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Cinematic disruptions: a visual experimentation through speculative collective montage 
Roger Canals (University of Barcelona)
Iris Pakulla (University of Cambridge)
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Tuesday 23 July, -
Time zone: Europe/Madrid
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Short Abstract:

This lab aims to gather visual anthropologists willing to share instances of what we call 'cinematic disruptions'. This term refers to those moments of the ethnographic encounter, mediated with the camera, where the radical unexpected occurs. We propose a collective experimentation through images.

Long Abstract:

This lab aims to gather visual anthropologists in a collective, experimental, and comparative discussion of what we call 'cinematic disruptions'. This term refers to those situations of the ethnographic contexts where the cinematic encounter with the 'other(s)' crystallizes into unexpected outcomes that overflow and challenge our previous narrative structure and epistemological standpoints. In these moments, when everything turns upside down, the filmmaker becomes both an intruder and a provocative agent since he or she actively participates into a transformative process where reality is redefined. These liminal situations raise ethical and methodological questions: How do they challenge visual anthropological theories and practices? What is the 'right' ethnographic distance that we must assume? How is visual consent reassessed? How do these situations force us to reimagine our project and our position in it? How may they affect us psychologically and emotionally? Is the transformative encounter potentially detrimental (or positive) to make a “good film” (whatever it means)?

Methodologically, we wish to experiment with “speculative collective montage”, understood as the comparison of different disruptive moments to see similarities and differences, opening the possibility of making a short collective visual essay.

There are 2 modalities of participation: 1) Bringing a film (up to 6 people, recommended). Each participant will be invited to bring a short instance of 3 minutes maximum of a “cinematic disruption”. We are particularly interested in contexts of the ritual (religious, social, political), yet we are open to any kind of disruptive situations.

Attending as active audience (up to 12 people).