropology, photography is at the service of translation, as is comparison, 20 one can think that this operation occurs from the analytical perspective of the concept of equivocation, since it is an equivocal translation, since it is presented as a «way of communication par excellence between different positions of perspective», as proposed by Viveiros de Castro. 20 For the same author, translation potentiates this equivocation by opening an imaginary space of communication for experiences of contact, previously hidden by the same equivocation.…”

Section: Writing With Moving Images: the Ethnographic Film: Robertmentioning

confidence: 99%

Images and ethnography: issues of opacity and misconception

Porfírio

2022

JHAAS

View full text Add to dashboard Cite

In this article I intend to debate the place that images occupy in ethnographic research and their methodological interest, which characterizes the conditions for the insertion of a visual character in the ethnographic narrative. According to Novaes,1 images communicate and, even in silence, it is necessary to take into account what they have to say, especially in empirical work. In this way, the article will focus on photography as an instrument that opens in gestures and expressions for field research, to think about its use as a production technology for the construction of a visual ethnographic narrative, such as the experience of ethnographic cinema, which will be presented shortly. The hypothesis to be developed here is whether photography can operate as a translation of knowledge gathered in the field. For this, it is important to highlight the methodological interest in the use of the image from the researcher- photographer to the researcher-filmmaker and, as an example, the ethnographic film Les Maîtres fous (The Crazy Teachers), by Jean Rouch2 is analyzed.

show abstract