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In a purely technical sense, the quality of the Disappearing World films was a match for most of the films considered in previous parts of this book. This can largely be attributed to the fact that many of those who worked on the strand were members of television crews who had honed their skills over many years. But this also had a major downside: television crews at that time were required to belong to a trade union and as a result, whatever their personal commitment and interest might have been, they were bound by a series of agreements between their unions and Granada Television management. These dealt with such matters as crewing numbers, overtime rates and meal breaks and often greatly constrained the way in which the crews could work on location. These production conditions therefore had a direct impact on the collective authorial praxis of the Disappearing World strand. For most of the period that the strand was in production, the management and unions at Granada Television worked to a general agreement whereby a documentary crew would normally consist of a team of at least six people: the director-producer, a researcher, a cameraperson and assistant, and a sound recordist and assistant. If anything other than natural lighting was involved, an electrician and an assistant also had to be added to the crew. Similar norms were applied across all the commercial television channels and to BBC documentary productions also, though the precise conditions of their union agreements were somewhat different. But whatever the production company, the idea that a director could also shoot their own material, as recommended by Jean Rouch, or as much later would become a common occurrence in British television documentary too, was completely out of the question. For the Disappearing World producers, these general agreements about crewing levels represented a major problem: not only would a large crew increase the budget to unsustainable levels on a foreign shoot, but the presence of so many outsiders in many of the small traditional communities in which they aimed to work could be unsettling. For a period, in the early

Beyond the ‘disappearing world’ – and back again