Anthropological Filmmaking by J.R Rollwagen

Author:J.R Rollwagen [Rollwagen, J.R]
Language: eng
Format: epub
ISBN: 9781138175136
Barnesnoble:
Publisher: Taylor & Francis
Published: 2016-08-19T00:00:00+00:00

Professional Differences in Work Style and Approach

1. Shared Codes: In my work with research footage, I had found that shared numerical codes are an indispensable tool enabling several people to coordinate activities and information with a high degree of exactitude. In this project there were codes which could link the work of editor to anthropologist, editor to laboratory, anthropologist to animator, animator to writer, etc. As the project unfolded, I began to notice a systematic non-use of such codes. The editor did not use the chronological numbers of the original film rolls, the basic means of identification I had used as a researcher. Nor did he use edge-numbers, the basic technical identification needed by the laboratory for later printing. The lab technician complained of this lack, but nevertheless completed the job. His ability to deal with the situation as it had developed was, for me, an example of the Italian genius for improvisation. The editor relied on his memory to locate images, rather than relying on references to roll- or edge-numbers. This ability no doubt makes possible fast and inspired synthesizing of vast numbers of images, but shared forms of identification and location of images are equally important when work involves more than one person.

The animator, on the other hand, worked with precise lists of split-second timing so that the diagrams he created would coordinate exactly with the text. I also used these lists to coordinate the English commentary with the diagrams. The writer, however, ignored this exact timing in composing the Italian commentary for the diagrams. This resulted in a presentation which, to my mind, was often haphazard. His reasoning escaped my understanding. The most curious thing to me was that the non-use of shared codes did not seem to bother anyone involved in the project but myself.

2. “Haptic” versus “Disembodied” Film: As a movement-trained anthropologist I had frequently looked at footage as a series of visual cues for bodily movement, cues for a kinesthetic experience which was much more comprehensive than the visual impression alone. Since, in my research, film had not been simply a set of visual cues for instantaneous mental operations, I had never before realized what an exclusively visual medium film can be. The constant striving of the editor and writer for variation, for non-repetition, for a lively cutting rhythm, and for an ever-changing sound background created an experience for viewers which made “bodily” or “haptic” communication with the subjects extremely difficult for them. The fact that haptic identification is nevertheless a strong element in viewing became clear to me when I finally had a chance to be present at screenings. The scenes which called forth the most intense and immediate reactions from viewers were indeed those involved with bodily sensations, for example, a boys’ mud-game and the hand-mixing of pandanus fruit. These activities contrasted with what Western viewers have been programmed to feel is acceptable. Other body movement patterns involving activities unmarked by a conflict with Western expectations were generally overlooked in the swift onrush of changing images, even though they were just as characteristic of Maring behavior.

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