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Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds

Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and... Castaing-Taylor and Paravel’s GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds michael a. unger “Ethnographic film is the documentary’s avant-garde. Who is more self-conscious than an anthropologist with a movie camera?” —J. Hoberman “Film language is the language of moving, seeing, and hearing. More than any other medium or art form, film uses experience to express experience.” —Ilsa Barbash and Lucien Taylor (1) the term “experimental documentary,” at first glance, can be considered an oxymoron at worst or a hybrid category at best that in either case illuminates the assumed dialectical tensions between formal experimentation and cultural representation.1 Experimental docu­ mentary filmmaking conflates this dichotomy at the level of aesthetics, or as Stella Bruzzi puts it, “aestheticization” of a given reality (9). The use of expressive, cinematic techniques, often celebrated in fictional filmmaking as an imaginative means for the filmmaker to engage and enhance the emotional involvement of the viewer with the filmmaker’s stories and characters, often meets critical resistance when applied to documentary forms, including those whose origins are not necessarily related to their cinematic incarnations. Erik Barnouw, for example, in his seminal book Documentary: A History of the Non-Fiction Film (1993), catego­ rizes documentaries into http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Castaing-Taylor and Paravel's GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds

Journal of Film and Video , Volume 69 (3) – Aug 30, 2017

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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018
Publisher site
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Abstract

Castaing-Taylor and Paravel’s GoPro Sensorium: Leviathan (2012), Experimental Documentary, and Subjective Sounds michael a. unger “Ethnographic film is the documentary’s avant-garde. Who is more self-conscious than an anthropologist with a movie camera?” —J. Hoberman “Film language is the language of moving, seeing, and hearing. More than any other medium or art form, film uses experience to express experience.” —Ilsa Barbash and Lucien Taylor (1) the term “experimental documentary,” at first glance, can be considered an oxymoron at worst or a hybrid category at best that in either case illuminates the assumed dialectical tensions between formal experimentation and cultural representation.1 Experimental docu­ mentary filmmaking conflates this dichotomy at the level of aesthetics, or as Stella Bruzzi puts it, “aestheticization” of a given reality (9). The use of expressive, cinematic techniques, often celebrated in fictional filmmaking as an imaginative means for the filmmaker to engage and enhance the emotional involvement of the viewer with the filmmaker’s stories and characters, often meets critical resistance when applied to documentary forms, including those whose origins are not necessarily related to their cinematic incarnations. Erik Barnouw, for example, in his seminal book Documentary: A History of the Non-Fiction Film (1993), catego­ rizes documentaries into

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Aug 30, 2017

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