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About RAI Film
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Watch on demand
Ethnographic Film Catalogue
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RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
RAI FILM
Login
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Twitter
About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
Menu
About
About RAI Film
Meet the team
Prices
Film Distribution
Watch on demand
Ethnographic Film Catalogue
Teaching resources
RAI Film Festival
About RAI Film Festival
Film Festival 2025
Film Festival 2025 Group passes
Film Festival prizes and awards
Film Conference 2025
Archive of past editions
Login
Facebook
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Films
found one film
shorter than 40 minutes
x
Region
“British-Irish Isles”
x
Keywords
“Reflexivity”
x
Series
“The Well-Being Quest in Botswana”
x
Country of production
“United Kingdom”
x
Year of production
“2011”
x
short films
1
x
Region
British-Irish Isles
1
x
Country
United Kingdom
1
Keywords
Reflexivity
1
x
Directors
Werbner, Richard
1
Series
The Well-Being Quest in Botswana
1
x
Country of production
United Kingdom
1
x
Year of production
2011
1
x
Film
Counterpoint One
2011
37
‘
Directed by
Richard Werbner
.
The first in the Forum Follies series, ‘Counterpoint One’ pitches the ethnographic filmmaker Richard Werbner into debate with audiences for his film ‘Holy Hustlers’ (2009), from a rough to a final cut. Along with the interest in ethnographic knowledge, there is the fun and cross-play of argument about the making and eventual reception of a film. First comes feedback in the University of Manchester’s Granada Centre for Visual Anthropology. Rough and final clips show how Werbner and editor Andy Lawrence respond. Next are very different audiences for ‘Holy Hustlers’ in Kyoto, Manchester and London, and finally the GCVA again, this time for a rough cut of ‘Counterpoint One’ itself. Should the ethnographic filmmaker rely on spectator sympathy or empathy, and not make a ‘disturbing’ film? When is less voice-over, or less narration, actually more, for the film? Does making a film about a film about a film – a hall of mirrors – create a contradictory trap in which any ‘kernel of truth’ is elusive?
British-Irish Isles
Reflexivity