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Beyond observation A history of authorship in ethnographic film /
Beyond Observation is structured by the argument that the 'ethnographicness' of a film should not be determined by the fact that it is about an exotic culture - the popular view - nor because it has apparently not been authored - a long-standing academic view - but rather because it adhere...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
[s.l.] :
Manchester University Press,
2020.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Henley, Paul |e author. | |
| 245 | 1 | 0 | |a Beyond observation |b A history of authorship in ethnographic film / |c Paul Henley. |
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| 520 | |a Beyond Observation is structured by the argument that the 'ethnographicness' of a film should not be determined by the fact that it is about an exotic culture - the popular view - nor because it has apparently not been authored - a long-standing academic view - but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont. Paul Henley discusses films made within reportage, exotic melodrama and travelogue genres in the period before the Second World War, as well as more conventionally ethnographic films made for academic or state-funded educational purposes. The book explores the work of film-makers such as John Marshall, Asen Balikci, Ian Dunlop and Timothy Asch in the post-war period, considering ideas about authorship developed by Jean Rouch, Robert Gardner and Colin Young. It also discusses films authored by Indigenous subjects themselves using the new video technology of the 1970s and the ethnographic films that flourished on British television until the 1990s. In the final part of the book, Henley examines the recent work of David and Judith MacDougall and the Harvard Sensory Ethnography Lab, before concluding with an assessment of a range of films authored in a participatory manner as possible future models. | ||
| 505 | 0 | |a AcknowledgementsList of figuresGeneral Introduction: Authorship, Praxis, Observation, EthnographyPART I: HISTORIES: ETHNOGRAPHIC FILM IN THE TWENTIETH CENTURYIntroduction1. The long prehistory of ethnographic film2. Expeditions, melodrama and the birth of ethnofiction3. The invisible Author: films of re-enactment in the postwar period4. Records, not movies: the early films of John Marshall and Timothy Asch5. Reflexivity and participation: the films of David and Judith MacDougall in Africa and Australia6. Entangled voices: the complexities of collaborative authorship7. The subject as Author: Indigenous media and the Video nas Aldeias projectPART II: AUTHORS: THREE KEY FIGURESIntroduction8. Jean Rouch: sharing anthropology9. Robert Gardner: beyond the burden of the real10. Colin Young: the principles of Observational CinemaPART III: TELEVISION AS META-AUTHOR: ETHNOGRAPHIC FILM IN BRITAINIntroduction11. Ways of doing ethnographic film on British television12. Beyond the 'disappearing world' - and back again13. The decline of ethnographic film on British televisionPART IV: BEYOND OBSERVATION: ETHNOGRAPHIC FILM IN THE TWENTY-FIRST CENTURYIntroduction14. The evolution of Observational Cinema: recent films of David and Judith MacDougall15. Negative capability and the flux of life: films of the Sensory Ethnography Lab16. Participatory perspectivesAN EPILOGUE: Return to Kiriwina: the ethnographic film-maker as AuthorAPPENDIX: British Television Documentaries produced in collaboration with Ethnographic ResearchersTextual referencesFilm references | |
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