5) The contradictions that the conjunction of documentary realism and trance pose concerning visual evidence, authenticity, and ethnographic subjectivity are the possession ritual is only complete by being witnessed, because the performance constitutes a proof of the existence of gods or spirits. As a spectacle, it challenges conventional forms of spectatorship and passive observation as spectators are often drawn into the trance. Films of possession do not necessarily retain the same structure of spectatorship. The difference between possession rituals and the filming of possession rituals is precisely the inscription of technology. The spectacle of ecstasy stands in for the experience of possession. a) For her, the trances were a hallucinatory realism in which reality and subjectivity were indistinguishable. The ethnographic context served to ground the trance in bodies and lived experience, which attracted her to an ideal cinematic spectacle but proved finally to exceed the limits of visual representation. b)
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