Torang Asadi is pursuing a PhD in religion and modernity at Duke University, writing her dissertation on religion in the Iranian diaspora. Asadi's research is firmly based on the close relationships she develops with the communities she studies and documents. She began developing her skills as an ethnographic researcher and filmmaker as a master's student and continues to champion the medium as a legitimate and productive method of research. In this interview, which was conducted via e-mail and has been lightly edited, Asadi discusses objectivity, methodology, ethics, and legitimacy in ethnographic film.
Sarah Levine: How did you first become interested in studying religion? When and why did you begin using film as a medium to study religion?
Torang Asadi: I graduated with a double major in pure mathematics and interior design. I discovered religion only in the very last semester of college, when I took a course on new religions with Becky Moore. It was during a field project for that class that I realized I needed to pursue this field. I grew up in Iran, where my mother attended underground classes in New Age philosophy and meditation, so my own experience with religion was quite bizarre. I was too intrigued to be content with a PhD in mathematics or a career in design, so I strayed and have never looked back.
I became interested in film as a medium during that same semester. I spent most of my time watching audio and video footage from Jonestown, Heaven’s Gate, and the Manson Family. There was an aspect of the human experience that could not be conveyed through text as secondary source, and an authenticity to the footage as evidence. During my master’s program, I began to take courses in the film department to develop filming and editing skills, and I worked with anthropology professors to both train as an ethnographer and think through theories of film as ethnography.
Do you think it’s important for scholars of religion to take film seriously as a research method?
Absolutely. Evidently, when we talk about ethnographic films, we are talking about work on contemporary lived religion. But there is not much engagement with film, even in that subfield. Anthropology has made a lot of progress in that direction, but religious studies remains far behind in modern methods of research. Why wouldn’t you use film, especially in the study of religion?
The subject of our study is the unique experience that can only be explained through an understanding of the community in which it is conditioned. And the religious space is unique in that it is not readily accessible. So if we have the privilege of being present and conducting research in that unique space, why not engage a medium that can more honestly communicate that experience?
It’s such a great teaching tool, too. In religious studies, we have already moved past the written text as the primary subject of study to lived religion and materiality. So why can’t we do that with our research methodology as well?
Do you use your films in your classroom teaching? As a producer of ethnographic films, do you have any insight for teachers who might want to use your film or others like it in the classroom?
To my surprise, I’ve learned that students don’t like to watch too many films in class. I’ve also learned that they don’t like the traditional documentary format and get bored very quickly. The moment I realized I wanted to do away with commentary in my own work was also the one in which I realized that my students were unusually engaged with Peter Adair’s Holy Ghost People, a 1967 film about snake handlers. When the professor I was TAing for assigned the film, I thought the students would hate it. The footage is very rough, in black and white, and the audio quality isn’t great. But they loved it! The experience of that community felt authentic to them. It was very obvious from the final exams that the film was memorable for every one of the students. And they were all very aware of themes like leadership, personal engagement with the divine, and physical reaction to salvation. They had also picked up on one the most important moments: the fall of the prophet. So we were also able to have a very lively discussion about it. The traditional documentary acts as a textbook for them, but the ethnographic film feels more like a field trip.
I’ve also experimented with having students watch films at home, but engage in a discussion about it in class while the footage plays on mute. It’s been very useful to have the visual present during conversation.
In short, I think the best film for the classroom is one that shows the student a specific human phenomenon, and even maybe hints at certain themes and conveys an analysis; not the one that tells them what they need to know about something. The former is the kind of film that provides an opportunity for an essay question on an exam; the latter gives you a fill-in-the-blank at best.
