![]() ![]() Her examination of ethnographic cinema provides necessary new thought for both film scholars and those who are thrilled by cinema’s boundless possibilities. The project is deeply grounded in poststructural approaches to history, and throughout Groo draws on these frameworks to offer innovative and accessible readings that explain ethnographic cinema’s destabilizing energies.Īs Groo describes, ethnographic works are mostly untitled, unauthored, seemingly infinite in number, and largely unrestored even in their digital afterlives. Curtis’s I n the Land of the Head Hunters, to a Citroën-sponsored “croisière” across Africa, to the extensive archives of the Maison Lumière and the Musée Albert-Kahn, to dozens of expedition films from the 1910s and 1920s. ![]() Rather than filling holes, Groo endeavors to understand the imprecisions and absences that define film history and its archives.īad Film Histories draws on numerous works of ethnographic cinema, from Edward S. Taking ethnographic cinema as a crucial case study, Groo challenges standard ways of thinking and writing about film history and questions widespread assumptions about what film artifacts are and what makes them meaningful. Katherine Groo daringly takes readers to the margins of the film record, addressing the undertheorization of film history and offering a rigorous corrective. Bad Film Histories is a vital work that unsettles the authority of the archive. ![]()
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