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To browse Academia. To date consideration of negative emotions in the context of cinema has been largely limited to the issue of why spectators would be drawn to films that target psychological responses such as fear and disgust.
The aim here is to consider the phenomenon of negative emotion as a motivating factor in the context of, not spectatorship, but film production. The focus is on documentary filmmaking with a strong ethnographic dimension, the camera being used to record the circumstances and culture of an ethnic group to which the filmmaker does not belong.
The relevant failings warrant attention at a time when filmmakers from privileged cultures increasingly pursue performative-style documentary filmmaking, fueled by purportedly moral intentions, in a variety of contexts in the Global South. Pradeep Chakkarath. We — a documentary filmmaker and a cultural psychologist — share some of the thoughts that we have been concerned with since we started thinking together about some issues that are as much on the minds of the filmmaker as they are on the minds of the scientist.
On the one hand, this is our way of encouraging scientific research on the harmful aspects of life to open up to alternative perspectives, methods of exploration, data collection, and documentation that are often considered vague and blurry or even unscientific; this is due to established, almost scholastic demarcations that make it difficult to gain broader insights into complex and interrelated phenomena such as violence, aggression, repression, malice, fear, despair, etc.
