By Silvio Carta
Visual Anthropology in Sardinia explores the approach, variety and technique of documentary motion pictures approximately Sardinia, investigating how such motion pictures build assorted stories and identities, and reflecting at the benefits of the medium of documentary movie over written ethnographic texts.
Following a dialogue of theoretical advancements within the sector of visible anthropology within the 20th century, the writer turns to case experiences of documentary filmmaking relating to Sardinia from the fascist period onwards, supplying a survey of the actual and slightly ordinary filmic ethnographic discourse confirmed in terms of Sardinia, which has been built to a wide quantity as an ‘Other’ to peninsular Italy. the topic is a fancy one, ranging around the fields of movie reports, anthropology, literary and cultural stories and, to a point, philosophy. The ebook enriches scholarship not just at the cultural development of Sardinia within the well known, political and highbrow imaginary and in its relation to Italy, but additionally on visible epistemologies and the ethics and perform of ethnographic filmmaking.
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Additional resources for Visual Anthropology in Sardinia
38 Contemporary visual anthropology has abandoned this emphasis on the transcendental impartiality of the camera. The way in which visual anthropologists think about the use of the camera today is heavily influenced by the postmodern sensitivities within the mainstream discipline. Issues of absolute ontological truths and scientific metaphors are now shuttled aside as old questions, in favour of a more sophisticated understanding of the camera as a tool of ethnographic representation. It is absolutely misleading to assume that documentaries and ethnographic films advance truth claims that are independent from the filmmaker’s personal response to particular situations.
Credit: Cineteca Sarda. In the 1950s most documentaries were shot by Italian directors. A number of filmmakers from the mainland, encouraged by the subsidised system of documentary production, portrayed Sardinia within a hackneyed picturesque scheme. The productive model contributed to the affirmation of a monotonous filmmaking method. The formal predictability of this method led to the creation of an undifferentiated series of documentaries. The constraints imposed on the cameramen by the producers presented an obstacle to the undertaking of less conventional projects.
Many of the scenes are not in strict chronological order; the structural logic is to organise the scenes according to a certain flow of understanding, and to permit significant juxtapositions between them. The emergence of a thematic reality coalesces in a naturalistic manner from the different threads that constitute the films. , The Cinema of John Marshall (Philadelphia: Harwood, 1993), 1–134 (72). 20 Chapter 1 content of an observational film is either hidden or invisible. Films represent the exterior properties of the world, rendering visible the external manifestations of culture, but they also express nonverbal and implicit knowledge emphatically through metaphorical uses of the image.