Abstract
The text attempts to understand the development of collaborative audiovisual knowledge practices in anthropology as situated and diffractive knowledge (Haraway, Barad, Smith). By considering specific stages in the history of collaborative and participatory projects, the article argues that collaborative filmmaking is not only a decentering of one-sided authorship and one-sided modes of representation, but also a media-specific form of knowledge that is bound to and embedded in social contexts. Through the example of colonial film, the article describes stations of demarcation and attempts to decolonize film. Current film experiments with marginalized groups have their origins in "shared anthropologies" (Rouch) and have further developed this approach through more consistent forms of Fourth Cinema and power sharing with Indigenous communities. Film is thus also able to depict amateur knowledge practices within collaborative research projects.