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投稿日: 2018/04/28 2:27:54
"... And for me, Ciné-Anthropology was just such an opportunity for re-encounter. There I collaborated with the researcher of the “image-anthropology” school, and in my chapters I took the opportunity to revisit Rouch’s entire filmography––not only ethnographic films and ethno-fictions, but his Nouvelle Vague films, ciné-poèmes and ciné-portraits, and his fiction film Dionysos. My intention was to understand it as a unified whole, and to “translate” what Rouch expressed through filmic images into the language of written anthropology. And I found, in this effort, that Rouch invented not just ciné-trance and shared anthropology, but also a kind of anthropology of nature and of becoming (Dionysos, the Greek god of becoming, was the symbol for it)––a still brilliant vision of ciné-anthropology." (p. 90)
"... After finishing my fieldwork with the Mapuche of Chile in the early 1990s, I felt it necessary to see how image-thinking is thought and practiced in philosophy (Deleuze, Bergson, Spinoza, etc.) and in cinema. My research about the Mapuche had somehow forced
me to go beneath the level of experience usually presupposed in anthropology––the terms “culture” and “society” representing that level––and the “image” was, for me, the name of that subsoil I was looking for. Perhaps what was most important was not
the name. In a book called Superpositions, Deleuze commented on the “method of subtraction” practiced by the Italian theater artist Carmelo Bene: take a Shakespeare play, remove a main character from it, and see what kind of story emerges there … The point is to imagine how anthropology transforms by removing the words “culture” and “society” from it." (pp. 90-91)
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