Ljubav u doba kolere: etnografski film i vizuelna antropologija
Love in the age of cholera: Ethnographic film and visual anthropology
Апстракт
U tekstu se nude teze za razumevanje uticaja koji skorašnje hibridne, postfilmske i posthumane stvaralačke koncepcije i težnje vrše na proizvodnju etnografskih filmova i na opštiju refleksiju o prirodi dokumentarnog filma u okviru vizuelne antropologije i drugih društvenih nauka. Iza početnih ciljeva nalaze se očekivanja, na tragu onih koja je imao Edgar Moren da je moguće sa određenom merom pouzdanosti prepoznati obrise duha vremena u kome živimo ako se pažljivo čitaju autorski izbori i postupci koji obeležavaju savremeno dokumentarističko filmsko stvaralaštvo.
In this essay, I use the concept of love metaphorically to denote the relationships which were progressively established over a relatively long period between ethnographic films and visual anthropology. In striking similarly to the novel and its cinematographic transposition, to which I allude in the text, these creative and scientific practices managed to establish a sort of love ménage. The establishment, from the sixties onwards, of the canon of observational cinema was considered by many to be the high moment of their complex relationship. Telling credible and penetrating visual stories about how the world really functions by observing and recording how actual people go about living their lives seemed as the fulfillment of the promise that film made as it was coming into being-that of portraying and explaining life by ' life itself'. After attaining this peak, the canon of observational cinema was progressively dismantled by several outbursts of what I term as 'cholera'-postfilmic,... hybrid and posthumanist authorial tendencies, best exemplified by Verena Paravel's and Lucien Castaign-Taylor's documentary Leviathan. The current situation makes it possible to redefine the whole idea of the established and fairly stable order, and replace it with the idea of the permanency of what I term as 'cholera'.
Кључне речи:
vizuelna antropologija / posthumane stvaralačke težnje / hibridni žanrovi / Etnografski film / duh vremena / dokumentarni film / visual anthropology / spirit of the times / posthuman creative aspirations / hybrid genres / Ethnographic film / documentary filmИзвор:
Godišnjak za društvenu istoriju, 2020, 27, 1, 33-61Издавач:
- Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd
Институција/група
Etnologija i antropologija / Ethnology and AnthropologyTY - JOUR AU - Naumović, Slobodan PY - 2020 UR - http://reff.f.bg.ac.rs/handle/123456789/3049 AB - U tekstu se nude teze za razumevanje uticaja koji skorašnje hibridne, postfilmske i posthumane stvaralačke koncepcije i težnje vrše na proizvodnju etnografskih filmova i na opštiju refleksiju o prirodi dokumentarnog filma u okviru vizuelne antropologije i drugih društvenih nauka. Iza početnih ciljeva nalaze se očekivanja, na tragu onih koja je imao Edgar Moren da je moguće sa određenom merom pouzdanosti prepoznati obrise duha vremena u kome živimo ako se pažljivo čitaju autorski izbori i postupci koji obeležavaju savremeno dokumentarističko filmsko stvaralaštvo. AB - In this essay, I use the concept of love metaphorically to denote the relationships which were progressively established over a relatively long period between ethnographic films and visual anthropology. In striking similarly to the novel and its cinematographic transposition, to which I allude in the text, these creative and scientific practices managed to establish a sort of love ménage. The establishment, from the sixties onwards, of the canon of observational cinema was considered by many to be the high moment of their complex relationship. Telling credible and penetrating visual stories about how the world really functions by observing and recording how actual people go about living their lives seemed as the fulfillment of the promise that film made as it was coming into being-that of portraying and explaining life by ' life itself'. After attaining this peak, the canon of observational cinema was progressively dismantled by several outbursts of what I term as 'cholera'-postfilmic, hybrid and posthumanist authorial tendencies, best exemplified by Verena Paravel's and Lucien Castaign-Taylor's documentary Leviathan. The current situation makes it possible to redefine the whole idea of the established and fairly stable order, and replace it with the idea of the permanency of what I term as 'cholera'. PB - Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd T2 - Godišnjak za društvenu istoriju T1 - Ljubav u doba kolere: etnografski film i vizuelna antropologija T1 - Love in the age of cholera: Ethnographic film and visual anthropology EP - 61 IS - 1 SP - 33 VL - 27 UR - https://hdl.handle.net/21.15107/rcub_reff_3049 ER -
@article{ author = "Naumović, Slobodan", year = "2020", abstract = "U tekstu se nude teze za razumevanje uticaja koji skorašnje hibridne, postfilmske i posthumane stvaralačke koncepcije i težnje vrše na proizvodnju etnografskih filmova i na opštiju refleksiju o prirodi dokumentarnog filma u okviru vizuelne antropologije i drugih društvenih nauka. Iza početnih ciljeva nalaze se očekivanja, na tragu onih koja je imao Edgar Moren da je moguće sa određenom merom pouzdanosti prepoznati obrise duha vremena u kome živimo ako se pažljivo čitaju autorski izbori i postupci koji obeležavaju savremeno dokumentarističko filmsko stvaralaštvo., In this essay, I use the concept of love metaphorically to denote the relationships which were progressively established over a relatively long period between ethnographic films and visual anthropology. In striking similarly to the novel and its cinematographic transposition, to which I allude in the text, these creative and scientific practices managed to establish a sort of love ménage. The establishment, from the sixties onwards, of the canon of observational cinema was considered by many to be the high moment of their complex relationship. Telling credible and penetrating visual stories about how the world really functions by observing and recording how actual people go about living their lives seemed as the fulfillment of the promise that film made as it was coming into being-that of portraying and explaining life by ' life itself'. After attaining this peak, the canon of observational cinema was progressively dismantled by several outbursts of what I term as 'cholera'-postfilmic, hybrid and posthumanist authorial tendencies, best exemplified by Verena Paravel's and Lucien Castaign-Taylor's documentary Leviathan. The current situation makes it possible to redefine the whole idea of the established and fairly stable order, and replace it with the idea of the permanency of what I term as 'cholera'.", publisher = "Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd", journal = "Godišnjak za društvenu istoriju", title = "Ljubav u doba kolere: etnografski film i vizuelna antropologija, Love in the age of cholera: Ethnographic film and visual anthropology", pages = "61-33", number = "1", volume = "27", url = "https://hdl.handle.net/21.15107/rcub_reff_3049" }
Naumović, S.. (2020). Ljubav u doba kolere: etnografski film i vizuelna antropologija. in Godišnjak za društvenu istoriju Univerzitet u Beogradu - Filozofski fakultet, Beograd i Udruženje za društvenu istoriju, Beograd., 27(1), 33-61. https://hdl.handle.net/21.15107/rcub_reff_3049
Naumović S. Ljubav u doba kolere: etnografski film i vizuelna antropologija. in Godišnjak za društvenu istoriju. 2020;27(1):33-61. https://hdl.handle.net/21.15107/rcub_reff_3049 .
Naumović, Slobodan, "Ljubav u doba kolere: etnografski film i vizuelna antropologija" in Godišnjak za društvenu istoriju, 27, no. 1 (2020):33-61, https://hdl.handle.net/21.15107/rcub_reff_3049 .