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Ethnofiction is a neologism which refers to an ethnographic docufiction, a blend of documentary and fictional film in the area of visual anthropology. It is a film type in which, by means of fictional narrative or creative imagination, often improvising, the portrayed characters (natives) play their own roles as members of an ethnic or social group. Jean Rouch is considered to be the father of ethnofiction.〔(Glossary ) at MAITRES_FOUS.NET〕 Ethnologist, he soon discovers that a filmmaker interferes with the event he registers. His camera is never a ''candid camera''.〔(Types of Cameras ) – definition at (UCLA )〕 The behavior of the portrayed individuals, the natives, will be affected by its presence. Contrary to the principles of Marcel Griaule,〔(Marcel Griaule (1898 – 1956) ) – Article by Sybil Amber〕〔(From Pictorializing to Visual Anthropology1 ) – Chapter from “Handbook of Methods in Cultural Anthropology”〕〔(From Representation to Evocation: Tracing a Progression in Jean Rouch's ‘’Les magiciens de Wanzerbé’’, ‘’Les maîtres fous’’, and ‘’Jaguar’’ ) – Article by Ted Nannicelli at (Taylor & Francis Group )〕〔(L'ETHNOFICTION A L'ŒUVRE Prisme et images de l'entité dogon ) – Article (French) by Gaetano Ciarcia at (Université Montpellier III )〕 his mentor, for Rouch a non-participating camera registering “pure” events in ethnographic research (like filming a ritual without interfering with it) is a pre-concept denied by practice.〔(Father of 'cinema verite' dies ) – BBC news〕〔(BIOGRAPHIES: Jean Rouch ) – Article by Ben Michaels at (Indiana University )〕〔(A Tribute to Jean Rouch ) by Paul Stoller at (Rouge )〕〔Ethnographic Film (origines)〕〔(Knowing Images: Jean Rouch’s Ethnography ) <- Chapter from Sarah Cooper's monograph “Selfless Cinema?: Ethics and French Documentary” (Oxford: Legenda, 2006) at (MAITRES-FOUS.net )〕 An ethnographer cameraman will be accepted as a natural partner by the actors who play their roles. The cameraman will be one of them. He may even be possessed by the rhythm of dancers during a ritual celebration and induced in a state of ''cine-trance''.〔(Cine-trance )〕〔(Cine-trance: a Tribute to Jean Rouch )(Visual Anthropology, American Anthropologist)〕 Going further than his predecessors, Jean Rouch introduces the actor as a tool in research. A new genre was born.〔Jean Rouch and the Genesis of Ethnofiction – thesis by Brian Quist (Long Island University)〕 Robert Flaherty, a main reference for Rouch, may be seen as the grandfather of this genre, although he was a pure documentary maker and not an ethnographer. Being mainly used to refer to ethnographic films as an object of visual anthropology, the term ethnofiction is as well adequate to refer to experimental documentaries preceding and following Rouch’s oeuvre and to any fictional creation in human communication, arts or literature, having an ethnographical or social background. ==History== Parallel to those of Flaherty or Rouch, ethnic portraits of hard local realities are often drawn in Portuguese films since the thirties, with particular incidence from the sixties to the eighties,〔(Imagining Rurality: Portuguese Documentary and Ethnographic Film in the 1960s and 1990s ) – Abstract for a conference by Catarina Alves Costa at (Comité du Film Ethnographique )〕 and again in the early 21st century. The remote Trás-os-Montes region (see: Trás-os-Montes e Alto Douro Province in Portugal), Guinée Bissau or the Cape Vert islands (ancient Portuguese colonies), which step in the limelights from the eighties on thanks to the work of certain directors (Flora Gomes, Pedro Costa, or Daniel E. Thorbecke, the unknown author of Terra Longe 〔(African Filmmaker Profiles: Flora Gomes ) at (The Woyingi Blog )〕〔(The Films of Pedro Costa ) at (Distant Voices )〕〔(Terra Longe ) at (South Planet ) (French)〕) are themes for pioneering films of this genre, important landmarks in film history. Arousing fiction in the heart of ethnicity is something current in the Portuguese popular narrative (oral literature): in other words, the traditional attraction for legend and surrealistic imagery in popular arts〔(The Portuguese and the “others”: dialogue of cultures and characters in oral literary tradition ) - Article by Maria Edite Orange and Maria Inês Pinho at Departamento de Artes e Motricidade Humana do IPP – Escola Superior de Educação (Porto)〕 inspires certain Portuguese films to strip off realistic predicates and become poetical fiction. This practice is common to many fictional films by Manoel de Oliveira and João César Monteiro and to several docufiction hybrids by António Campos, António Reis and Ricardo Costa (filmmaker).〔( Things we see: Portuguese anthropology on material culture ) – Paper by Filomena Silvano at (Scielo )〕〔(Disquieting Objects ) - Article by Gabe Klinger at (The Museum of Moving Image )〕〔(Ricardo Costa and the Flowing Pictures ) – Article by José de Matos-Cruz〕 Since the 1960s, ethnofiction (local real life and fantasy in one) is a distinctive mark of Portuguese cinema. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Ethnofiction」の詳細全文を読む スポンサード リンク
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