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emotions publicly, which is not usually socially acceptable elsewhere. As clubs, leagues and media companies continue to expand their markets, it is unlikely that there will be a reduction in the number of matches being played. This will mean that there will continue to be numerous opportunities for ultras to meet, perform and create their spectacles. There will be continuing passion and performance in stadiums across the world, all of which will intensify and magnify the image of the ultras. It is for this reason that the ultras are not going away. Since their inception
The looking machine calls for the redemption of documentary cinema, exploring the potential and promise of the genre at a time when it appears under increasing threat from reality television, historical re-enactments, designer packaging and corporate authorship. The book consists of a set of essays, each focused on a particular theme derived from the author’s own experience as a filmmaker. It provides a practice-based, critical perspective on the history of documentary, how films evoke space, time and physical sensations, questions of aesthetics, and the intellectual and emotional relationships between filmmakers and their subjects. It is especially concerned with the potential of film to broaden the base of human knowledge, distinct from its expression in written texts. Among its underlying concerns are the political and ethical implications of how films are actually made, and the constraints that may prevent filmmakers from honestly showing what they have seen. While defending the importance of the documentary idea, MacDougall urges us to consider how the form can become a ‘cinema of consciousness’ that more accurately represents the sensory and everyday aspects of human life. Building on his experience bridging anthropology and cinema, he argues that this means resisting the inherent ethnocentrism of both our own society and the societies we film.
dominance of fiction films and their taken-for-granted artificiality, as opposed to the desire of documentary filmmakers to convey a sense of the historical moment. They challenged the assumption of so many earlier documentary films that images were to be taken as emblems of things in the world rather than glimpses of the world itself. Too often, the ‘facts’ of these films had come to stand for something other than themselves – for heroic ideals, social problems, personal passions. Against this background, filmmakers began to suspect that the real strength of documentary
history and wrote with our bodies and computers, engaging with the metropolis that agonisingly seduces us, enchants us and wounds us. Santiago was rethought and marked by our trajectories and reflections. With MapsUrbe, we inhabited the precious contradiction of being Mapuche of concrete: daily inhabitants of a metropolis without denying our indigenous biography. We pushed the city towards its hidden baroque reality and its inevitable champurreo , which amid all the passion of the uprising has become
religion. For example, it is no coincidence Murray’s use (1940) of concepts and expressions like ‘failure of nerve’, ‘ humbug’, and ‘indifference’, 3 and aliveness to the intellectual danger of ‘passion’, recur in Bailey’s writing, titles, and even once in correspondence when he chided me for loss of nerve. Moreover, his use of ‘pre
subsume your individual identity into a wider collective. A piece of graffiti painted by ultras of Wydad Casablanca sums this up perfectly when they portrayed a hooded ultra with their face obscured alongside the slogan ‘No Face. No Name. Just Passion.’ When certain social commentators (Giddens, 1990; 1991; 1992; Beck, 1992; Putnam et al., 1993; Putnam, 2000) suggest that social life is becoming DOIDGE__9780719027624_Print.indd 2 08/01/2020 10:19 Introduction 3 more individualistic, the ultras clearly demonstrate collective action on a weekly basis. They are
a world where the breakdown of rules – utter incivility – can bring chaos and destruction to everyone. When pragmatism, the intellect, and reason fail, and passions and emotions dominate, ‘debate’ disappears, and ‘competition’ devolves to all-out fight. There is an important role for a third party here. A leader may assume a third-party role (such as umpire), in effect
as these creates a cinema that is capable of a more intimate engagement with life, rather than simply its ‘to be looked at’ qualities. One can see the tendency fully realised in Carl Dreyer’s The Passion of Joan of Arc (1928) (figure 5.3), perhaps the greatest example of a ‘cinema of proximity’ of the silent era. It was realised that a persistent attention to detail provided a way to account for those episodes in life when we see our surroundings with a preternatural clarity, perhaps comparable only to the heightened 5.3 The cinema of proximity in The Passion of
seen as the apotheosis of humanity and differentiates humans from other animals. In contrast, emotion has been viewed negatively and radically distinct from reason (Lutz, 1986; Damasio, 1994; Barbalet, 1998; Shilling, 2002). Western thinkers have negated the role of the body (Shilling, 1991; Solomon, 1993), yet the body can retain historical memories of emotional trauma (van der Kolk, 2014). In Europe there was a transition in the early nineteenth century to a secular vernacular describing ‘emotions’, rather than the more religious ‘passions’ (Solomon, 1993; Dixon
communities. Following the Manchester model, Bailey and his colleagues made productive use of rich and detailed accounts of local-level politics that were integrated into broader situations and larger scales of society in India, Africa, and Europe (see also Swartz, Turner, and Tuden 1966 ). Widening his gaze in The Tactical Uses of Passion ( 1983 ), Bailey drew from