ABSTRACT After exploring the interactions between moving image-based art practices and anthropology in recent decades, and the permeable membranes in ethnographic research, we will describe six tactics of video-ethnography used to create experimental narratives with a group of South Asian immigrant girls. Positioned in feminist critical poststructuralism, postcolonial theory and film theory, the research gives visibility to how the participants construct their identities when attending secondary school in Catalonia. Learning from artists like Ursula Biemann and Trinh T. Minh-ha, we have experimented with visual modes of producing cultural knowledge, with the aim of narrating migrant subjectivities and difference through moving images. Specifically, we focus on the production of stories through video-ethnographic research, based on the contributions of Michel de Certeau, who describes tactics as mobile, situated and fluid. In the end, this video-ethnographic research has experimented with reflexivity, ‘facing’, re-framing, in-betweenness, the interval, and spectatorship as tactics of narrating ‘otherness’

中文翻译：

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运动图像之间的中间性：录像民族志的六种实验策略，以叙述南亚移民女孩的主观性

摘要在探讨了近几十年来基于运动图像的艺术实践与人类学以及人种学研究中的可渗透膜之间的相互作用之后，我们将介绍视频人种学的六种策略，这些策略用于与一群南亚移民女孩一起创建实验性叙事。这项研究定位于女性主义批判的后结构主义，后殖民理论和电影理论，使参与者能够了解在加泰罗尼亚中学学习时如何建构自己的身份。我们从Ursula Biemann和Trinh T. Minh-ha等艺术家那里学习，我们尝试了产生文化知识的视觉模式，目的是通过运动图像来描述移民的主观性和差异性。具体来说，我们专注于通过视频民族志研究制作故事，基于Michel de Certeau的贡献，他将战术描述为可移动，灵活和灵活。最后，这项视频民族志研究以反身性，“面对”，重新构架，中间性，间隔和旁观性作为叙事“其他”的策略进行了实验。