{"title":"Unsettling Narrative(s): Film Making as an Anthropological Lens on an Artist-Led Project Exploring LGBT+ Recovery from Substance Use","authors":"Alastair Roy, A. Ravetz, Mark Prest","doi":"10.5281/ZENODO.4300396","DOIUrl":null,"url":null,"abstract":"This paper explores My Recoverist Family, a film in which each of us had a different role: as anthropological film maker (Amanda); commissioner of the project and participant within it (Mark); and audience member and critic (Ali). The film shows a group of LGBT+ people using art to explore recovery from substance use with reference to their own biographies and wider social issues. The paper interrogates the interaction of visual and performing arts and storytelling in touching, articulating and representing the film’s main focus - the injustices of LGBT+ people. Using the idea of unsettling narrative(s), we analyse how the film makers privilege exploration over explanation, and glimpsed momentary understandings over narrative coherence, explanation and denouement. In order to align the writing process with the filmmaking methodology (influenced by anthropologist Tim Ingold’s (2014) understanding of the creativity of undergoing) we utilised a methodological tool that Ali contributed to developing called the scenic composition (Froggett et al. 2014). We argue that the paper’s significance is both substantive and methodological: artistically metabolised narratives make it possible to complicate ‘the stories being listened for’ (Woods et al: 2019); and this in turn begins to dismantle the binaries around which much current addiction treatment policy and practice is constructed.","PeriodicalId":43997,"journal":{"name":"Anthropological Notebooks","volume":"26 1","pages":"33-54"},"PeriodicalIF":0.4000,"publicationDate":"2020-12-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Anthropological Notebooks","FirstCategoryId":"90","ListUrlMain":"https://doi.org/10.5281/ZENODO.4300396","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q3","JCRName":"ANTHROPOLOGY","Score":null,"Total":0}
引用次数: 0
Abstract
This paper explores My Recoverist Family, a film in which each of us had a different role: as anthropological film maker (Amanda); commissioner of the project and participant within it (Mark); and audience member and critic (Ali). The film shows a group of LGBT+ people using art to explore recovery from substance use with reference to their own biographies and wider social issues. The paper interrogates the interaction of visual and performing arts and storytelling in touching, articulating and representing the film’s main focus - the injustices of LGBT+ people. Using the idea of unsettling narrative(s), we analyse how the film makers privilege exploration over explanation, and glimpsed momentary understandings over narrative coherence, explanation and denouement. In order to align the writing process with the filmmaking methodology (influenced by anthropologist Tim Ingold’s (2014) understanding of the creativity of undergoing) we utilised a methodological tool that Ali contributed to developing called the scenic composition (Froggett et al. 2014). We argue that the paper’s significance is both substantive and methodological: artistically metabolised narratives make it possible to complicate ‘the stories being listened for’ (Woods et al: 2019); and this in turn begins to dismantle the binaries around which much current addiction treatment policy and practice is constructed.
本文探讨了《我的康复家》这部电影,在这部电影中,我们每个人都扮演着不同的角色:作为人类学电影制作人(阿曼达);项目负责人及项目参与者(Mark);观众和评论家(阿里)。这部电影展示了一群LGBT+人群通过他们自己的传记和更广泛的社会问题,用艺术来探索从药物滥用中恢复过来。本文探讨了视觉艺术、表演艺术和叙事的相互作用,在触摸、表达和代表电影的主要焦点——LGBT+人群的不公正。运用令人不安的叙事思想,我们分析了电影制作者如何将探索置于解释之上,并瞥见了瞬间理解而不是叙事连贯、解释和结局。为了使写作过程与电影制作方法(受人类学家Tim Ingold(2014)对经历的创造力理解的影响)保持一致,我们使用了阿里参与开发的一种方法论工具,称为风景构图(Froggett et al. 2014)。我们认为,这篇论文的意义既有实质性的,也有方法论的:艺术代谢的叙事使得“被倾听的故事”变得复杂成为可能(Woods等人:2019);而这反过来又开始打破目前许多成瘾治疗政策和实践所围绕的二元对立。