Sociological Film: Modes of Engagement with Publics

This paper examines the concept of sociological film through the lens of public sociology, arguing that such films engage the public by allowing individuals to narrate their own stories and fostering a participatory filmmaking process. While existing literature on community-engaged research emphasizes the role of researchers in solidarity and true partnership with the publics, a significant gap remains in understanding how the filmmaking process, as a method, can actively foster public engagement, particularly concerning where the researcher’s camera should stand and what to capture in representing the experiences of this collaboration. The paper begins by defining sociological film and highlights four distinct modes of engagement with the publics through the filmmaking process. These modes are explored through: (1) researchers, as outsiders, joining the public to create documentaries that highlight their experiences and challenges, exemplified by You Can’t Move History by Dr Pollyanna Ruiz; (2) researchers producing sociological films about their own communities, as seen in The Sociologist’s Wife by Catherine McDonald, Ros Edwards, and Val Gillies; (3) researchers supporting the public by providing resources and training to enable them to create their own films, illustrated by the Pacific Community Filmmaking Consortium; and (4) offering access to archives or interactive platforms that allow the public to represent their narratives on their own terms, demonstrated by Gaza/Sderot: Life in Spite of Everything. By analyzing these diverse examples, this paper highlights the multifaceted impact of sociological film as a powerful medium to promote sociological imagination.