Liu Xiangchen’s Ethnographic Film: Visual Anthropology and The Representation of Ethnic Groups in Xin Jiang, Chinese.

Abstract

This study takes Liu Xiangchen's ethnographic films as its textual basis, employing concepts from visual anthropology, film theory, and representation. Drawing upon two extended, immersive fieldwork (encompassing the production process of Liu Xiangchen's ethnographic films and the sharing and revisiting with cultural holders in the films), as well as in-depth interviews with prominent scholars, this research utilizes content analysis and documentary analysis methods to achieve the following four research objectives: 1. To study the development of Chinese ethnographic film, including its evolution, differences in different stages, and factors affecting its development( Through literature compilation, analysis, and in-depth interviews with prominent scholars,); 2. To study the experience of director Liu Xiangchen. Analyze the relationship between Liu Xiangchen and the team and all of his ethnographic films(Through interviews with Liu Xiangchen himself and his team,); 3. To study the representativeness of ethnographic films directed by Liu Xiangchen for ethnic culture(Through the analysis of ethnographic films, interviews with Liu Xiangchen, and revisits with cultural holders); 4. To analyze the three most representative ethnographic films directed by Liu Xiangchen. To study the most prominent shooting method of each these three films(Through film analysis and fieldwork in ethnographic filmmaking).

In the realm of Chinese ethnographic filmmaking, Liu Xiangchen stands as a significant figure that cannot be overlooked. He is not only a documentary filmmaker and visual anthropologist but also a former professor at Xinjiang Normal University, a specially appointed researcher at the Institute of Ethnic Arts, Minzu University of China, and a guest professor at the Institute of Anthropology, Renmin University of China. Through his unique "Vertical Xinjiang" filming project, Liu Xiangchen has delved deeply into and documented the cultural states of various ethnic minorities in Xinjiang, utilizing the methodology of visual anthropology to create a series of works that possess profound academic value and extensive social influence. Films such as " Beside the River," " The Feast Kurban Bayram," and "Zulu Festival" have been showcased multiple times at the International Congress of Anthropological and Ethnological Sciences (ICAES). These works not only showcase the unique cultures of Xinjiang's ethnic minorities but also, through an anthropological lens, reveal the intrinsic logic behind their formation and development.

Liu Xiangchen's ethnographic films are not merely records of these cultures, but profound expressions of them, providing audiences with a firsthand glimpse of the unique cultural landscapes forged by the ethnic minorities of Xinjiang within their specific natural and social environments. His ethnographic filmmaking surpasses the bounds of mere documentary; it is an endeavor to deeply explore and express cultures. Liu Xiangchen emphasizes that cultural respect is a prerequisite for attaining an "insider's narrative perspective," highlighting the necessity for visual anthropologists to thoroughly comprehend the cultural structures of their subjects, establish trustworthy field relationships over the long term, and gain legitimacy in narrating those cultures. In addition to ensuring the authenticity of data, reflections on anthropological fieldwork emphasize commitment to cultural holders, an anthropology of ethical engagement. Visual anthropologists require comprehensive support to remain in the field area for extended periods to observe, record, and study different cultural groups; therefore, establishing relationships with information providers is fundamental to producing anthropological knowledge. However, the reflexivity and ethical guidelines of anthropology cannot be enforced. This study is based on the author’s participation in ethnographic film production and observations in the Altay region of Xinjiang, China, as well as interviews with experts, and it explores a method for establishing field relationships. From the perspective of “self,” this study analyzes how to select cultural holders, how to interact with them during the recording process, and long-term relationships with them after fieldwork.

As an essential form of anthropological research, ethnographic films vividly showcase the cultural landscapes and social lives of various ethnic groups through visual recordings. Fieldwork, also known as fieldwork, is a fundamental method in disciplines such as anthropology and ethnology for collecting raw data. It emphasizes immersing researchers in the living environments of their subjects, utilizing techniques like participatory observation, deep interviews, and probability sampling to collect and analyze data, thereby revealing cultural nuances and social structures. Fieldwork not only requires a solid theoretical foundation but also keen observation skills and excellent communication abilities. It ensures the authenticity and reliability of film materials while uncovering the cultural connotations and social structures of local ethnic groups, thereby advancing the development of disciplines like ethnology and anthropology and promoting the transmission of cultural heritage. In this process, fieldwork methods are paramount as the cornerstone for obtaining firsthand information. Accessing the knowledge of cultural bearers regarding their cultures and social lives is a crucial path to investigate whether Liu Xiangchen's ethnographic films can represent national cultures. Rouch's creative concept emphasizes "shared anthropology," where filmmakers and subjects collaborate during the filmmaking process, sharing authorship. This notion breaks the traditional one-way perspective of filmmakers, making the film a significant contributor to the creative endeavor, thereby enriching and validating its content.

In short, this article examines the theoretical and methodological issues of Chinese visual anthropology from both anthropological and film theoretical perspectives, contributing to an understanding of the independent expressive capabilities of visual anthropology as a standalone discipline. Its findings are applicable to the phased issues that arise during the developmental stages of Chinese visual anthropology, such as discussions surrounding ethical issues under the camera lens. Additionally, research into the production methods of ethnographic films aids in the practical application of the fieldworEthics, Ethnic Groupk theory of visual anthropology, deepening the mutually beneficial relationship between ethnographic film practice and visual anthropology theory.

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