ABSTRACT To date consideration of negative emotions in the context of cinema has been largely limited to the issue of why spectators would be drawn to films that target psychological responses such as fear and disgust. The aim here is to consider the phenomenon of negative emotion as a motivating factor in the context of, not spectatorship, but film production. The focus is on documentary filmmaking with a strong ethnographic dimension, the camera being used to record the circumstances and culture of an ethnic group to which the filmmaker does not belong. Get a Life by Michael Klint (in collaboration with Claus Bie) is presented as an instance of guilt-based filmmaking, the filmmaker having repeatedly foregrounded his own guilt as a decisive factor in the film’s making. A so-called “dogumentary” film based on filmmaker Lars von Trier’s “Documentarist Code,” Get a Life is shown to rely on moral notions that are consistent with the future-oriented and redemptive aspects of the phenomenon of guilt. The filmmaker’s rhetoric foregrounds the idea of “making a difference” for the Nigerian victims of a devastating flesh-eating disease (noma) and further purports to challenge the norms underwriting TV reporting on the “Third World.” Analysis of Get a Life, however, reveals it to be a failed work on moral grounds. The filmmakers’ self-importance, deficient self-understandings, and self-deceptions regarding the bases for their putative actions on behalf of others are identified as especially problematic. The relevant failings warrant attention at a time when filmmakers from privileged cultures increasingly pursue performative-style documentary filmmaking, fueled by purportedly moral intentions, in a variety of contexts in the Global South.

中文翻译：

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基于内lt的电影制作：道德上的失败，混乱的行动主义和“固执己见”的生活

摘要迄今为止，在电影背景下对负面情绪的考虑一直仅限于为什么观众会被吸引到针对诸如恐惧和厌恶等心理反应的电影的问题。这里的目的是在电影制作而不是旁观者的背景下，将消极情绪现象视为激励因素。重点是具有浓厚人种学内容的纪录片摄制，该摄像头用于记录制片人不属于的族裔的情况和文化。迈克尔·克林特（与克劳斯·比）合作拍摄的《获得生命》被认为是基于罪恶感的电影制作的典范，电影制片人一再将自己的罪恶感视为电影制作中的决定性因素。一部根据电影制片人拉斯·冯·特里尔（Lars von Trier）的“文献记录员守则”拍摄的“野蛮”电影被证明依赖于道德观念，这些观念与有罪现象的面向未来和救赎的方面是一致的。这位电影制片人的言辞前景是为毁灭性的食肉疾病（noma）的尼日利亚受害者提供“改变”的想法，并进一步声称挑战承保“第三世界”电视报道的规范。然而，对“获得生命”的分析表明，这是出于道德理由而失败的工作。电影制片人的自我重要性，不足的自我理解和关于他们代表他人的假定行动依据的自我欺骗被认为特别有问题。