Ethnographic Film, Fourth Cinema and Situated Knowledge Practices—from Colonial Film to Collaborative Research

Bibliographic Data

ID21392459
AuthorsJulia Bee (University of Siegen, corresponding author)
Year2024
Volume32
Issue3
Pages213-250
Publication date2024-09-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenueNTM Zeitschrift für Geschichte der Wissenschaften Technik und Medizin (JOURNAL)
Journal identifiersISSN: 0036-6978 • E-ISSN: 1420-9144
PublisherSpringer Science and Business Media LLC (PUBLISHER)
DOI10.1007/s00048-024-00399-w
PMID39133355
OpenAlexW4401521858
LanguageEN
Citations received2
References cited28

The text attempts to understand the development of collaborative audiovisual knowledge practices in anthropology as situated and diffractive knowledge (Haraway, Barad, Smith). By considering specific stages in the history of collaborative and participatory projects, the article argues that collaborative filmmaking is not only a decentering of one-sided authorship and one-sided modes of representation, but also a media-specific form of knowledge that is bound to and embedded in social contexts. Through the example of colonial film, the article describes stations of demarcation and attempts to decolonize film. Current film experiments with marginalized groups have their origins in “shared anthropologies” (Rouch) and have further developed this approach through more consistent forms of Fourth Cinema and power sharing with Indigenous communities. Film is thus also able to depict amateur knowledge practices within collaborative research projects

Aesthetics · Amateur · Archaeology · Art · Citizen journalism · Colonialism · Ethnography · Film director · Filmmaking · Indigenous · Media studies · Movie theater · Participatory action research · Situated · Sociology · Traditional knowledge · Visual arts · Anthropological Studies and Insights · Anthropology · Cinema and Media Studies · Computer Science · Ecology · History · Participatory Visual Research Methods

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Open DOIOpen Access