Michael Walsh has suggested that Sans Soleil demonstrates how global capital has created spheres of relative development with their attendant connotations of "progress" and "backwardness. They are allegorical in their doubleness, to which he gives an economic rationale: Although a great deal has been written about his project, 15 it needs to be situated within an ethnographic frame to appreciate fully the way that the film medium mediates between individual and social histories, and between memory and historical time.
The camera as an instrument of vision serves as a means of making them visible, a vehicle for the performance of their identities. The journeys undertaken by these filmmakers are both temporal and geographic, sometimes tending toward epic proportions.
By playing the role of the slave, Tahimik is Dicourse analysis of an interview using to offset his own postmodern mobility with a discourse of forcible travel and historical displacement, even if it is one that he manages to romanticize as a fiction of revenge and return.
His fellow Americans all become different than himself, but it is above all a difference of space and distance, relationships defined by motel architecture. The kaleidoscope of imagery also includes the work of other Filipino artists, his own installation works, performance pieces, and indigenous music.
To recall that past by way of memory traces is to render it "another culture" in an ever receding palimpsest of overlapping cultures, of which past, present, and future are merely points of perspective.
One of the most explicit instances of this production of aporias is also, ironically, the one in which Marker announces the gender of his gaze.
Memory in this diary is not a discourse of loss but of a layering of cultural forms. He represents himself as an alien in his own country, someone who is always alone in a crowd.
If "ethnicity" refers to an inherited identity, a fixed history of the self, autoethnography in film and video destabilizes and disperses that history across a range of discursive selves. His historical passages from slave to master and from father to son remain inscribed within a gendered discourse that writes women out of the picture.
Only then can it be summoned up from memory, as a fetish. By fragmenting her body into the image sphere of pixelvision, she becomes completely textual, a constellation of effects that are quite removed from the verbally narrated "I" and from the name of the videomaker.
Perhaps what Marker longs for is an ability to transcend a politics of representation, but he understands that this is not even possible in the realm of fiction. This is, however, only one of three levels on which a film- or videomaker can inscribe themselves, the other two being at the origin of the gaze, and as body image.
Autoethnography in film and video is always mediated by technology, and so unlike its written forms, identity will be an effect not only of history and culture but also of the history and culture of technologies of representation. In this way, she cannot be figured, herself, as a representative lesbian or a representative child.
Mekas himself appears often in family groups, and he seems to fit right in. Memory ultimately constitutes an anesthetizing cure to the " infirmities of time" — the coevalness of uneven development.
Is the elimination of history a loss of "his" history, his visual authority, the death of the great white author? Memory and travel are means of exploring fragmented selves and placing ethnicity at one remove, as something to remember, to see, but not quite to experience.
For example, in Reminiscences, to some children playing, he says, "Run children, run. Which is something to do with unhappiness and memory, and towards which slowly, heavily, he began to walk.Clarke's Bookshop (established in ) is situated in Cape Town, South Africa and carries both new and second hand books on Southern Africa.
ultimedescente.com > SCRIPT SECTION Title: Autoethnography: Journeys of the Self Author: Catherine Russell, Excerpt from: Experimental Ethnography, Duke University Press printer friendly version.
Autoethnography: Journeys of the Self.Download