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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. -- .
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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. -- .
Produktdetails
- Produktdetails
- Anthropology, Creative Practice and Ethnography
- Verlag: Manchester University Press
- Seitenzahl: 564
- Erscheinungstermin: 1. März 2020
- Englisch
- Abmessung: 234mm x 156mm x 33mm
- Gewicht: 888g
- ISBN-13: 9781526131362
- ISBN-10: 1526131366
- Artikelnr.: 57165555
- Anthropology, Creative Practice and Ethnography
- Verlag: Manchester University Press
- Seitenzahl: 564
- Erscheinungstermin: 1. März 2020
- Englisch
- Abmessung: 234mm x 156mm x 33mm
- Gewicht: 888g
- ISBN-13: 9781526131362
- ISBN-10: 1526131366
- Artikelnr.: 57165555
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
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
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
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