Abstract
Using Jean Rouch's concept of the ciné-transe , this essay argues that the camera transforms the relations between the anthropologist and the field site through movement and the filmic encounter. Critical focus on the camera/body assemblage shifts attention from the fetish of the recorded image and onto the subject and researcher's haptic experience with and through visual technology. This essay specifically examines how movement, media, and visual ethnographic methods intersect around the video practices of Japanese skateboarders. With cameras as the primary tools and the subjects of the research, the ciné-transe is reimagined as a mode of social being and anthropological data.
Published Version
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