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‘This would be scary to any other culture … but to us it’s so cute!’ The radicalism of Fourth Cinema from Tangata Whenua to Angry Inuk
Studies in Documentary Film ( IF 0.5 ) Pub Date : 2019-09-02 , DOI: 10.1080/17503280.2019.1672919
Gail Vanstone 1 , Brian Winston 2
Affiliation  

ABSTRACT Articulating the concept of a Fourth Cinema, Maori filmmaker, Barry Barclay highlighted its intrinsic radical possibilities for Indigenous documentary production. Departing from Solanas and Getino’s Third Cinema theory, Barclay argues ‘that some Indigenous film artists will be interested in shaping films that sit with confidence within the First, Second and Third cinema framework’. To take this view of documentary work by Indigenous filmmakers living in geographic territories where mainstream documentary was most influenced by John Grierson’s interventions and legacy – Canada, New Zealand and Australia – recognises their presence in documentary’s radical tradition. Fourth Cinema documentaries of seemingly unchallenging ‘exteriority’ (i.e. with ‘surface features: rituals, language, posturing, décor, the use of elders, the presence of children, attitudes to land, rituals of a spirit world) are repositioned by the concept. When viewed through the ‘right pair of [Indigenous] spectacles’, their ‘interiority’ (i.e. ‘the ancient core values’ ‘outside the national orthodoxy’) is revealed. Fourth Cinema documentaries are thus not only radical when ‘documenting injustices and claiming reparations’ (Ginsburg). They also sit firmly within documentary’s radical tradition by celebrating the Indigenous – ‘making records of the lives and knowledge of elders’ (Ginsburg) offering valuable knowledge to Indigenous and settler eyes.

中文翻译:

“这对任何其他文化来说都是可怕的……但是对我们来说,它是如此可爱!” 第四电影的激进主义,从《七巧板》到《愤怒的伊努克》

摘要毛利电影制片人巴里·巴克莱(Barry Barclay)明确阐述了第四电影院的概念,强调了其土著纪录片制作的内在根本性可能性。与索拉纳斯和格蒂诺的第三电影理论背道而驰,巴克莱认为“一些土著电影艺术家将对塑造充满信心的电影产生兴趣,这些电影在第一,第二和第三电影框架内放映”。对于居住在地理地区的土著电影制作人的纪录片作品,加拿大,新西兰和澳大利亚的主流纪录片受到约翰·格里尔森的干预和遗产影响最大,这是对他们的纪录片观点的认可。第四部电影纪录片,看似没有挑战性的“外部性”(即具有“表面特征:仪式,语言,姿势,装饰,使用长者,这个概念重新定位了儿童的存在,对土地的态度,精神世界的仪式。当通过“一对正确的[土著]眼镜”观看时,它们的“内在性”(即“民族正统观念之外”的“古代核心价值”)被揭示出来。因此,第四电影院的纪录片不仅在“记录不公正和要求赔偿”时是激进的(金斯堡)。他们还通过庆祝土著人民牢固地坐在纪录片的激进传统中-“记录老年人的生活和知识”(金斯堡),为土著人民和定居者提供宝贵的知识。因此,第四电影院的纪录片不仅在“证明不公正和要求赔偿”时是激进的(金斯堡)。他们还通过庆祝土著人民牢固地坐在纪录片的激进传统中-“记录老年人的生活和知识”(金斯堡),为土著人民和定居者提供宝贵的知识。因此,第四电影院的纪录片不仅在“记录不公正和要求赔偿”时是激进的(金斯堡)。他们还通过庆祝土著人民牢固地坐在纪录片的激进传统中-“记录老年人的生活和知识”(金斯堡),为土著人民和定居者提供宝贵的知识。
更新日期:2019-09-02
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