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Notes on developing a photo-ethnographic practice in Basilicata
Lorenzo Ferrarini

motion blur – much further from a traditional documentary aesthetics but closer to local understandings. In going beyond illustration, it makes sense for visual anthropologists to look at photography as an art practice in order to develop interpretive, expressive and evocative styles that make the most of its fundamental ambiguity. I have come full circle. The challenges that in some views stand in the way of a photo-ethnographic practice – lack of reciprocity, dependence from text, partiality and ambiguity – can be overcome by focussing anthropologically on the

in Sonic ethnography
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Jane Roscoe and Craig Hight

a taxonomy of mock-documentary. Unlike the other, perhaps more complex examples of the form which are discussed in the following chapters, audiences of degree 1 texts are not explicitly encouraged or confronted with a need to reflect on the factual means of representation themselves. As we have already argued, the appropriation of documentary aesthetics for parodic intent inherently contains the potential for reflexive

in Faking it
Andy Lawrence

constraints of the observational method (see p. 22 ) to interrogate the narrative choices that a filmmaker must make. Techniques learnt through such limitations can be relied upon when things get complicated in the field; they allow for quick and appropriate reaction in a fast-paced documentary scenario, and most importantly they work with a variety of editing styles and modes of documentary. Aesthetics and ethics are closely related. In my own filmmaking I reveal my presence reflexively at moments that are ‘risky’, transgressive and ethically problematic in terms of my own

in Filmmaking for fieldwork
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Racial politics
Paul Newland

, then, is a formally inventive piece of work which draws upon realist traditions while at the same time choosing to subvert them. But Horace Ové has demonstrated a mastery of documentary aesthetics elsewhere. He has made a range of factual documentary and realist fiction films including Reggae (1970); King Carnival (1973) – a film made for the World About Us television series on BBC2; and The Skateboard Kings (1978), made for the same series. A Hole in Babylon, co-written by Ové and Jim Hawkins, was broadcast on BBC television as part of the Play for Today series in

in British films of the 1970s
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Suspect identities
Julia Dobson

notre société’ 6 (Beugnet 2000 : 198). The stylistic influences are clear and persist throughout Masson’s oeuvre to date, yet there remain important differences also in the context and import of their use. Her captions do not feature abstractions or political maxims, as is common in Godard, but rather assert the recognisable geographical setting of the action and thus reinforce documentary aesthetics

in Negotiating the auteur