Film project and film strategyWhat seems for me the most essential step in anthropological film making is the elaboration of a cinematographic strategy. Without a clear and elaborated project, no film can work properly! A project does not mean writing people's life before they lived it, as in a fiction film. What is then a cinematographic strategy for an observational film? Each project develops a certain specificity. To make it concrete, I will list the most obvious and basic elements:
1. The subject of the film: each subject generates a specific language, constraints and limits. It is clear that a portrait cannot be treated (or filmed?) as a ritual
2. The cultural environment: a film project has to take into account the characteristics of the culture. The relationships with the people filmed constitute an essential element, which is never completely resolved. The common language is part of it
3. A film project develops with different practical and material conditions: the climate, the length of the shooting period, the distance from home, the type and dimension of the crew, the financial conditions, and the budget. And many other aspects, which are different from film to film.
Having worked in an Epirot village for more than 15 years and produced six films with the same village community, I would like to present my films in the context of the film strategy mentioned above. With the help of extracts of films and without avoiding self-criticism, I would like to explain why and how I chose a particular village and theme in relation to my research project, and how I developed and managed my relationships with the villagers.
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