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The disruptive power of montage has often been regarded as a threat
to scholarly representations of the social world. This volume
asserts the opposite: that the destabilization of commonsense
perception is the very precondition for transcending social and
cultural categories. The contributors-anthropologists, filmmakers,
photographers, and curators-explore the use of montage as a
heuristic tool for comparative analysis in anthropological writing,
film, and exhibition making. Exploring phenomena such as human
perception, memory, visuality, ritual, time, and globalization,
they apply montage to restructure our basic understanding of social
reality. Furthermore, as George E. Marcus suggests in the
afterword, the power of montage that this volume exposes lies in
its ability to open the very "combustion chamber" of social theory
by juxtaposing one's claims to knowledge with the path undertaken
to arrive at those claims.
Over several years, Christian Suhr followed Muslim patients being
treated for jinn possession and psychosis in a Danish mosque and in
a psychiatric hospital. Through rich filmic and textual case
studies, he shows how the bodies and souls of Muslim patients
become a battlefield between the moral demands of Islam and the
psychiatric institutions of European nation-states. The book
reveals how both psychiatric and Islamic healing work to produce
relief from pain, and also entail an ethical transformation of the
patient and the cultivation of religious and secular values through
the experience of pain. Creatively exploring the analytic
possibilities provided by the use of a camera, both text and film
show how disruptive ritual techniques are used in healing to
destabilise individual perceptions and experiences of agency, which
allows patients to submit to the invisible powers of psychotropic
medicine or God. -- .
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