John Marshall’s filmic practice transpired in difference from the former versions of documentary film as that of spectacle or science in a way that utilized the two, yet …show more content…
Self criticized as romantic (Gonzales) and far from ethnographic, Marshall then continued his filmic practice heeding in an approach of self-reflexive awareness. His 1980 film N!ai, the Story of a !Kung Woman, is evidence of the contemporarily politicized John Marshall, using aspects of ethnographic foundations but attempting an ulterior filmic style of observation in order to give as much truth as possible. Thus, Marshall’s ability to portray the truth of what the film has given, rather than seeing the film as truth (Fisher 3 October), aided in this crafting of a more authentic account of