(6:15)

     Ethnographic film has faltered around healthy debates of reflexivity.  When, how, and how much should the filmmaker rightfully position themselves inside their constructions before crossing into narcissism? 

     (Rina Sherman, repeatedly shown stalking the elusive ‘best’ camera shot, appears to be a leading protagonist in her own promotional clips.) 

     Today however, an equally large question should trouble visual anthro-socio-cultural studies:  Why must we photograph everything?  When is enough images?  Why must we, whether we are invited to or not, continually record the most precious, private, intimate moments of others... in explicit close-up?  My deep personal struggle with image “taking” begins here.  So, I have now put my camera away for good... preferring instead to montage existing content into theoretical responses instead... into dangerous forms of experimental potlatch, to help counter the fallacious black magic of documentary.

     Cameras must be theorized as guns today... for better and for worse... which, in itself should pose serious ethical dilemmas when using film or video to ‘capture and interpret’ other cultures.

Read the full project: HERE