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An epilogue Return to Kiriwina – the ethnographic film-maker as author

If there is a single general conclusion to be drawn from the multitude of examples of ethnographic film-making considered in the course of this book, it is that if one’s purpose is to make an ethnographic film that goes beyond the merely descriptive, one should not attempt to eliminate, sidestep, or hide the authorship of that film, nor seek to consign it to others, be it the subjects of the film or the audience. Rather the aim should be to develop modes of film authorship that, while playing to the strengths of film as a medium of communication, also reflect contemporary ideas about the practice of ethnography more generally. As I have described in this book, for around seventy-five of the 120 or so years during which the moving image camera has been used for ethnographic purposes, its principal value was perceived, certainly in Englishspeaking academic anthropology, as being related to its capacity to copy the world in a mimetic manner. As such, it was seen as a device for collecting data in an objective fashion that could act as a control on the inevitably more subjective observations made through the human eye alone. Although this view of the moving image camera still surfaces from time to time, it has, by and large, been abandoned. Instead, it has come to be widely valued for its capacity – particularly when used in conjunction with a skilfully recorded soundtrack – to generate accounts of the world that are imbued with a strong sense of ‘lived experience’. In the General Introduction to this book, I suggested that in this capacity to evoke a sense of lived experience, ethnographic film-making offers the possibility of reconnecting with an aspect of human life that Bronislaw Malinowski, the original Ethnographer, sought to describe through his concept of the ‘subjective desire of feeling’, and which he detected in numerous practices and sentiments of everyday life among the people of