ABSTRACT IN CROATIAN: Film je bio znacajan instrument kolonijalne proizvodnje etnografskog Drugog. Predodzbe stvaraju koncepte te otjelovljuju kulturne koncepte. One provode simbolicke oblike moci. Etnografski film nije samo reprezentacija stvarnosti, vec i konstrukcija i interpretacija neke druge stvarnosti na temelju konvencija redateljeve kulture. Tako smo suoceni s pitanjem je li kulturno znanje moguce predstaviti "drugacije"; drugim rijecima, je li moguce propitati povijesno, kulturno, politicki i ideoloski uvjetovane hijerarhije kolonijalne kulture? Otjelovijuju li predodzbe kulturno znanje, kako to tvrde Sol Worth i John Adair (1972, 1981)? Cije znanje predstavljaju? Kakvu vrijednost imaju predodzbe u zapadnjackoj kulturi u usporedhi s nezapadnim svijetom? "Viktimiziraju" li slike nuzno Drugoga (Ruby 1991; Kuchnast 1992; Hall 1993)? U sklopu teorije etnografskog filma kontinuirano se raspravlja o pitanjima objektivnosti, subjektivnosti, realizma te o etickim pitanjima reprezentacije. Posljednjili godina autori etnografskih filmova traze rjesenja, a novi pristupi reziranju dokumentaraca daju neke odgovore na ta pitanja. // ABSTRACT IN ENGLISH: Cinema has been an important instrument in the colonialist production of the ethnographic Other. Images create concepts as well as embody cultural concepts. They enact symbolic forms of power. Ethnographic film is not only a representation of reality but also a construction and an interpretation of another reality based on cultural conventions from the filmmaker's culture. Therefore we are challenged to discuss whether it is possible to present cultural knowledge `differently'; that is, to question historically, culturally, politically and ideologically bound hierarchies implicit in colonial culture? Do images embody cultural knowledge as Sol Worth and John Adair (1972, 1981) claimed? Whose knowledge do they present? What values images have in Western cultures as opposed to non-Western worlds? Do images necessarily `victimize' the Other (Ruby 1991; Kuehnast 1992; Hall 1993)? Ethnographic film theory has been an ongoing discussion of issues of objectivity, subjectivity, realism, and ethical questions of representation. In recent years ethnographic filmmakers have looked for solutions, and new approaches to documentary filmmaking have provided some answers to these questions. Reprinted by permission of the publisher