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. -- .Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
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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