Dokumenttielokuva

1. Dokumenttielokuva Kantaaottava dokumentaari Poliittiset dokumentaarit

2. Kantaaottava dokumentaari • Kolmannen maailman elokuva. • Epätäydellinen elokuva • Paljastava elokuva • Nälän elokuva

3. Vietnam-elokuvat • Why Vietnam (1965) • IVENS: 17e parallèle (1967) • HEYNOWSKI & SCHEUMANN: Der Job(1967) • MARKER, GODARD, IVENS, RESNAIS etc: Loin de Vietnam (1967) • GREENE: North Vietnam (1968) • STRICK: Interview with My Lai Veterans (1971) • DAVIS: The Selling of the Pentagon (1971)

4. Emile De Antonio • Point of Order (1964) • Rush to Judgment (1967) • In the Year of the Pig (1968) • Millhouse (1971) • Painters Painting (1972) • Mr. Hoover and I (1989)

5. Keskeisiä etnografisia elokuvia • JEAN ROUCH: Les mâitres fous (1954) • MORT RANSEN: You Are on Indian Land (1969) • JOHN MARSHALL: The Hunters (1963), N!ai, the Story of a !Kung Woman (1980) • TRINH MINH-HA: Reassemblage (1982)

6. Etnografisen representaation ulottuvuuksia • Siirtymä strukturalistisesta hermeneuttiseen tutkimukseen • Tavoitteena: "To obliterate otherness while preserving difference" • Becoming – Othering • Experiencing near vs. experiencing distant concepts

7. Clifford Geertz "From the native's point of view" • An experience-near concept is, roughly, one which someone - a patient, a subject, in our case an informant - might himself naturally and effortlessly use to define what he or his fellows see, feel, think, imagine, and so on, and which he would readily understand when similarly applied to others. An experience-distant concept is one which specialists of one sort or another - an analyst, an experimenter, and ethonographer, even a priest or an ideologist - employ to forward their scientific, philosophical or practical aims. ... Confinement to experience-near concepts leaves an ethnographer awash in immediacies, as well as entangled in vernacular. Confinement to experience-distant ones leaves him stranded in abstractions and smothered in jargon. p. 124.

8. Toiseuden tavoittamisesta audiovisuaalisin keinoin (Bill Nichols) • The exotic resists all attempts to naturalize it with words attending to appearance, function, value, or meaning. The words are familiar and the explanation reasonable but an excess remains. The exotic remains different, beyond familiarity. ... Part of the fascination of all ethnographic films, in fact, is their ability to both represent the exotic - difference, otherness - and contain or naturalize it, to make it familiar. The difference remains; however familiar it might be made, it continues to stand outside the law of our society and our representations of what it might be.

9. Trinh T. Minh-Ha: Etnografisen elokuvan kliseitä ja käytäntöjä • suuntamikrofonien käyttö • huulisynkronointi • reaaliaika • leikkauksen minimointi • lähikuvan välttäminen • laajakulmaobjektiivien käyttö • käsivaralta kuvaaminen • epäesteettisyys • 'kaikkitietävä' kommentoija

10. Trinh T. Minh-Ha: etnografisen elokuvan retorisia strategioita • Vetoaminen tekijöiden luotettavuuteen • Vetoaminen tunteisiin, sympatiaan, yleisesti tunnustettuihin arvoihin • Retorinen muoto: ongelman esittely, faktojen käsittely, ratkaisun esittely, onnistumisepilogi • "Trust those who speak to the camera unless given reason to do otherwise"

11. Toiseuden tavoittamisesta audiovisuaalisin keinoin (Trinh T. Minh-Ha) • A documentary aware of its own artifice is one that remains sensitive to the flow between fact and fiction. It does not work to conceal or exclude what is normalized as "nonfactual," for it understands the mutual dependence of realism and "artificiality" in the process of filmmaking. • Reality runs away, reality denies reality. Filmmaking is after all a question of "framing" reality in its course. However, it can also be the very place where the referential function of the film image/ sound is not simply negated, but reflected on in its own operative principles and questioned in its authoritative identification with the phenomenal world.