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.
| Original language | English |
|---|---|
| Pages (from-to) | 25-48 |
| Number of pages | 24 |
| Journal | Cinema Journal |
| Volume | 52 |
| Issue number | 4 |
| Publication status | Published - 2013 |