The Routledge International Handbook of Ethnographic Film and Video

Cover
Endorsement Page
Half Title
Title Page
Copyright Page
Table of Contents
List of figures
Acknowledgments
List of contributors
Chapter 1 Introduction
	How this handbook came to life
	Ethnographic intent
	References
Part 1 Practicing the art and science of ethnographic film and video
	Chapter 2 Defining ethnographic film
		Four previous frames for defining ethnographic film
		Ethnographic film as text
		Ethnographic films: a family of resemblances
		The four dimensions of ethnographic film
		Conclusion
		Note
		References
	Chapter 3 Theorizing in/of ethnographic film
		Thick or thin
		“Observational-sensory” filmmaking as convention
		Four experiments
		In conclusion/Inconclusive
		References
	Chapter 4 Filming the Other
		Filmmaking otherwise
		Ambiguous archives of the present
		References
	Chapter 5 The new art of ethnographic filmmaking
		Multimodal affordances
		Ethnographic film art
		Relational aesthetics
		Expanded ethnographic film
		Notes
		References
	Chapter 6 Beyond ethnographic representation
		Art probing: movements between art and research
		Noise
		Blend modes
		Live cinema
		Final cut?
		References
	Chapter 7 From ethnographic media to multimodality
		Comics and drawing
		Photography
		Social media
		Audio
		Design anthropology
		Conclusion
		References
Part 2 Applying and extending approaches and methodologies
	Chapter 8 Ethnomethodological approaches
		Video recordings of social practices
		Empirical work
		Permanence, replayability of video recordings, and their availability for secondary analysis
		Conclusion
		References
	Chapter 9 Oral history, visual ethnography, and the interactive documentary
		Oral history versus visual ethnography
		Disrupting the documentary tradition
		Viewer agency, gamification, and interactivity
		Pin Up! The Interactive Documentary: a case study
		Problems (and potential) in emerging technology
		References
	Chapter 10 Visual psychological anthropology
		Psychological anthropology and ethnographic film
		Conclusion
		References
	Chapter 11 Video diaries
		Video cameras
		Instructions
		Ethics and representation
		Redesigning observation
		Filming styles
		Analyzing, editing, and writing video
		Conclusion
		References
	Chapter 12 Feminist and queer approaches
		Ethnographic film and video
		Feminist and queer theories and methods
		Comparable characteristics and foundational critiques
		Examples of feminist and queer ethnography in film and video
		The relative absence of feminist and queer scholars in ethnographic filmmaking
		Conclusion: imagining a queer feminist ethnographic film and video methodology
		Note
		References
Part 3 Developing genres and styles
	Chapter 13 Interactive media
		Interactive media in anthropology: 1985–2018
		Modes of interactivity 1978–2019
		Immersive mode
		Hypertext mode
		Participatory mode
		Experiential mode
		Conclusion
		References
	Chapter 14 Sound matters
		Sound, technology, and ethnographic films
		The creative potential of sound recording and editing in filmmaking
		The sounds of the night
		Conclusion
		Notes
		References
	Chapter 15 Documentary hybrids
		Ancestors
		Shifting modes of representation
		From performance to enactive filmmaking
		Conclusion: hybrid truths
		References
	Chapter 16 Sensory Vérité
		Haptic visuality and the sensory foundations
		The interview and the voiceover
		The character of place
		Tactile sound, haptic visuality, and alterations of time
		Conclusion
		References
	Chapter 17 Ethnocinema
		Ethnocinema: beyond representation
		Ethnocinema as a creative-relational research practice
		Doing ethnocinema
		Conclusion
		Notes
		References
Part 4 Working with others
	Chapter 18 Respect, integrity, trust
		The beginnings: respect
		Ongoing relationships: integrity
		A shared goal: trust
		He tangata
		Note
		References
	Chapter 19 Participation, reception, consent, and refusal
		Participation, reception, and the problem of pleasure
		Objectivity is still romantic, and the politics of refusal
		Conclusion
		Note
		References
	Chapter 20 Collaborative post-production
		Introducing collaborative post-production
		Post-synchronization as improvisation and performance
		Asynchrony as decolonization
		Collaborative filmmaking with Congolese artists in São Paulo
		Conclusion
		Notes
		References
	Chapter 21 Filming with nonhumans
		Nonhuman knowing and ethnographic approaches
		Filmic approaches to nonhumans
		Representing nonhumans
		Conclusion: knowing nonhumans
		References
Part 5 Working with tools and techniques
	Chapter 22 Mobile video methods and wearable cameras
		Wearable cameras: from adventure filmmaking to adventurous researching
		Journeys in ethnography with wearable cameras: our experience
		Three key capacities of wearable video cameras
		Conclusion
		Notes
		References
	Chapter 23 Drones
		Ethnographies of the air
		Epistemologies of the atmosphere
		Atmospheric ontologies
		Conclusion
		Note
		Works cited
	Chapter 24 360° Video
		Immersive innovations
		Emotional presence
		The grammar of spherical filmmaking
		Hacking 360° video: immersive ethnography goes underwater and underground
		Conclusion
		Notes
		References
	Chapter 25 Screens as film locations
		Representing online research trajectories
		Documenting virtual worlds
		Evoking user experience
		Conclusion
		Filmography
		References
Part 6 Distributing and circulating
	Chapter 26 How to Distribute Your Ethnographic Film
		Planning for distribution
		Film festivals and academic conferences
		Negotiating distribution
		Conclusion
		Notes
		References
	Chapter 27 Circulating ethnographic films in the digital age
		Troubling the category of ethnographic film
		Circulation: disrupting the category of ethnographic film
		Conclusion
		Notes
		References
	Chapter 28 Ethnographic film/video as a graduate thesis
		Selecting the right program and supervisor
		The dreaded ethics clearance
		Being creative about the lack of funds
		Why use video?
		What will the thesis look like?
		Conclusion
	Chapter 29 Ethnographic Film Festivals
		Anthropological film festival developments
		Relationship to anthropology
		Conclusion
		Note
		References
Conclusion
	Chapter 30 Everything you’ve always wanted to ask ethnographic filmmaker but never had a chance to: A roundtable discussion
		Do you ever enter into partnerships with commercial production companies/broadcasters before commencing work?
		Do you write a script or treatment of any kind? Why/why not?
		Does it matter to you to have a “story” before starting the production of a film? Why?
		What are your key strategies to secure grant funding?
		What should I do to keep my budget low?
		What do you do to convince your director/dean to give you time and other resources to shoot a film?
		What are your most genuine goals for making an ethnographic film?
		What should I do convince my university’s ethical review board that shooting film is legit?
		Does it matter to you to identify central “characters” before starting the production of a film?
		What camera(s) do you use?
		What kind of lenses do you use?
		What kind of sound recorders do you use?
		Lavalier or shotgun mics?
		Do you have a sound operator or do you do it all yourself?
		Do you have a camera operator or do you do it all yourself?
		What kind of filters do you carry around?
		Do you shoot handheld, with a tripod, or monopod?
		How big should my crew be?
		Do you scout locations in advance of shooting?
		Do you shoot in 4K?
		How do you prepare yourself for remote and otherwise challenging locations?
		How do you prepare yourself for potentially unsecure shooting locations?
		What do you do after a day of shooting?
		Do you use artificial lights?
		Do you do “re-takes”?
		How do you deal with shy, skeptical, or otherwise generally uncooperative “subjects”?
		What do you tell your “subjects” to instruct them before an interview or a shooting session?
		How do you travel with all your stuff?
		What are your preferred ways and tools to log your footage?
		How do you generate your film’s story during post-production?
		Do you pre-screen your film with your research participants to gain their approval before public dissemination?
		What kind of machine do you edit with?
		What are the five top software that you feel you couldn’t edit without?
		Do you hire someone to assist you with editing?
		What is your favorite film festival?
		What advice do you have for someone looking for a distributor?
		Should I give my film away for free?
		Should I add music to my film?
		Should I add my voice-over to my film?
		What distributor would you recommend?
		What are your preferred VOD and SVOD platforms to work with?
		Have you ever adapted your film for TV broadcasting? What was that like?
		References
	Chapter 31 Conclusion: The world according to Rouch
		Rule #1: Be fully engaged in the moment
		Rule #2: Have confidence in your path and see where it and your imagination will take you
		Rule #3: Open your ears and listen deeply to the Elders
		Rule #4: Open yourself to the world and let it enter your being
		Rule #5: Learn how to tell a good story
		References
Index