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引用次数: 0
摘要
本文讨论了一种民族志电影制作的实验模式,我和我的对话者/合作者将其称为 "民族志 B 电影"。我探讨了这一术语的含义,并将其描述为合作开展多模态研究的新方法。我认为,这种方法鼓励非专业性、低质量、荒诞性和任性,它提供了一个机会,将研究背景、本体论和认识论集中在传统人类学内容、思想和背景的边缘或边缘地带。通过将这种方法置于基于艺术的研究或研究创造的理念之中,民族学 B 级电影成为一种将电影制作过程作为民族学研究的方式,以实现一个开放和共同想象的世界。在作为电影方法和表现框架的人种学 B 电影中,可传播的意义和叙事的连贯性被共同创造的精神和对话者驱动的内容所取代。
The ethnographic B movie: Centering the uncertain, absurd and low quality in collaborative filmmaking
This paper discusses an experimental modality of ethnographic filmmaking that my interlocutor/collaborator and I came to call the ‘ethnographic B movie’. I explore what I mean by the term and describe its use as novel approach to collaborative multimodal research. I argue that this approach – which encourages unprofessionalism, low quality, absurdity and caprice – provides an opportunity to centre research contexts, ontologies and epistemologies on the fringes or margins of conventional anthropological content, thought and context. Through situating the approach within ideas of arts-based research or research-creation the ethnographic B movie becomes a way to take the process of filmmaking as ethnography for the sake of an open and co-imaginative world. In the ethnographic B movie as filmic approach and representational frame, communicable meaning and narrative coherence are substituted for the spirit of co-creation, and interlocutor-driven content.