Abstract
In this article I intend to debate the place that images occupy in ethnographic research and their methodological interest, which characterizes the conditions for the insertion of a visual character in the ethnographic narrative. According to Novaes (2014), images communicate and, even in silence, it is necessary to take into account what they have to say, especially in empirical work. In this way, the article will focus on photography as an instrument that opens in gestures and expressions for field research, to think about its use as a production technology for the construction of a visual ethnographic narrative, such as the experience of ethnographic cinema, which will be presented shortly. The hypothesis to be developed here is whether photography can operate as a translation of knowledge gathered in the field. For this, it is important to highlight the methodological interest in the use of the image from the researcher-photographer to the researcher-filmmaker and, as an example, the ethnographic film Les Maîtres fous (The Crazy Teachers), by Jean Rouch (1954) is analyzed.
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