'Shivers down your spine': panoramas and the origins of the cinematic reenactment

Griffiths, Alison

doi:10.1093/screen/44.1.1

Cited by 19 publications

(3 citation statements)

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“…Virtual enactment builds on the history of reenactments, “which date more or less to the origin of cinema” and have long been used to reconsider notions of truth in narrative (Kahana 2009a, 53; see also Griffiths 2003; Nichols 2008). Yet reenactments have often been critiqued as inauthentic, even when interlocutors suggest them.…”

Section: Virtual Enactmentmentioning

confidence: 99%

Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Boellstorff¹

2021

Visual Anthropology Review

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The film Our Digital Selves: My Avatar Is Me (Bernhard Drax, director: 74m, 2018, https://youtu.be/GQw02 -me0W4) chronicles the experiences and insights of disabled persons in the virtual world Second Life. In this article, I focus on the making of the film through collaboration between researchers, filmmakers, and community. By discussing techniques of what I term virtual enactment, I explore how Our Digital Selves constitutes paraethnographic film created through a triple collaboration between community members, filmmakers, and ethnographers. This concept can contribute to visual anthropology as a set of representational and analytical techniques responsive to emergent cultures and communities.

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Section: Virtual Enactmentmentioning

confidence: 99%

Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves

Boellstorff¹

2021

Visual Anthropology Review

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“…As well as contemporary cityscapes, popular subjects included battle scenes, historic and newsworthy events, and exotic ancient cities such as Constantinople, Athens and Jerusalem, all depicted in lavishly minute detail (Virilio 1994, 40). Panoramas were typically accompanied by printed diagrams and written explanations which often highlighted features of historic interest (Griffiths 2003).…”

Section: The Panoramamentioning

confidence: 99%

A Spectacular History of Survey by Flying Machine!

Wickstead

Barber

2012

CAJ

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The origins of archaeological methods are often surprising, revealing unexpected connections between science, art and entertainment. This article explores aerial survey, a visual method commonly represented as distancing or objective. We show how aerial survey's visualizing practices embody subjective notions of vision emerging throughout the nineteenth century. Aerial survey smashes linear perspective, fragments time-space, and places radical doubt at the root of claims to truth. Its techniques involve hallucination, and its affinities are with stop-motion photography and cinema. Exposing the juvenile dementia of aerial survey's infancy releases practitioners and critics from the impulse to defend or demolish its ‘enlightenment’ credentials.

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“…Panoramas were quickly and immensely popular across Europe and America, and inspired a range of related phenomena (including moving panoramas, Cycloramas, Dioramas, and, ultimately, developments in lantern slide projections and early motion pictures [12]). Bird'seye views were a common subject, situating the viewer at an imaginary viewing point somewhere above the scene being presented to them.…”

Section: Imaginary Viewsmentioning

confidence: 99%