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Navajo Indians --- Ethnographic films. --- Social life and customs. --- Bowman, Arlene --- Criticism and interpretation. --- Navajo talking picture (Motion picture) --- Anthropological films --- Ethnographic videos --- Ethnological films --- Ethnographic films --- Documentary films
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Timothy Asch (1932-1994) was probably the greatest ethnographic filmmaker of the latter twentieth century, and one of the best-known anthropologists of his generation. He worked with Margaret Mead, John Marshall and Napoleon Chagnon, lived and filmed on every continent except Antarctica, and won numerous international prizes. His work, which includes 'The Ax Fight' and more than 50 other films of the Yanomamö Indians of Venezuela, comprises the most widely used resource in the teaching of anthropology today. Timothy Asch and Ethnographic Film combines a biographical overview of Asch's life with theoretical and critical perspectives, giving a definitive guide to his background, aims and ideas, methodology and major projects. Beautifully illustrated with 60 photos, and featuring articles from many of Asch's friends, colleagues and collaborators as well as an important interview with Asch himself, it is an ideal introduction to his work and to a range of key issues in ethnographic film.
Motion picture producers and directors --- Ethnographic films --- Motion pictures in ethnology. --- Moving-pictures in ethnology --- Visual anthropology --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Production and direction. --- Asch, Timothy.
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During his lifetime, Robert Gardner (1925–2014) was often pigeonholed as an ethnographic filmmaker, then criticized for failing to conform to the genre's conventions—conventions he radically challenged. With the release of his groundbreaking film Dead Birds in 1963, Gardner established himself as one of the world's most extraordinary independent filmmakers, working in a unique border area between ethnography, the essay film, and poetic/experimental cinema. Richly illustrated, Looking with Robert Gardner assesses the range and magnitude of Gardner's achievements not only as a filmmaker but also as a still photographer, writer, educator, and champion of independent cinema. The contributors give critical attention to Gardner's most ambitious films, such as Dead Birds (1963, New Guinea), Rivers of Sand (1975, Ethiopia), and Forest of Bliss (1986, India), as well as lesser-known films that equally exemplify his mode of seeking anthropological understanding through artistic means. They also attend to his films about artists, including his self-depiction in Still Journey OnM (2011); to his roots in experimental film and his employment of experimental procedures; and to his support of independent filmmakers through the Harvard Film Study Center and the television series Screening Room, which provided an opportunity for numerous important film and video artists to present and discuss their work.
Motion pictures in ethnology. --- Ethnographic films. --- Indigenous peoples in motion pictures. --- Motion pictures --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Moving-pictures in ethnology --- Visual anthropology --- Gardner, Robert, --- Gardner, Bob, --- Criticism and interpretation.
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Das Verhältnis von Repräsentation und Alterität und das Problem des Raums in kolonialen und postkolonialen Zusammenhängen stehen im Mittelpunkt dieser Studie. An der Schnittstelle von Ethnologie, Philosophie und Medienwissenschaft bestimmt Carena Brenner die Funktion der Ethnologie im Kontext dieser Politik des Räumlichen. Die Frage, wie raumübergreifende Bedeutungsproduktionen unter Bedingungen der Globalisierung ethnographisch erfasst und dargestellt werden können, arbeitet sie anhand einzelner Filme heraus. Das Buch überwindet damit einige der Mängel der bisherigen ethnologischen Auseinandersetzung mit Raum. Besprochen in: www.via-bund.de, 4 (2014)
Ethnographic films. --- Motion pictures and globalization. --- Globalization and motion pictures --- Globalization --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Afrika; Ethnologie; Film; Globalisierung; Raum; Postkolonialismus; Africa; Ethnology; Globalization; Space; Postcolonialism --- Ethnology. --- Film. --- Globalization. --- Postcolonialism. --- Space.
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American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism's focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.
Film --- United States --- Documentary films --- Ethnographic films --- History and criticism. --- PERFORMING ARTS / Film & Video / General. --- Anthropological films --- Ethnographic videos --- Ethnological films --- accomplished filmmakers. --- boston. --- cambridge. --- carpenter center. --- cosmopolitan approach. --- documentary movies. --- ed pincus. --- ethnography. --- film and television. --- film study center. --- groundbreaking films. --- history of film. --- history. --- influential filmmakers. --- john marshall. --- michel negroponte. --- miriam weinstein. --- mit film section. --- nina davenport. --- performing arts. --- personal documentary. --- professional relationships. --- robb moss. --- robert gardner. --- timothy asch. --- visual and environmental studies department at harvard. --- United States of America
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Although overlooked by most narratives of American cinema history, films made for purposes outside of theatrical entertainment dominated twentieth-century motion picture production. This volume adds to the growing study of nontheatrical films by focusing on the way filmmakers developed and audiences encountered ideas about race, identity, politics, and community outside the borders of theatrical cinema. The contributors to Screening Race in American Nontheatrical Film examine the place and role of race in educational films, home movies, industry and government films, anthropological films, and church films, as well as other forms of nontheatrical filmmaking.
Race in motion pictures. --- Race awareness in motion pictures. --- African Americans in motion pictures. --- Minorities in motion pictures. --- Motion pictures in education --- Ethnographic films --- Amateur films --- Motion pictures --- Amateur moving-pictures --- Home movies --- Personal films --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Moving-pictures in education --- Audio-visual education --- Minorities in films --- Afro-Americans in motion pictures --- Negroes in moving-pictures --- Race films --- Performing Arts --- Film --- History & Criticism
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Ensemble de textes où Jean Rouch raconte sa trajectoire, ses années de formation, son métier d'ingénieur, son goût pour le cinéma, ses voyages en pays dogon. Il synthétise ses expériences d'anthropologue aux côtés de Germaine Dieterlen sur les traces de Marcel Griaule, retrace la réalisation de ses films, revenant sur des questions de méthode, sur le "cinéma-vérité".
Motion picture producers and directors --- Ethnographic films --- Documentary films --- Producteurs et réalisateurs de cinéma --- Films ethnographiques --- Documentaires --- Rouch, Jean --- Rouch, Jean (1917-2004) --- Motion pictures in ethnology --- Ethnologists --- 3829 --- History and criticism --- Rouch, Jean, --- Criticism and interpretation --- Cinema and Anthropology - French Director - 20th Century. --- Producteurs et réalisateurs de cinéma --- Moving-pictures in ethnology --- Visual anthropology --- Ethnology --- Anthropological films --- Ethnographic videos --- Ethnological films --- Criticism and interpretation. --- Ethnographers --- Anthropologists --- Rouch, Jean, 1917-2004 --- Ethnologists - France --- Ethnographic films - History and criticism - 20th century --- Rouch, Jean, - 1917-2004 - Criticism and interpretation --- Rouch, Jean, - 1917-2004 --- Rouch, jean (1917-2004)
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This is the first book that comprehensively examines Indigenous filmmaking in North America, as it analyzes in detail a variety of representative films by Canadian and US-American Indigenous filmmakers: two films that contextualize the oral tradition, three short films, and four dramatic films. The book explores how members of colonized groups use the medium of film as a means for cultural and political expression and thus enter the dominant colonial film discourse and create an answering discourse. The theoretical framework is developed as an interdisciplinary approach, combining postcolonialism, Indigenous studies, and film studies. As Indigenous people are gradually taking control over the imagemaking process in the area of film and video, they cease being studied and described objects and become subjects who create self-controlled images of Indigenous cultures. The book explores the translatability of Indigenous oral tradition into film, touching upon the changes the cultural knowledge is subject to in this process, including statements of Indigenous filmmakers on this issue. It also asks whether or not there is a definite Indigenous film practice and whether filmmakers tend to dissociate their work from dominant classical filmmaking, adapt to it, or create new film forms and styles through converging classical film conventions and their conscious violation. This approach presupposes that Indigenous filmmakers are constantly in some state of reaction to Western ethnographic filmmaking and to classical narrative filmmaking and its epitome, the Hollywood narrative cinema. The films analyzed are The Road Allowance People by Maria Campbell, Itam Hakim, Hopiit by Victor Masayesva, Talker by Lloyd Martell, Tenacity and Smoke Signals by Chris Eyre, Overweight With Crooked Teeth and Honey Moccasin by Shelley Niro, Big Bear by Gil Cardinal, and Atanarjuat: The Fast Runner by Zacharias Kunuk.
Indian motion pictures --- Ethnographic films --- Indians in the motion picture industry --- Indians in motion pictures. --- Indian mass media --- Indigenous peoples and mass media --- Mass media and indigenous peoples --- Mass media --- Indians of North America --- Mass media, Indian --- Indians of Central America in motion pictures --- Indians of Mexico in motion pictures --- Indians of North America in motion pictures --- Indians of South America in motion pictures --- Indians of the West Indies in motion pictures --- Motion pictures --- Motion picture industry --- Anthropological films --- Ethnographic videos --- Ethnological films --- Documentary films --- Motion pictures, Indian --- Mass media and Indigenous peoples
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