ABSTRACT
This chapter offers a brief overview of how the technology of sound recording is connected to the emergence of new cinematographic (sub) genres within the discipline of anthropology. The history of ethnographic film is interwoven with that of the discipline of anthropology on the one hand and technological development on the other. It is not an overstatement to argue that in ethnographic films, sound is generally believed to be secondary to moving images. In the case of Guardians of the Night, the process of blending on location recordings with ambient music into one soundtrack composition emerged spontaneously for Zevil Strix who already experimented with audi-visual illusion forms of composition in his own artistic practice.
