The concept of ciné-trance existed long before issues such as the crisis of representation or the concept of occult document were discussed within the ethnographical discipline. From a critical poststructuralist point of view I carry out a review of the conditions and implications of ciné-trance, establishing parallels between the postmodern understanding of visual ethnography and the technique of ciné-trance, both regarding the epistemology of the body. Finally, through the analysis of the film Moi, un Noir, I examine the implications within the aesthetics and the content of the ciné-trance technique. My thesis is that the use of ciné-trance and the epistemology of the body allow the complex and unfinished identity construction processes to show through the film, rather than representing ethnographic objects and subjects as complete and consistent.