Ethnofiction

Ethnofiction is a neologism which refers to an ethnographic docufiction, a blend of documentary and fictional film in the area of visual anthropology. It is a film type in which, by means of fictional narrative or creative imagination, often improvising, the portrayed characters (natives) play their own roles as members of an ethnic or social group.

Jean Rouch is considered to be the father of ethnofiction. An ethnologist, he discovered that a filmmaker interferes with the event he registers. His camera is never a candid camera. The behavior of the portrayed individuals, the natives, will be affected by its presence. Contrary to the principles of Marcel Griaule, his mentor, for Rouch a non-participating camera registering “pure” events in ethnographic research (like filming a ritual without interfering with it) is a pre-concept denied by practice.

An ethnographer cameraman will be accepted as a natural partner by the actors who play their roles. The cameraman will be one of them. He may even be possessed by the rhythm of dancers during a ritual celebration and induced in a state of cine-trance. Going further than his predecessors, Jean Rouch introduces the actor as a tool in research.

A new genre was born. Robert Flaherty, a main reference for Rouch, may be seen as the grandfather of this genre, although he was a pure documentary maker and not an ethnographer.

Being mainly used to refer to ethnographic films as an object of visual anthropology, the term ethnofiction is as well adequate to refer to experimental documentaries preceding and following Rouch’s oeuvre and to any fictional creation in human communication, arts or literature, having an ethnographical or social background.

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