The Spaces Between Grassroots Documentary ... - Ezra Winton
The Spaces Between Grassroots Documentary ... - Ezra Winton
The Spaces Between Grassroots Documentary ... - Ezra Winton
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writes: “<strong>The</strong> strongest barrier to the recognition of human cultural activity is this<br />
immediate and regular conversion of experience into finished products.” (Williams, 1977,<br />
p.128) Much of the discourse that looks at documentary cinema is not concerned with the<br />
“experience” of distributing or exhibiting docs, but rather the interplay between the box<br />
office (or market), audience (or marketing), and the ‘finished product’ of the actual film.<br />
Williams shares a concern for cultural hegemony, posed against reductionism, and his<br />
cultural hypothesis of a “structure of feeling” is a theoretical maneuver that opens up<br />
practices and spaces (or experiences) such as those around documentary d/e, to<br />
complicate them as processes and not mere products or points in a historical timeline.<br />
By theorizing cultural practices as non-static, complex articulations of social<br />
experience, pathways to understanding alternative or grassroots spaces open, as well as<br />
ways of seeing these formations as socially significant sites of resistance and community.<br />
<strong>The</strong>se cultural “relations” that have been neglected from the discussions on documentary<br />
- once considered under Williams’s terms - become as important to the social project of<br />
democracy and culture as textual analysis has in other studies. <strong>Grassroots</strong> spaces and<br />
practices around the dissemination and exposition of documentary cinema are part of<br />
various structures of feelings that the discursive formations visited in this chapter have<br />
revealed as counterpublics, alternative media spaces, cultural interventions and more.<br />
Williams summarizes the importance of situating cultural practices as structures of<br />
feelings:<br />
…as a matter of cultural theory this is a way of defining forms and<br />
conventions in art and literature as inalienable elements of a social<br />
material process: not by derivation from other social forms and pre-forms,<br />
but as social formation of a specific kind which may in turn be seen as the<br />
articulation (often the only fully available articulation) of structures of<br />
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