"Objective realism," ethnographic cinema, and the classical model of visual-anthropological research

Abstract

The article examined the emergence and evolution of approaches within the classical model of visual-anthropological research, known as "objective realism," which is closely associated with ethnographic cinema. The study investigated the origin of ethnographic cinema, the first theoretical programs in anthropology, and cinematographic experiences. The main aspects of Vertov's "Cine Eye" theory were explored in the context of objectivism and philosophical ideas of positivism that formed the foundation of visual-anthropological investigations in the early twentieth century. The article considered Bazin's theory of the cinematograph of reality, attempted to implement visualization without an image consistently, and led to utopian ideas within the framework of visual anthropological theory. The principle of the "detached observer" and the technique of autochthonous interpretations, exemplified by the works of Mead and Bateson, were also analyzed, ultimately forming the classical model in visual-anthropological research. The study entailed a thorough literature review and analysis of primary sources to understand the evolution of visual anthropology's approaches. The findings suggested that the classical model of visual-anthropological research, which emphasized detached observation and autochthonous interpretations, had influenced ethnographic cinema and visual anthropology. The results presented could be used to inform and develop the methodology of future visual-anthropological research. The research implications were significant for visual anthropologists and filmmakers alike, as they provided a historical and theoretical grounding for the practice of ethnographic cinema and visual anthropology, contributing to the further development of this field.