The Ethics of Representation: Documentary Film and Islam

Abstract

The great artistic potential of the documentary film photograph as well as the filmmakers’ intervention and manipulation impact viewers as well as interviewees to believe that the camera is able to capture a “real” moment in time. Both viewers and documentary subjects are exploited: the latter’s “informed consent” is not built on true, honest and clear relationship. That is, informing subjects, before camera proceeds, about the possible consequences of their participation is absent. For instance, interviewees know nothing of the overall goals of the project and have no idea about the intended audience. Consequently, both documentary subjects and the targeted audience are exploited, since many documentary filmmakers are not interested in approaching a ‘real’ image of something. Rather, documentary filmmakers’ use of sex, violence and controversial issues for sensational purposes is often produced under the guise of “education” or “investigation.” This paper attempts to trace the serious ethical issues in two American documentary films which represent Islam and Muslims. These documentary films are Steven Emerson’s Jihad in America (1994) and Wayne Kopping’s TheThird Jihad: Radical Islam’s Vision for America (2008).