Between Field and Editing Suite: Ethics and Formal Innovation in Ethnographic Filmmaking
DOI:
https://doi.org/10.64229/4yj9h277Keywords:
Ethnographic Film, Visual Anthropology, Ethics of Representation, Film Form, Editing, Collaborative Filmmaking, Sensory Ethnography, Visual InnovationAbstract
Ethnographic filmmaking stands at a critical juncture, perpetually negotiating the tension between its anthropological imperative for truthful representation and its cinematic capacity for expressive form. This article argues that the ethical and formal dimensions of ethnographic film are not separate concerns but are intrinsically and dynamically intertwined. The central ethical challenges-informed consent, the colonial gaze, the authority of the filmmaker, and the politics of representation-are not resolved prior to filming but are continuously engaged with and re-negotiated throughout the entire filmmaking process, most profoundly in the editing suite. Through a critical analysis of the evolution of ethnographic film, from its observational and participatory paradigms to contemporary reflexive and sensory approaches, this paper demonstrates how formal innovation serves as a primary vehicle for ethical practice. It examines how specific cinematic techniques-such as fragmented narratives, multivocality, soundscape design, and the incorporation of the filmmaker's subjectivity-directly address ethical dilemmas. By presenting an original analytical framework that maps ethical considerations onto formal choices, and by proposing a model of the "collaborative gaze," this article contends that the future of the genre lies in embracing a self-conscious, experimental formalism. It is through this embrace that ethnographic film can move beyond mere documentation to become a transformative space for cross-cultural dialogue, challenging power hierarchies and contributing meaningfully to the project of visual cultural innovation.
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