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Seeing with Feeling. Filmed Revolutions of Others, from an Empathic Towards an Involved Spectatorship of Documentaries

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Seeing with Feeling. Filmed Revolutions of Others, from an Empathic Towards an Involved Spectatorship of Documentaries Seeing with Feeling. Filmed Revolutions of Others, from an Empathic towards an Involved Spectatorship of Documentaries Inauguraldissertation zur Erlangung des Doktorgrades der Philosophie an der Ludwig-Maximilians-Universität München Vorgelegt von Mădălina Maria Roșca aus Constanza (Rumänien), 2016 Erstgutachter: Prof. Dr. Christopher Balme Zweitgutachter: PD Dr. Jörg von Brincken Datum der mündlichen Prüfung: 3.02.2016 MĂDĂLINA ROȘCA Seeing with Feeling Filmed Revolutions of Others, from an Empathic towards an Involved Spectatorship of Documentaries EDITURA PROPELLER Varoshka Edition Printed in Romania Cover Illustration: Stefan Dimitrov Cover Photo: Iranian Revolution in Shahyad Square (1978), photographer unknown. Photo Editor: Paul Arne Wagner Illustrations: Irina Meram Pienaru Layout: Reem Karssli ISBN 978-606-93823-2-5 © Mădălina Roșca www.seeingwithfeeling.com In memory of Viorica Bucur Contents INTRODUCTION……………….......4 Stating the Question…………………...……4 Revolutions and Resistance Documentaries……………..………..14 Filmic Empathy: An Interdisciplinary Approach……………….…………...39 Where to Look for Answers? Methodology and Outline of the Work………………….…………..…43 PART I: FILMIC EMPATHY………52 1 Theoretical Grounds for an Interdisciplinary Approach………53 2 From a Narrow Definition Towards an All-Encompassing Theory of Filmic Empathy…………………..91 2.1 Sympathy or Empathy? A Never-Ending Terminological Disagreement……………..…………91 2.2 Identification: Traditional Theoretical Explanation for Filmic Empathy…………………….……...101 2.3 Against Identification: Alternative Explanations for Filmic Empathy…………….……………...113 2.4 Mobilizing a Pro-Attitude in Character’s Construction…………………….…123 3 How Does Filmic Empathy Work? Means for Empathic Arousal…...130 3.1 The Many Empathies: Empathy as a Process……………………………..130 3.2 Empathy, with Whom?.........................138 3.2.1 The Watching of a Documentary, a Moral Dilemma……...……….138 3.2.2 The Other: Documentary Character……………….…....140 3.3 Modes of Empathic Arousal...............150 3.3.1 Motor Mimicry and Close- Ups……………………….….150 3.3.2 Simple Cognitive Modes of Empathic Arousal: Conditionig and Association………...…….158 3.3.3 Advanced Modes of Empathic Arousal: Language Mediated Association and Perspective- Taking………………….……162 3.4 The Trouble with Empathy: Limitations and Biases……………………...…...174 3.4.1 Similarity Bias in Cross-Cultural Reception………………….....176 3.4.2 When Empathy is too Much: Over Arousal and Fatigue………………………179 PART II: REVOLUTION – DOCUMENTARY – EMPATHY……………………186 4 Empathy – With Whom?..............187 4.1 Empathy for the Group, the Intricate Type of Empathy: Case Study: IN THE NAME OF THE PEOPLE………………….………...187 4.2 Universal, Yet Distinct: Constructing Rigoberta Menchú in WHEN THE MOUNTAINS TREMBLE……………….…………206 5 How to Trigger Empathy?..........227 5.1 Choosing of a Face: The Importance of Close-ups………………………..…227 5.2 Language Association: Joan Jara as the Messenger in COMPANIERO: VICTOR JARA OF CHILE………………….………….240 5.3 Imagining the Other: The Problematic of the Roles of Protagonist/ Antagonist in Revolutionary Documentaries of Netty Wild…………..……………...255 PART III: EMPATHY – SO WHAT?........................................288 6 Consequences of the Viewing Process…………………………..289 6.1 Empathy, as a Problematic Ending of the Film-Generated Empathic Process……………………………..289 6.2 From Empathising to Action………297 6.2.1 Empathic Distress as Prosocial Motivator……………………297 6.2.2 Tendency to Action: Torben Grodal’s PECMA Flow Theory of Film Viewing………………...307 7 Towards an Ending: From Filmic Empathy to Action………………313 7.1 Revolutionary Documentaries in the Age of Internet………………………….313 7.2 Action Facilitators: Captions and Direct Plead……………………………….316 7.3 Cross Platform Resitstance Storytelling Before the Age of Internet: SUN CITY and The Artists United Against Apartheid…………………………..323 7.3.1 Distribution Constraints and the Rise of Creative Media Platforms…………………….323 7.3.2 SUN CITY: Context and Origins..329 7.3.3 SUN CITY, as Intertwining of Distinct Media Platforms…….339 7.3.4 Resistance Music Video-Doc and the Tasks Performed by Multiple Platforms……………………347 7.3.5 Empathy-Generated Action: Unquantifiable Achievements..353 8 Revolutionary I-Doc…………….363 8.1 Engaging Spectators Beyond the Screen……………………………...363 8.2 Spectatorship Engagement within Media Convergence……………………….370 8.3 Transmedia Revolutionary Documentairies…………………….378 8.3.1 Outlining Transmedia. Case Study: ROAD TO REVOLUTION……..378 8.3.2 From ‘just’ Dynamic, to User Generated-Content I-Docs: #18DaysInEgipt……………..386 Research, Filmmaking, and the Teaching of Empathy: the Hakawati Project………………..396 An Annotated Filmography of Revolutionary Documentaires (1957 – 2015)……………………………414 Argentina ………………………………416 Burma………………………………….416 Chile…………………………………....416 Cuba………….………………………...418 Egypt………….……………………….419 El Salvador………….………………….420 Ghana………….………………………420 Grenada………….…………………….421 Guatemala………….…………………..421 Haiti………….………………………...422 Libya………….………………………..422 Mexico………….……………………....423 Moldova………….…………………….424 Namibia………….…………………….425 Nicaragua ………….…………………...425 Philippines………….…………………..426 Poland………….………………………426 Portugal………….……………………..426 Puerto Rico………….…………………427 Romania………….…………………….428 South Africa ………….………………...428 Spain………….………………………..429 Syria………….………………………....430 Tibet…………………………………....431 Tunisia………….……………………....431 Ukraine………………………………....431 USA………….………………………....432 Yemen…………………………………432 Table of Figures…………………….433 Bibliography………………………...438 Sehen mit Gefühl. Gefilmte Revolutionen Anderer, vom empathischen zum involvierten Zuschauer von Dokumentarfilmen (German Abstract)...................466 INTRODUCTION 4 Stating the Question – What would you like this film to do? – Well, I’d like the film to organize Americans to stop U.S. intervention in Latin America. – Pamela Yates, 19851 A film – to stop the U.S. intervention? It simply sounds like an overconfident statement to make. When the above-quoted interview was taken, the American filmmaker Pamela Yates had recently released her documentary about resistance in Guatemala, 2 WHEN THE MOUNTAINS TREMBLE (1983), and she had grandiose plans with it. Two years prior, at the beginning of the 1980s, the same Pamela Yates and her partners from the independent studio Skyline Pictures won a commission from CBS to do a television report in Guatemala, precisely at the time when the Latin American country was going through an unprecedented turmoil: Guatemalan 1 Yates, in an interview with Rosenthal (Autumn 1985), first published in Film Quarterly, Vol. 39:1. Here cited from Rosenthal (1988), 151. 2 WHEN THE MOUNTAINS TREMBLE. Directors: Pamela Yates, Newton Thomas Segel. USA, 1983. 5 principal guerrilla organizations unified their military command under Guatemalan Revolutionary Unity (Unidad Revolucionaria Nacional Guatemalteca or URNG). URNG tried to boycott the General Elections and declared that reforms were not possible in Guatemala without revolutionary changes and that they were about to undertake a “popular revolutionary war”.3 In order to prevent the guerrilla’s plan, the growing state armed forces started a counterinsurgency and, between 1982 and 1985, one hundred fifty thousand people lost their lives in Guatemala, up to 90 percent of them being unarmed civilians. 4 Out of all losses of lives and human rights abuses, less than five percent are today attributed to the guerrillas. The heavily armed governmental counterinsurgency is today almost entirely held responsible for the crimes in Guatemala, and this, revolutions historian Jeff Goodwin put it, “would not have been possible without external assistance – mainly but not exclusively from the United States”.5 3 Degenhardt (1983/1991), 121. 4 Goodwin (2001), 198. 5 Goodwin (2001), 203. In order to support his argument, Goodwin refers here to the comprehensive Report published by the Human Rights Office of the Catholic Church: between 1960s and 1996 (the signing of the peace accord ) the total number of human victims was two hundred thousands 6 Figure 0‎ .1 Pamela Yates recording sound for WHEN THE MOUNTAINS TREMBLE (1983). Scene included in GRANITO: HOW TO NAIL A DICTATOR (2011). It is right from the midmost of this unrest that Pamela Yates and the Skyline colleagues delivered, for American network CBS, two TV reports about the situation in Guatemala. The reports, containing balanced statements, were not how the filmmakers thought the Guatemalan story should be told in the United States, (ninety percent unarmed civilians); the guerrillas were held responsible for less than five percent all human rights abuses. 7 and “the Skyline group found it of a little value”.6 Pam Yates and her team returned to Guatemala to do the documentary film they thought was urgent toe done. The outcome of this last journey is WHEN THE MOUNTAINS TREMBLE, a film which gives a very intimate look at the culture of resistance. WHEN THE MOUNTAINS TREMBLE documents the communities that went on with their struggle, even under ceaseless bombardment coming from the Guatemalan, U.S.-backed military government. The film was shot with the American public in mind and. In order to make the historical background as clear as possible for the large American audience that the filmmakers hoped to reach, the film introduced two re-enacted sequences, about the U.S. economical interests and intervention in Guatemala and the American intervention in the 1954 coup.7 The docu-drama parts received a lot of criticism, but WHEN THE MOUNTAINS TREMBLE did 6 Barnouw (1993), 301–302.
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