Film festival report: Persistence Resistance in London. Between public intervention and practitioner-academic collaboration

Battaglia, Giulia

doi:10.1386/safm.3.1.43_7

Cited by 2 publications

(2 citation statements)

References 2 publications

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“…Pivotal to most authors in this special issue is a commitment to collaboration. Different levels and forms of collaboration have been extensively discussed in the field of visual anthropology (Crafton 2004, Battaglia 2012, Elder 1995, Caffé and Hikiji 2012, Ginsburg et al 2002, O'Brian 2014, and we see this diversity also in the projects discussed here. While Dietrich and Ulfe talk about collaborating in bringing to the surface stories that run counter to and challenge hegemonic narratives, and Zirión calls for a collaborative project that can contribute to social change, Flores explores the "complex intercultural interactions" 6 that are often at the core of collaborative projects.…”

Section: Visual Anthropology From Latin Americamentioning

confidence: 63%

Visual Anthropology From Latin America: An Introduction

Flores¹,

Torresan²

2018

anthrovision

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The idea of Latin America as an unified geopolitical entity has been called into question (Mignolo 2005), exposing claims for a specific aesthetics and epistemological modality as romantic fetishism in face of the diverse histories of economic, political, social and population developments (Canclini 1995). How can we then justify a special issue in visual anthropology with a focus on the region? What would it show us beyond a sampling of audiovisual anthropological work produced in and about Latin America? Given the dynamic exchange of technical and intellectual expertise between Latin American visual anthropologists and their counterparts across the globe, how could this regional focus contribute to broader discussions in the discipline? These were the questions we asked ourselves when we were invited to organise a panel on the trends of ethnographic filmmaking in Latin America for the 15 th Royal Anthropological Institute Film Festival that took place in Bristol, UK, from 29 March to 1 April 2017. We started from the very broad agenda of examining the intersection between local anthropological work and visualimage production in the region. We ended up, however, with a common denominator, which although it does not encompass all the trends of visual anthropology work in Latin America and is certainly not a prerogative of visual anthropology studies in the region, proved itself to be a constant element that extends beyond the scope of the panel and of this special issue. Visual anthropology from a Latin American perspective is eminently concerned with the political; and it is so because it has been highly influenced not only by certain transnational conversations but, more critically, by local movements of social and political change and resistance. 2 Visual Anthropology has grown exponentially in the last three decades in Latin America with the development of different research and teaching centres within academic institutions in countries, including Brazil, Mexico, Peru, Chile, Ecuador, Colombia and Argentina, expanding to include experimental work made with a wide range of visual media. Our interest here, however, is not to map the teaching and production of visual anthropology in Latin American academic institutions. Rather, our focus is on how visual Visual Anthropology From Latin America: An Introduction Anthrovision, 6.2 | 2018 2. The 5 pages document and its signatories written at the Symposium on Non-Andine South America Interethnic Friction can be consulted at http://www.servindi.org/pdf/ Dec_Barbados_1.pdf 3. Cardús (2014) offers an excelente review of the production of indigenous media projects in Latin America. 4. see Dietrich and Ulfe this issue paragraph 2, 6, 8 5. see Zirión this issue paragraph 47 6. see Flores this issue paragrah 11

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Section: Visual Anthropology From Latin Americamentioning

confidence: 63%

Visual Anthropology From Latin America: An Introduction

Flores¹,

Torresan²

2018

anthrovision

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“…This piece also contributes to debates concerning 'participation ' and 'collaboration' (cf. Ginsburg 1995;Elder 1995;Crafton 2004;Battaglia 2012a), suggesting that the two practices are not necessarily synonymous with one another. Rather, 'participation' and 'collaboration' are here understood as a sort of 'craft' of filmmaking -that is, borrowing from Glenn Adamson (2007), as something always in motion, as a "moving target" (2007: 75) or, as I would say, as a series of positions taken in relation to the process of representation.…”

mentioning

confidence: 99%

Crafting ‘participatory’ and ‘collaborative’ film-projects in India

Battaglia¹

2014

anthrovision

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, for taking various parts of the two audiovisual works discussed in this paper. I am particularly grateful to the public of the Participatory Video Seminar organised by Alicia Blum-Ross for the RAI 11 th International Festival of Ethnographic Film at Metropolitan University (2009, Leeds) for actively engaging with an old draft of this article presented for that occasion. I also thank the editor of this special issue, Cristina Grasseni and Florian Walter, for encouraging me in developing this topic, and to the anonymous reviewers for constructively engaging with this text. Finally, I thank Christopher Davis for her discussions with me on what has later on inspired the theoretical discussion of this article; Aude Michelet for providing feedback on writing about children; and last but not least, Brendan Donegan for his serious engagement with the content and form of this article and stimulating my further thinking. 1 This article seeks to explore questions concerning participation, collaboration, voices, visions and multi-modal representations in the image-making process. It is a retrospective self-reflection on two audiovisual projects, 'Nila Illam' (Battaglia 2006a) and 'The Electric Oriental Journey' (Battaglia 2009), conducted by myself in India respectively in 2006 and 2009. 2 In particular, in this piece I turn my attention to the implication of the making of audiovisual projects and how different ways of constructing narratives create new forms of representations. In line with the theme of the AnthroVision special issue, I present two film-projects that in different ways seek to integrate invisible voices and make them coexist with my own temporality and agenda, as both an anthropologist and image-maker. My contribution to this discussion, however, is not limited to the relationship between Crafting 'participatory' and 'collaborative' film-projects in India Anthrovision, 2.2 | 2014

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Film festival report: Persistence Resistance in London. Between public intervention and practitioner-academic collaboration

Cited by 2 publications

References 2 publications

Visual Anthropology From Latin America: An Introduction

Visual Anthropology From Latin America: An Introduction

Crafting ‘participatory’ and ‘collaborative’ film-projects in India

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