ABSTRACT The post-war counter-culture encouraged alternative ways of articulating the language of documentary film, contributing to a wider critique of social institutions and the complicity of the mass media in constructing perceptions of authority. In relation to the politics of madness, this era also gave rise to a heightened awareness of psychiatric institutions as sites of symbolic power rather than therapeutic care, informing a growing scepticism towards both traditionally assumed causes and categories of mental illness as well as the everyday concept of rationality itself. This article offers a comparative analysis of different observational filmmaking styles in relation to their respective portrayals of various methods, personalities, and institutions associated with forms of radical psychiatry. It explores the impact and legacy of these cultural developments on films such as: Warrendale (Allan King, 1967); Asylum (Peter Robinson, 1972); San Clemente (Raymond Depardon and Sophie Ristelhueber, 1980); and Every Little Thing/La Moindre des choses (Nicolas Philibert, 1996). Despite their cultural and formal differences, these films are similarly involved in negotiating not only problematic distinctions between observation and intrusion, fiction and documentary, but also constructions of madness and sanity.

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观察的政治：纪录片和激进精神病学

摘要战后的反文化鼓励人们用其他方式来表达纪录片的语言，这导致对社会制度的广泛批评以及大众传媒在建构权威观念方面的同谋。关于疯狂政治，这个时代也引起了人们对精神病院作为象征性力量而非治疗场所的意识的增强，这使人们越来越怀疑传统上认为是精神病的原因和类别以及日常观念理性本身。本文对不同观察电影的制作风格进行了比较分析，并将它们与激进精神病学形式相关的各种方法，个性和机构进行了比较。它探讨了这些文化发展对电影的影响和遗产，例如：Warrendale（Allan King，1967）; 庇护（Peter Robinson，1972）; 圣克莱门特（Raymond Depardon和Sophie Ristelhueber，1980年）；而《每个小东西》 / La Moindre des都选择了（Nicolas Philibert，1996）。尽管它们在文化和形式上存在差异，但这些电影不仅参与了观察与闯入，小说和纪录片之间存在问题的区分，而且还涉及了疯狂和理智的建构。