ABSTRACT
Filming another person is an inherently objectifying act, namely because a record of the encounter is created for unseen audiences. In this light, a filmmaker is effectively an archivist of the present, and they embed their concentrated perception, or lack thereof, onto all that they record. Following a series of course corrections and responses to the aforementioned critiques, visual anthropology as a field grew in popularity at the turn of this century, an interest that was met with the rise of institutional support for visual anthropology programs around the world, many of which offered practice-based instruction and degrees. “Anthropology otherwise” is a term that anthropologists Eduardo Restrepo and Arthuro Escobar use to carve out a space for a plurality of anthropologies, or “world anthropology,” which they distinguish from the “dominant” or “mainstream” anthropologies of Western, especially US-based, institutions that are elevated as the normative or “real” anthropology by which all other anthropologies are judged.
