First-Person Filmmaking as Autoethnographic Exploration
First-Person Filmmaking as Autoethnographic Exploration

Author(s): Olga Lucovnicova
Subject(s): Fine Arts / Performing Arts, Visual Arts
Published by: Editura ARTES
Keywords: first person; documentary; art-based; autoethnography; Soviet Union; Russia;
Summary/Abstract: In the domain of artistic scholarship, the application of first-person filmmaking in autoethnographic studies provides a distinctive avenue for merging individual narratives with broader societal contexts. This approach offers a nuanced bridge between personal experiences and expansive historical milieus. Grounded in this methodology, my research examines the lasting impacts of the Soviet era on the post-Soviet landscape. Growing up in post-collapse Moldova, a former Soviet Republic, within a mixed-cultural family, I was immersed in a tapestry of conflicting narratives. While Soviet cinema often romanticized its era, personal letters from my Russian grandmother, who died by suicide in 1989, presented a divergent historical insight.In 2021, I decided to undertake a research expedition to my grandmother's homeland in the Urals to explore my unknown family history and unravel the secrecy surrounding her suicide. I carried a camera with me, intending to document my interactions with relatives and employ this tool to facilitate interviews and foster discussions. The camera played a dual role in my research. On one hand, it served as a communication conduit, functioning as an interviewing mechanism that allowed me to capture the stories and insights of my family members. On the other hand, holding the camera enabled me to distance myself from my familial role, assuming the position of a film director and researcher. This shift in perspective allowed me to transition from an active participant in family dynamics to an objective observer, offering a unique vantage point for my research. The resulting audiovisual material not only provided the basis for a compelling documentary film but also emerged as a crucial resource for my autoethnographic exploration of the Soviet legacy. This innovative approach challenges established cinematic norms and narratives, thereby expanding the horizons of documentary filmmaking within the realm of academic artistic exploration.

• Details
• Contents