From Representation to Evocation: Tracing a Progression in Jean Rouch's Les magiciens de Wanzerbé, Les maîtres fous, and Jaguar

@article{Nannicelli2006FromRT,
  title={From Representation to Evocation: Tracing a Progression in Jean Rouch's Les magiciens de Wanzerb{\'e}, Les ma{\^i}tres fous, and Jaguar},
  author={Ted Nannicelli},
  journal={Visual Anthropology},
  year={2006},
  volume={19},
  pages={123 - 143}
}
In this article, I describe and analyze the ways in which the Other is represented in three of Jean Rouch's earlier films. After briefly outlining Rouch's relationship to the cinema of Robert Flaherty, I look closely at Les magiciens de Wanzerbé [1948], Les maîtres fous [1954], and Jaguar [1954–1967], and argue that these films exhibit a progression from a conventional, colonialist mode of documentary practice to a more open, polyvocal, collaborative form. I conclude by suggesting that this… 

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