Abstract

This article examines three distinct examples of expedition filmmaking in the Lumière archive: the Village Ashanti series, Alexandre Promio’s North African street scenes, and Repas d’Indiens, a single shot from Mexico City. Taking departure as a historical fact and a critical tool, this article explores the visual, epistemological, and archival instabilities that the expedition films produce.

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Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 25-48
Launched on MUSE
2013-08-18
Open Access
No
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