Mapping and problematizing the enunciating subject within my documentary practice

TY - JOUR

T1 - Mapping and problematizing the enunciating subject within my documentary practice

AU - Colusso, Enrica

PY - 2018/6/11

Y1 - 2018/6/11

N2 - ABC Colombia, (86min, 2007) and Home Sweet Home, (90min. 2012) are the first two films of a trilogy exploring places and communities to which I am personally connected, questioning – from an insider/outsider perspective – the relationship between place and identity and notions of home and belonging. Through the analysis of both the process of making and the works’ final form, the article examines the nature of documentary filmmaking as a relational process, a form of engagement with the world. Addressing how each film articulates questions of authorship, enunciation, narration and communication the article also traces and problematizes the surfacing of the enunciating subject, how I inhabit my films as an author. In particular, it critically engages with the shift from a more traditional ‘participatory observation’ mode of address to the progressive negotiation of a plurality of modes and ‘voices’, and to a more explicitly articulated personal viewpoint. In the ever-changing postmodern and post-grand narrative scene the challenge for a filmmaker today, I argue, is to develop a subjective cinema capable of negotiating the coexistence of different registers of address in open dialogue with each other, each interpellating the spectator in their own distinctive way. © 2018, Taylor & Francis. The attached document (embargoed until 11/12/2019) is an author produced version of a paper published in Media Practice and Education, uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at the link below. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.

AB - ABC Colombia, (86min, 2007) and Home Sweet Home, (90min. 2012) are the first two films of a trilogy exploring places and communities to which I am personally connected, questioning – from an insider/outsider perspective – the relationship between place and identity and notions of home and belonging. Through the analysis of both the process of making and the works’ final form, the article examines the nature of documentary filmmaking as a relational process, a form of engagement with the world. Addressing how each film articulates questions of authorship, enunciation, narration and communication the article also traces and problematizes the surfacing of the enunciating subject, how I inhabit my films as an author. In particular, it critically engages with the shift from a more traditional ‘participatory observation’ mode of address to the progressive negotiation of a plurality of modes and ‘voices’, and to a more explicitly articulated personal viewpoint. In the ever-changing postmodern and post-grand narrative scene the challenge for a filmmaker today, I argue, is to develop a subjective cinema capable of negotiating the coexistence of different registers of address in open dialogue with each other, each interpellating the spectator in their own distinctive way. © 2018, Taylor & Francis. The attached document (embargoed until 11/12/2019) is an author produced version of a paper published in Media Practice and Education, uploaded in accordance with the publisher’s self- archiving policy. The final published version (version of record) is available online at the link below. Some minor differences between this version and the final published version may remain. We suggest you refer to the final published version should you wish to cite from it.

U2 - 10.1080/25741136.2018.1464738

DO - 10.1080/25741136.2018.1464738

M3 - Article

SN - 2574-1136

VL - 20

SP - 107

EP - 125

JO - Media Practice and Education

JF - Media Practice and Education

IS - 1

ER -