Problems and Methods
Chapter 7: Representing the texture of practices
Going to the cinema is an example of a social practice familiar to us, and which we perform with greater or lesser frequency. Let us use Garfinkel’s (1967) technique to defamiliarize this practice by asking ourselves: when does the practice ‘going to the cinema’ begin? When we enter the cinema, when we buy the ticket, when we arrange with our friend to go and see the film? And does it finish with watching the film? Or is talking about the film afterwards over a beer, or some time later with a group of friends, part of the practice of ‘going to the cinema’? The pleasure of going to the cinema continues and is renewed through discussion of films that we have seen. Going to the cinema is therefore connected with other sociability practices which form the texture of ‘being together’ and link with identity practices to show others that we are ‘abreast with the facts of the world’. Talking about the films that we have loved or hated, discussing the reasons and the aesthetic categories that account for our cinematic tastes, associating ourselves ideally or materially with others who express appreciation similar to our own, becoming collectors of a certain genre of film and calling ourselves ‘amateurs’ of a cinematic genre, are all activities that we recognize as being part of the same social practice. This social practice is founded on a set of activities, on the processing of an individual aesthetic experience, on its discursive sharing within social settings – and therefore on the development of aesthetic categories that enable its communication. It produces specific subjectivities (for instance ‘fans of police thrillers’) within a broader community of ‘film buffs’. We can continue our reasoning on the institutional and organizational level to stress how film clubs are organized, film libraries are formed and university courses on cinematography are institutionalized. From the individual aesthetic experience to the institutionalization of cinematographic representation as a socially legitimated form of production of knowledge about society, there extends a field of practices connected together and sustained by connections in action.
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