A comprehensive history of ethnographic film since cinema began in 1895. It shows how the genre evolved out of reportage, exotic melodrama and travelogues prior to the Second World War into a more academic form of documentary in the post-war period.
A comprehensive history of ethnographic film since cinema began in 1895. It shows how the genre evolved out of reportage, exotic melodrama and travelogues prior to the Second World War into a more academic form of documentary in the post-war period.
Paul Henley is Professorial Research Fellow at the Granada Centre for Visual Anthropology at the University of Manchester and an ethnographic film-maker. He was previously the founding director of the Granada Centre, 1987-2014
Inhaltsangabe
Introduction: Authorship, Praxis, Observation, Ethnography Part I: Histories: Ethnographic film in the twentieth century Introduction 1 The long prehistory of ethnographic film 2 Expeditions, melodrama and the birth of ethnofiction 3 The invisible Author: films of re-enactment in the postwar period 4 Records, not movies: the early films of John Marshall and Timothy Asch 5 Reflexivity and participation: the films of David and Judith MacDougall in Africa and Australia 6 Entangled voices: the complexities of collaborative authorship 7 The subject as Author: indigenous media and the Video nas Aldeias project Part II: Authors: Three key figures Introduction 8 Jean Rouch: sharing anthropology 9 Robert Gardner: beyond the burden of the real 10 Colin Young: the principles of Observational Cinema Part III: Television as meta-author: Ethnographic film in Britain Introduction 11 Ways of doing ethnographic film on British television 12 Beyond the 'disappearing world' - and back again 13 The decline of ethnographic film on British television Part IV: Beyond observation: Ethnographic film in the twenty-first century Introduction 14 The evolution of Observational Cinema: recent films of David and Judith MacDougall 15 Negative capability and the flux of life: films of the Sensory Ethnography Lab 16 Participatory perspectives An epilogue: Return to Kiriwina: the ethnographic film-maker as Author Appendix: British Television Documentaries produced in collaboration with Ethnographic Researchers Textual references Film references
Introduction: Authorship, Praxis, Observation, Ethnography Part I: Histories: Ethnographic film in the twentieth century Introduction 1 The long prehistory of ethnographic film 2 Expeditions, melodrama and the birth of ethnofiction 3 The invisible Author: films of re-enactment in the postwar period 4 Records, not movies: the early films of John Marshall and Timothy Asch 5 Reflexivity and participation: the films of David and Judith MacDougall in Africa and Australia 6 Entangled voices: the complexities of collaborative authorship 7 The subject as Author: indigenous media and the Video nas Aldeias project Part II: Authors: Three key figures Introduction 8 Jean Rouch: sharing anthropology 9 Robert Gardner: beyond the burden of the real 10 Colin Young: the principles of Observational Cinema Part III: Television as meta-author: Ethnographic film in Britain Introduction 11 Ways of doing ethnographic film on British television 12 Beyond the 'disappearing world' - and back again 13 The decline of ethnographic film on British television Part IV: Beyond observation: Ethnographic film in the twenty-first century Introduction 14 The evolution of Observational Cinema: recent films of David and Judith MacDougall 15 Negative capability and the flux of life: films of the Sensory Ethnography Lab 16 Participatory perspectives An epilogue: Return to Kiriwina: the ethnographic film-maker as Author Appendix: British Television Documentaries produced in collaboration with Ethnographic Researchers Textual references Film references
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