Académique Documents
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Culture Documents
ANTHROPOLOGY
WORKING
PAPERS
Social Anthropology
School of Social Sciences
University of Manchester
M13 9PL
Narratives:theguiltysecretofethnographicdocumentary?
[ToappearinMetjePostma,ed.,ReflectingVisualEthnography:usingthecamera
inanthropologicalresearch.InterventionPress.]
Paul
Henley,
Department
of
Social
Anthropology/Granada
Centre
for
Visual
Anthropology,
University
of
Manchester
paul.henley@manchester.ac.uk
My own most recent academic film, The Legacy of Antonio Lorenzano (2000), a sort of filmic obituary
of a Warao shaman from the Orinoco Delta, Venezuela, was cut from 20 hours of video rushes. As the
final film had a running time of 46 minutes, that works out at a ratio of 26:1, involving the elimination of
96% of the rushes. I suspect that most experienced practitioners are now cutting at 8:1 or above, i.e. they
are eliminating close to 90% of the material filmed. In contemporary television productions, ratios of 30:1
or more are commonplace.
In his own contribution to this volume, Dirk reports that when he shot Sacrifice of Serpents in Nepal in
1992, it proved impossible to film particular elements of the ritual due to a variety of contingent
circumstances. However, in the final version of the film, it was possible to make good these omissions,
inserting those moments of the event as they were filmed two years later by two of his Nepalese
collaborators. In this case, the manipulation of the event-as-recorded was to make it conform to a
conception as to how it should normally be, based on prior ethnographic knowledge. Clearly this practice
also raises certain tricky epistemological questions, though they do not pertain directly to manipulations in
the interest of the narrative structure per se.
10
In a later interview, Rouch admitted that the sequence- shot, although valuable in communicating the
sense of an event in real time, was "something of a stylistic exercize" that it would be "rather silly" to seek
to achieve under any circumstances (see Colleyn 1992:42). In any case, the ten-minute upper limit to the
length of the ideal sequence shot was an arbitrary function of the running time of a 400 ft 16mm
magazine. Even that length of shot left Rouch trembling with exhaustion, so that now that digital video
tapes of an hour or more are available, the upper limit of the sequence shot is more likely to be defined by
the physical endurance of the camera operator.
11
de Bromhead's "discursive" form, which she equates with Bill Nichols' "expository" or "classic"
documentary form refers to documentaries structured around a voice-over narration, ranging from
standard television fare to various Godardian explorations of the relationship between language and
image. Her "poetic" category, on the other hand, refers to documentaries structured around a purely visual
association between images, a form which has become rare since the end of the silent movies era and
which, with one or two interesting exceptions (for example, Basil Wright's Song of Ceylon, released in
1934), has never been of any great significance in ethnographic film-making generally.
12
13
Most anthropologists would probably identify with Nichols' scepticism about the tendency to
extrapolate directly from the frequency of certain narrative forms found in Western cultural contexts to
claims about their universality. (As exemplified also by the enthusiasm for extrapolating Propp's analysis
of a selection of Russian fairy tales to a variety of other contexts). However Nichols takes the argument
much further, suggesting that the prevalence of the "canonic story form" amongst Western ethnographic
film-makers arises from a concern to control the exotic Other within the straightjacket of Western storytelling conventions whilst at the same time indulging a desire to experience the Other's strangeness. Then,
by means of a series of singularly unconvincing syllogisms, he proposes a parallel between this
conjunction of control and desire in ethnographic film-making, as he sees it, and that found in the viewing
of "classic heterosexual pornography" (Nichols 1994:66-68). Much influenced by the writings of Trinh T.
MinHa, Nichols calls instead for a narrative structure that would allow one "to know difference
differently". But the exact details of this "method in the mist", as he himself terms it, remain hazy: What is
known is that it would be phenomenological, it would not abolish knowledge from the belly but affirm it,
it would replace hierarchical structures with participatory encounters. It would be a method developed by
diasporic Others who live in the liminal interstices between the First and Third Worlds. In these various
ways, it would move away "from attempts to speak from mind to mind, toward a politics and
epistemology of experience spoken from body to body" (Nichols 1994:73). But precisely how this
cavalcade of worthy sentiments could be translated into a practical narrative strategy remains deeply
shrouded in the vapours.
14
Colin Young was the director of the National Film & Television School in 1984-87 during my time as
a trainee documentarist there and, prior to that, one of the founding figures of the observational cinema
as developed at UCLA in the 1960s.
15
16
Nowadays I would not be so sensitive: hardened by experience, I shoot first and ask questions
afterwards, knowing that the inappropriate or the unethical can always be edited out later but the
epiphanous moment can never be recaptured.
17
The
End
can
be
made
to
be
elegaic,
feel-good,
inspirational, tragic, pedagogic, as appropriate. This is
the equivalent of the final scene of King Lear when the
survivors of the tragedy reflect on their experiences,
consider the future and then troop off the stage. As well
as providing an opportunity for reflection, this End has a
dramaturgical function: it should wind the audience down,
release them from their engagement in the film, achieve
closure. The length of the End can vary considerably, from
a complete scene to a single shot, but even the latter can
help to avoid the audience feeling that it has been "left
in the air". Although it may be a relatively brief part of
the overall length of the film, the End is very important
in determining audience reaction, since it will play a
large part in forming the sentiments they go away with.
This book-ending device can also be found in ethnographic texts. One of the most extraordinary
examples is to be found in that foundational work of anthropology, Sir James Frazer's classic, The Golden
Bough. This has a narrative structure more akin to a mystery story or a detective novel, or indeed with a
film narrative than with the structure of a conventional ethnographic monograph. It begins and ends - in
18
latter editions, some twelve volumes later - in the wooded valley of Nemi, to which Frazer returns, like
Poirot returning to the original scene of a crime, to explain the mysterious circumstances of the ritual
murder of the priest of Diana.
19
By way of conclusion...
20
21
BIBLIOGRAPHY
Branigan, Edward (1992) Narrative Comprehension and Film.
Routledge: London and New York.
Bruner, Edward M. (1986) Ethnography as narrative. In
Victor W. Turner & Edward M. Bruner (eds.) The
Anthropology of Experience, pp.139-155. University of
Illinois Press: Urbana & Chicago.
Colleyn, Jean-Paul (1992) Jean Rouch, 54 ans sans trpied.
CinmAction 64: 40-50.
de Bromhead, Toni (1996) Looking Two Ways: documentary
film's
relationship
with
reality
and
cinema.
Intervention Press: Hojbjerg.
Hammersley, Martyn & Paul Atkinson (1995) Ethnography:
principles in practice. 2nd edition. Routledge :
London & New York.
Landau, Misia (1993) Narratives of Human Evolution. Yale
University Press: New Haven & London.
Loizos, Peter (1993) Innovation in ethnographic film: from
innocence to self-consciousness 1955-1985. Manchester
University Press.
Loizos, Peter (1995) Robert Gardner's Rivers of Sand:
toward a reappraisal. In Leslie Devereaux
& Roger Hillman (eds.), Fields of Vision: essays in
film studies, visual anthropology, and
photography, pp. 311-325. University of California
Press: Berkeley, Los Angeles,
London
Marcus, George E. & Dick Cushman (1982) Ethnographies as
texts. Annual Review of
Anthropology 11:25-69
Mead, Margaret (1995) Visual anthropology in a discipline
of words. In P. Hockings, ed., Principles of Visual
Anthropology,
2nd
edition,
pp.3-10.
Mouton
de
Gruyter: Berlin & New York.
Nichols, Bill (1994) The ethnographers tale. In L. Taylor,
ed., Visualizing Theory: selected essays from VAR
1990-94. pp. 60-83. (Originally published in VAR 7:2,
Fall 1992). Routledge: New York & London.
Rouch, Jean (1981) La mise en scne de la realit et le
point de vue documentaire sur l'imaginaire.
In Jean Rouch: une rtrospective. Ministre de
relations extrieures/CNRS, pp.31-32
Stoller, Paul (1992) The Cinematic Griot: the ethnography
of Jean Rouch. University of Chicago Press: Chicago &
London
Van Maanen, John (1988) Tales of the Field: on writing
ethnography. University of Chicago Press: Chicago &
London.
22
23
FILMOGRAPHY
Cooper, Merian C. and Ernest B. Schoedsack (1925). Grass.
62"; prod: Paramount.
Flaherty, Robert (1922) Nanook of the North. 60"; prod.
Revillon Frres.
Henley, Paul (1985) Reclaiming the Forest. 39"; prod.
National
Film
&
Television
School/
Royal
Anthropological Institute.
Henley, Paul (1986) Cuyagua: Devil Dancers. 52"; prod.
National Film & Television School/
Royal Anthropological Institute
Henley, Paul (2000) The Legacy of Antonio Lorenzano. 46";
prod. Granada Centre for Visual
Anthropology
Llewelyn-Davies, Melissa (1984) Diary of a Maasai Village.
225" approx.; prod. BBC
Television, Bristol
MacDougall, David (1977) The Wedding Camels. 108"; prod.
University of California
Ethnographic Film Programme.
MacDougall, David (1993) Tempus de Baristas. 100"; prod.
Fieldwork Films/ Instituto
Superiore Regionale Etnografico, Nuoro
Okojie, Paul (1995) We were Born to Survive. 29"; prod.
Granada Centre for Visual
Anthropology/ Kath Locke Educational Trust.
Rouch, Jean (1971) Tourou et Bitti: les tambours d'avant.
10". prod.: CNRS/CFE
Watson, Paul (1985) The Fishing Party. 40"; prod. BBC
Television.
Wiseman, Fred (1970) Hospital. 84"; prod. Zipporah Films.
Wright, Basil (1934) Song of Ceylon. 40"; prod. Ceylon Tea
Propaganda Board/GPO Film Unit.