Similarly, Richard Flaherty’s work Nanook portrayed similar qualities of ethnographic film, although Flaherty was not an anthropology. According to Ruby, Flaherty “not only behaved like an anthropologist, but his field methods, his stated intentions, and his willingness to be methodologically explicit place him more solidly within orthodox anthropology than do the actions of most of the contemporary self-professed ethnographic filmmakers” (Ruby 1975, 86). That is to say, by displaying ethnographic details in his film, the use of anthropological methodology, and last but not least, portraying reality based on the materials and activities in the film, Flaherty became known as “the first ethnographic film...
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...iscourse play a vital role in coming to a conclusion regarding a film, to know whether it was meant to be ethnographic or not. Therefore, in order to conduct good research as anthropologist, one has to be ethical, which may translate in different ways, such as cultural relativism and developing a relationship with your participants. By comprising all these features, Tim Asch, Robert Flaherty, Jean Rouch, and many other anthropologist’s “films, partake in the practice of shared anthropology in various ways” (Berthe 2009, 3). Hence, “Rouch attempted to share his filmmaking knowledge with the people who featured in his films. As a result, Rouch trained several Africans who would go on to become filmmakers (Oumarou Ganda and Safi Faye, to name just a couple)” (Berthe 2009, 4). Thus, Rouch’s research was based on “collaboration and participatory method” (Berthe 2009, 4).
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