Svilicić Niksa
Institute for Anthropological Research, Zagreb, Croatia.
Coll Antropol. 2011 Dec;35(4):1273-80.
Vast majority of visual anthropologists of the 20th century were more focused on general phenomenology of visual anthropology, i.e. the content aspect of their works and their impact on scientific knowledge, leaving behind style of directing and practical principles & processes of creating anthropological film. So far, judging by the available literature, there are no strict guidelines for directorial procedures, nor the precise definition of determining of the methodical processes in production of an anthropological film. Consequently, the goal of this study is to determine the structure and forms of methodical processes as well as to define the advantages and disadvantages of each of them. By using adequate guidelines, the researcher, i.e. the author of the anthropological film, can optimize the production and post-production processes as soon as in preparation (preproduction) period of working on the film, by the technical choice of the approach to the production (proactive/reactive/subjective/objective...) and by defining the style of directing. In other words, it ultimately means more relevant scientific research result with less time and resources.
20世纪的绝大多数视觉人类学家更关注视觉人类学的一般现象学，即他们作品的内容方面及其对科学知识的影响，而忽略了人类学电影的导演风格以及创作的实践原则与过程。到目前为止，从现有文献来看，对于导演程序没有严格的指导方针，对于人类学电影制作中方法性过程的确定也没有精确的定义。因此，本研究的目的是确定方法性过程的结构和形式，并定义它们各自的优缺点。通过使用适当的指导方针，研究者，即人类学电影的作者，能够在电影制作的准备（前期制作）阶段，通过对制作方法（主动/被动/主观/客观……）的技术选择以及定义导演风格，尽早优化制作和后期制作过程。换句话说，这最终意味着用更少的时间和资源获得更相关的科研成果。
