Public Sociological Film: Modes of Engagement with Publics

Abstract This paper defines and analyses the concept of public sociological film through the lens of public sociology, arguing that such films engage publics in narrating their stories and fostering a participatory filmmaking process. It begins by defining public sociological film and highlights three distinct modes of engagement with publics through the filmmaking process. These modes reflect the unique roles and objectives of researchers in different contexts. In the first mode, researchers act as outsiders who collaborate with publics to co-create documentaries that highlight their experiences and challenges. This approach is exemplified by You Can’t Move History (2015) by Winstan Whitter and Pollyanna Ruiz, which emphasizes reflexivity and observation in unfamiliar communities. The second mode involves researchers turning the lens inward to produce sociological films about their own communities. This is seen in Kirsten Johnson’s Cameraperson (2016) and tentatively in The Sociologist’s Wife (2024) by Catherine McDonald, Ros Edwards, and Val Gillies. The third mode shifts the focus toward directly empowering publics. In this mode, researchers provide participants with resources, training, and tools to create their own films, highlighting agency, authorship, and collaborative storytelling. It also involves access to archives or interactive platforms that enhance participation by enabling publics to shape and present their narratives on their own terms. By analyzing these diverse examples, this paper demonstrates how public sociological film can function as a participatory medium that activates sociological imagination and fosters inclusive public engagement.