This is a supplement to “Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves” by TOM BOELLSTORFF. Read the article here.
In the article “Paraethnographic Film: Virtual Enactment and Collaboration in Our Digital Selves,” Tom Boellstorff explores a film that chronicles the experiences and insights of disabled persons in the virtual world Second Life. The focus of the article is on the making of the film through collaboration between researchers, filmmaker, and community. By discussing techniques of what Boellstorff terms virtual enactment, the article explores how Our Digital Selves constitutes paraethnographic film created through a triple collaboration among community members, filmmakers, and ethnographers.
This supplement describes three classroom activities you might use with this article. You might first wish to watch the film (below). Note that though Our Digital Selves is concerned with disability, these activities are designed to be used with any topic.
As discussed in the article, virtual enactment refers to when filmmakers use a virtual world to “realize” part of a film’s narrative. It can take two forms, virtual reenactment of some previous event, and virtual staging of something said in a film (but that never happened in the past). Paraethnographic film refers to a genre of film created through a triple collaboration between community members, filmmakers, and ethnographers. Of particular interest is considering relationships between ethnographer and filmmaker beyond co-direction.
The virtual stage. Frame grab from Our Digital Selves, 2018.
Activity #1: Create virtual enactments
Note: This activity requires the use of a virtual world (which could be an online game) and some kind of recording and editing software. If your class is not designed with such resources in mind, skip to Activities #2 and #3. Activity #1 would work particularly well as a group project.
1. Come up with one idea for an event that you could virtually reenact, and one idea for a narrative or concept you could virtually restage. This could be based on an existing film, or something that you come up with in class.
2. Using a virtual world (which could be an online game), create and record the virtual reenactment and virtual staging. (Each should be one to three minutes long, unless the class is organized in such a way that this activity could be spread across several weeks.) You could use a virtual world like Roblox, Minecraft, Second Life, or VR Chat, or an online game like Fortnite, Grand Theft Auto, Halo 3, World of Warcraft.
3. Share your virtual reenactment and virtual staging with the class. What was most challenging in making the virtual reenactment and the virtual staging? What was easier than expected? How did the virtual world or online game you used shape the content and aesthetics? What did this allow you to convey to the viewer that might not have been possible otherwise?
Shyla’s blocks. Frame grab from Our Digital Selves, 2018.
Activity #2: Create ideas for virtual enactment
Look at one or more examples of ethnographic film. (If you are working in groups, each group could pick a different film.)
1. Write a description of two virtual reenactments you could design for this film. What would you want these virtual reenactments to convey to the viewer? What could the virtual reenactments accomplish that a physical-world reenactment could not?
2. Write a description of two virtual stagings you could design for this film. What would you want these virtual stagings to convey to the viewer? What kinds of narratives or concepts would you choose, and why?
Activity #3: Design a paraethnographic film
Come up with an idea for a film you might make working together with (1) one or more filmmakers and (2) a community or communities. Your role in the collaboration will be as ethnographer: for this activity, assume you will not co-direct or edit the film.
1. How might you work with the filmmaker? How might you share expertise with them, and how would you take advantage of their expertise?
2. How would you work with the community or communities that are the topic of the film? If you are in some way part of the community or communities, how might that shape the collaboration? If you do not have a prior relationship with the community?
Shyla and the child. Frame grab from Our Digital Selves, 2018.
UPDATED APRIL 26, 2021