Can a phenomenology of affect in experimental documentary practice translate women's embodied knowledge of long-term illness?

实验纪录片实践中的情感现象学能否转化女性对长期疾病的具体知识？

• 批准号: 2581416
• 金额: --
• 依托单位: University of Edinburgh
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2581416
• 关键词: phenomenology; affect; experimental; documentary; practice

Illness disrupts. For those with long-term illnesses, this disruption necessitates a recalibration of how the mind and body engage with everyday life. However, this embodied knowledge of illness has been neglected in Western medicine's historic privileging of ways of knowing that centre upon the 'clinical gaze' (Foucault, 1973) and technologies of visualisation (Joyce, 2010), thereby negating the ill body as a centre of knowledge. This has impacted women in particular, whose symptoms are being dismissed due to male-centred medical research and bias (Criado-Perez, 2019). There is a need to address gender-based health inequalities and acknowledge embodied contributions to understanding illness. Centring upon the ill body, as thinking and knowing, this research project seeks to translate women's embodied knowledge of illness, generating a shift in representation towards lived experience. Jean Luc Nancy (2008) called for radical translations of the body, "not about the body, but the body itself" (p.9). Similarly, this practice-based research methodology seeks to translate embodied knowledge through experimental approaches to documentary film, synthesising interdisciplinary knowledge from creative practice, health humanities and the social sciences. Expanding upon Susan Kozel's (2013) methodological research, 'a phenomenology of affect' is adapted here to reveal realities of illness that are often subjective, hidden and felt within the body. Moving through the senses towards affect as a translator of embodied knowledge, a focus on rhythm is used within this methodology. The rhythmic focus identifies and highlights affective 'moments' that emerge in sensory ethnographic collaborations with Scottish women experiencing long-term illness. Specifically, Pink's (2009) method of sensory ethnographic 'tasks' is developed, using processes of making to explore sensory understandings of illness. Refining this reading of the senses, a phenomenology of affect and emphasis on rhythm is used to discern task outcomes and develop embodied metaphors, forming the basis of the documentary enquiry. Marks' (2018) method of affective analysis is then carried out with collaborators to determine the accuracy of the translation. This process will result in the production of five interlinked, short documentaries. To accompany these filmic research artefacts, I will produce a written thesis and series of film essays contextualising the documentary outcomes. As the primary collaborators and audience, women in Scotland aged 18-55 living with long-term illness, both deliver and experience the public impact of this research. Often excluded from clinical research due to 'pregnancy risk', women in this age-group can face health inequalities when their illness experiences are unrecognised by the 'clinical gaze'. Here, collaborative research and documentary film address issues of representation by revealing translations of embodied knowledge that may otherwise be difficult to articulate. This research engages with Scottish healthcare organisations, using their social media networks to invite women to collaborate in sensory ethnographic interviews, creative tasks, concept development and editing processes. Seeking to address power imbalances within the documentary form, affective analysis of the films also enables collaborators the opportunity to determine whether the translation is representative of their embodied knowledge. Using the social and research networks of project contributors, those experiencing long-term illness, researchers and Scottish healthcare organisations will be invited to public screenings of the films, alongside collaborators, their family, friends and carers.

疾病扰乱。对于那些患有长期疾病的人来说，这种干扰需要重新调整身心如何参与日常生活。然而，这种具体的疾病知识在西方医学的历史性认识方式中被忽视了，这种认识方式以“临床凝视”（福柯，1973）和可视化技术（乔伊斯，2010）为中心，从而否定了生病的身体作为知识的中心。这尤其影响了女性，由于以男性为中心的医学研究和偏见，她们的症状被忽视了（Criado-Perez，2019）。有必要解决基于性别的健康不平等问题，并承认身体对了解疾病的贡献。这个研究项目以生病的身体为中心，作为思考和认识，试图翻译妇女对疾病的具体知识，产生一种向生活经验的代表性转变。让·吕克·南希（Jean Luc Nancy，2008）呼吁对身体进行激进的翻译，“不是关于身体，而是身体本身”（p.9）。同样，这种以实践为基础的研究方法旨在通过实验方法将体现的知识转化为纪录片，综合来自创造性实践，健康人文和社会科学的跨学科知识。在Susan Kozel（2013）的方法论研究的基础上，“情感现象学”在这里被改编为揭示疾病的现实，这些疾病往往是主观的，隐藏的，在身体内感受到的。通过感官走向影响作为一个翻译的体现知识，重点放在节奏是在这种方法中使用。节奏的重点确定和突出情感的“时刻”，出现在与苏格兰妇女经历长期疾病的感官民族志合作。具体而言，Pink（2009）的感官民族志“任务”方法被开发出来，使用制作过程来探索对疾病的感官理解。提炼这种对感官的阅读，一种对节奏的影响和强调的现象学被用来辨别任务的结果，并发展具体的隐喻，形成了文献调查的基础。然后与合作者进行Marks（2018）的情感分析方法，以确定翻译的准确性。这一进程将产生五部相互关联的短纪录片。伴随着这些电影研究文物，我将产生一个书面论文和一系列的电影散文语境的纪录片成果。作为主要的合作者和受众，苏格兰18-55岁的长期患病妇女既提供又体验了这项研究的公众影响。由于“怀孕风险”，这个年龄组的妇女经常被排除在临床研究之外，当她们的疾病经历未被“临床凝视”识别时，她们可能面临健康不平等。在这里，合作研究和纪录片通过揭示可能难以表达的具体知识的翻译来解决表征问题。这项研究与苏格兰医疗保健组织合作，利用其社交媒体网络邀请妇女在感官民族志采访，创造性任务，概念开发和编辑过程中进行合作。为了解决纪录片形式中的权力失衡问题，对电影的情感分析也使合作者有机会确定翻译是否代表了他们的具体知识。利用项目贡献者的社会和研究网络，那些经历长期疾病的人，研究人员和苏格兰医疗保健组织将被邀请与合作者，他们的家人，朋友和照顾者一起公开放映电影。