FILMI ETNOGRAFIK: NJË PAMJE E SHAFQJES DHE E ZHVILLIMIT TË TIJ
ETHNOGRAPHIC FILM: AN ASPECT OF ITS APPEARANCE AND DEVELOPMENT

Summary/Abstract: Doubt and critics of capacity as visual represent of the ethnographic film begins to be clearly emphasised during the sixties and seventies. This kind of film, as a medium, as means of registration, illustration and visual and audio preservation of various cultural phenomena, has developed a reciprocal relation with the discipline of anthropology. Development of the ethnographic film benefits owing to development of various cinematographic forms and techniques as much as it benefits from discursive developments of the science of anthropology. A documentary film might have aesthetic values in objectivising of corporeality of things and phenomena that it is recording (filming), but if it is not a result of an ethnographic, ethnologic and anthropologic investigation (research), then film again becomes a victim of artistic and aesthetic objectives and it cannot rise itself in anthropologic level. Film seems to have given a challenge for critics and philosophers of art and especially for those who vegetate over semiotic discourses and tend to smelt the force and intention of display, image as a force that blow up (burst) from the discursive plan and simplify and adjust (regulate) in their hermeneutic taxonomy. The main challenge the mo-ving image has been for hermeneutics was right this intention of this appearance (display) which wants to burst from the plan of discursive surface, where dominate: system, net, ideology and the language itself. Having in mind that Albanian ethnologic studies have appeared (are nascent) and have been developed in hard and specific conditions, in social sense as well as in theoretic and cultural one, the ethnographic film has become part of this context.

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