Suhr, Christian, and Rane Willerslev. “Can Film Show the Invisible?: The Work of Montage in Ethnographic Filmmaking”. Current Anthropology 53.3 (2012): 282–301. Web…
2 thoughts on “Suhr, Christian, and Rane Willerslev. “Can Film Show the Invisible?: The Work of Montage in Ethnographic Filmmaking”. Current Anthropology 53.3 (2012): 282–301. Web…”
This article offers an invaluable insight into the power of editing, using examples of Ethnographic Filmmaking to show how montage can and arguably must be used to shift the view of kino-eye style realism having narrow-minded opportunity.
The article references Vertov to enhance his point that the camera itself doesn’t act as a human eye, as much as we may endeavour to allow it to, but instead offers a perspective unique to cinema, itself, montage.
The authors go on to rediscover observational cinema, using it’s roots as means of understanding what it is to present ‘real’ cinema. This is a very deserving piece of writing to any cinephile who desires a connection between the history of reality in cinema, coupled with a diverse range of themes and style of filmmaking such as Ethnography. It draws on a range of styles, histories, auteurs and theorists to understand how montage functions in creating an ‘invisible’ piece of cinema.
This article suggests that the hidden dimensions of ethnographic reality can be evoked through film. The way to achieve that should be exploiting the artificial means through which human vision can be transcended instead of being striving for ever more realistic depictions. The use of montage makes it much easier to achieve. Conveying its invisible and irreducible otherness is perceived by disruption that can multiply the perspectives from filmic subject. To demonstrate how montage can and must be used to break with the mimetic dogma of the ‘humanized’ camera is an argument. Effective, disruption through montage is because of maintaining a tension between a strong sense of reality and its occasional.
This article discussed the way of film showing the invisible and the work of montage in ethnographic filmmaking.
This resource provides a different perspective of montage in filmmaking, ethnographic filmmaking. The examples given in it are also very useful and supportive for my research on montage.
This article offers an invaluable insight into the power of editing, using examples of Ethnographic Filmmaking to show how montage can and arguably must be used to shift the view of kino-eye style realism having narrow-minded opportunity.
The article references Vertov to enhance his point that the camera itself doesn’t act as a human eye, as much as we may endeavour to allow it to, but instead offers a perspective unique to cinema, itself, montage.
The authors go on to rediscover observational cinema, using it’s roots as means of understanding what it is to present ‘real’ cinema. This is a very deserving piece of writing to any cinephile who desires a connection between the history of reality in cinema, coupled with a diverse range of themes and style of filmmaking such as Ethnography. It draws on a range of styles, histories, auteurs and theorists to understand how montage functions in creating an ‘invisible’ piece of cinema.
This article suggests that the hidden dimensions of ethnographic reality can be evoked through film. The way to achieve that should be exploiting the artificial means through which human vision can be transcended instead of being striving for ever more realistic depictions. The use of montage makes it much easier to achieve. Conveying its invisible and irreducible otherness is perceived by disruption that can multiply the perspectives from filmic subject. To demonstrate how montage can and must be used to break with the mimetic dogma of the ‘humanized’ camera is an argument. Effective, disruption through montage is because of maintaining a tension between a strong sense of reality and its occasional.
This article discussed the way of film showing the invisible and the work of montage in ethnographic filmmaking.
This resource provides a different perspective of montage in filmmaking, ethnographic filmmaking. The examples given in it are also very useful and supportive for my research on montage.