DOCSLIB.ORG

Margaret Mead and the Shift from "Visual Anthropology" to the "Anthropology of Visual Communication"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Margaret Mead and the Shift from Studies in Visual Communication Volume 6 Issue 1 Spring 1980 Article 5 1980 Margaret Mead and the Shift from "Visual Anthropology" to the "Anthropology of Visual Communication" Sol Worth Recommended Citation Worth, S. (1980). Margaret Mead and the Shift from "Visual Anthropology" to the "Anthropology of Visual Communication". 6 (1), 15-22. Retrieved from https://repository.upenn.edu/svc/vol6/iss1/5 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol6/iss1/5 For more information, please contact [email protected]. Margaret Mead and the Shift from "Visual Anthropology" to the "Anthropology of Visual Communication" This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol6/iss1/5 Margaret Mead and the Shift from "Visual Anthropology" to the "Anthropology of Visual Communication" Sol Worth I would like, in this discussion, to explore a shift in how work alike, serve up great slices of ourselves-irre­ certain problems in the study of culture have come to trievable slices-that only serve to entertain briefly, to titil­ be conceptualized. These problems may best be un­ late, and diminish into nothing? derstood by examining how one label, ''visual anthro­ pology," led to the creation of another, "the anthro­ Margaret Mead did not photograph, edit, or produce pology of visual communication.' ' In order to delineate this visual event that Pat Loud speaks of. But in ways and examine some of the arguments, problems, and that I will describe she can be understood to be a ma­ methods involved in this shift it will be helpful for me to jor influence in this and other attempts to show a fam­ cite, and to use as my explanatory fulcrum, the work ily in the context of television. More importantly, her as well as the persona of Margaret Mead. work over the past fifty years can help us to under­ I am doing this on an occasion meant to honor her, stand many of the questions that Pat Loud's cry of dis­ but am aware that even that act - as so often happens tress raised for her (Loud 1974). with Dr. Mead- inevitably gets mixed up with a review There are, it seems to me, at least three basic prem­ of the history and problems in communications and an­ ises which Mrs. Loud's letter forces us to examine. thropology. I should add that I am aware that, even as First is our deeply held and largely unexamined notion we try to develop a history in this field, we also are in that all or most photographs and, in particular, motion many ways that same history. pictures are a mirror of the people, objects, and events To introduce some of these issues in the history of that these media record photochemically. Second is communications study, let me quote from an informant the questionable logic of the jump we make when we whose comments and life history may lay the ground­ say that the resultant photographic image could be, work for certain of the problems I will be talking about. should be, and most often is something called "real," Some of you may still remember a television series of "reality," or "truth." A third concern, which is central several years ago called The American Family. It con­ to Pat Loud personally, and increasingly to all people sisted of 1 2 one-hour film presentations. One of the studied or observed by cameras for television, whether major participants of that visual event was Mrs. Patri­ for science, politics, or art, is the effect of being, as cia Loud, the mother of that "American" family. In a she puts it, "the object of that tool." letter to some of her acquaintances which she sub­ When The American Family was first shown on sequently made public, Mrs. Loud wrote: American television in 1972, mass media critics, psy­ choanalysts, sociologists, and historians as well as Margaret Mead, bless her friendly voice, has written glow­ Time, Newsweek, and The New York Times felt com­ ingly that the series constituted some sort of break­ pelled to comment. Almost all-except Marga­ through, a demonstration of a new tool for use in sociology ret-expressed dismay, upset, and even anger over and anthropology. Having been the object of that tool, I the series. Many of these strong feelings were no think I am competent to say that it won't work .... doubt occasioned by the films themselves-by the way they were advertised and presented as well as by the Later in her letter she continues: events depicted in them. But much of the upset was also caused, I believe, by the fact that Margaret Mead Like Kafka's prisoner, I am frightened, confused ... I find said publicly, and with approval, that this notion of de­ myself shrinking in defense, not only from critics and de­ tractors, but from friends, sympathizers and, finally, my­ picting a family on television was a worthwhile, revolu­ self.... The truth is starting to dawn on me that we have tionary, daring, and possibly fruitful step in the use of been ground through the big media machine and are com­ the mass media. She even compared the idea of pres­ ing out entertainment. The treatment of us as objects and enting a family on television to the idea of the novel, things instead of people has caused us wildly anxious suggesting that it might, if we learned to use it, have a days and nights. But I would do it again if, in fact, I could similar impact upon the culture within which we live. just be sure that it did what the producer said it was sup­ Interestingly enough, in October 1976 the United posed to do. If we failed, was it because of my family, the Church of Christ, the Public Broadcasting System, and editing, the publicity, or because public television doesn't Westinghouse Television will present a series titled Six educate? If we failed, what role did the limitations of film Families, in which the same thing that was tried in the and TV tape play? Can electronic media really arouse awareness and critical faculties? Did we, family and net- Loud family series will now be done on a comparative basis. It seems that most of the objections of social scientists to the Loud family series were that this use Sol Worth (1 922-1 977) was the founding Editor of of "real" people on TV was unethical, immoral, and in­ Studies. This paper was presented at a Symposium decent. It made, many people argued, a nation of honoring the work of Margaret Mead at the annual prurient Peeping Toms out of the American people. It meeting of the American Association for the Advance­ is of course "the church" which in our society can ment of Science, in Boston, February 20, 1976. take initiative and argue that an examination of how people live, shown on TV, is not only not Peeping Tom- 16 studies in Visual Communication ism but the most moral kind of act for a mass medium. The notion of a systematically made ethnographic rec­ We will have to see whether social scientists, TV crit­ ord of the geographic and physical environment of a ics, and newspapers will even notice this second in­ city-in a style conforming to ideas promulgated by stance of an American family. Collier (1967)-was also being advertised and sold in The problem for those who heard or read what Mar­ 1901. The Edison catalog for that year states: garet Mead said about this new use of film- whether they were academics, newpaper people, or even sub­ New York in a Blizzard. Our camera is revolved from right jects-was that we were just beginning to understand to left and takes in Madison Square, Madison Square Gar­ what Bateson and Mead had said in 1942. We were den, looks up Broadway from south to north, passes the just beginning to accept the idea that photographs Fifth Avenue Hotel and ends looking down 23rd Street. could be taken and used seriously, as an artistic as well as a scientific event. We were not ready to ac­ Such a film could have been made with an ethno­ knowledge that we were beyond the point of being ex­ graphic soundtrack on instructions given to modern cited by the fact that a camera worked at all. It was, af­ ethnofilmmakers by archivists in the United States and ter all, understood as early as 1900 that photographs several countries in Western Europe. and motion pictures could be more than a record of We have, it seems, come a long way from the days data and that they were always less than what we saw when just being able to make a picture-moving or with our eyes. Let us look at how it started. still-of strange or familiar people in our own or far­ The first set of photographs called motion pictures away lands doing exotic things was excuse enough for was made by Edward Muybridge in 1877, as scientific lugging a camera to the field or to our living rooms. In evidence of a very serious kind. He invented a process those earlier times, from 1895 to about 1920, the term for showing things in motion in order to settle a bet for ''visual anthropology'' had not yet been coined. Governor Leland Stanford of California about whether People just took pictures, most often to "prove" that horses had all four feet off the ground when they ran at the people and places they were lecturing about or a gallop.
Load more

Recommended publications
  • Anthropology 1
    Anthropology 1 ANTHROPOLOGY [email protected] Hillary DelPrete, Assistant Professor (Graduate Faculty). B.S., Tulane Chair: Christopher DeRosa, Department of History and Anthropology University; M.A., Ph.D., Rutgers University. Professor DelPrete is a biological anthropologist with a specialization in modern evolution. The Anthropology curriculum is designed to provide a liberal arts Teaching and research interests include human evolution, human education that emphasizes the scientific study of humanity. Three areas variation, human behavioral ecology, and anthropometrics. of Anthropology are covered: [email protected] • Cultural Anthropology, the comparative study of human beliefs and Christopher DeRosa, Associate Professor and Chair (Graduate Faculty). behavior with special attention to non-Western societies; B.A., Columbia University; Ph.D., Temple University. Fields include • Archaeology, the study of the human cultural heritage from its military history and American political history. Recent research prehistoric beginnings to the recent past; and concerns the political indoctrination of American soldiers. • Biological Anthropology, the study of racial variation and the physical [email protected] and behavioral evolution of the human species. Adam Heinrich, Assistant Professor (Graduate Faculty). B.S., M.A., The goal of the Anthropology program is to provide students with a broad Ph.D., Rutgers University. Historical and prehistoric archaeology; understanding of humanity that will be relevant to their professions, their
    [Show full text]
  • Curriculum Vitae --- Richard M
    CURRICULUM VITAE --- RICHARD M. CHALFEN Center on Media and Child Health The Mariner, Unit 204 Children’s Hospital/Harvard Medical School 300 Commercial Street 300 Longwood Avenue Boston, MA 02109 Boston, MA 02115 USA (617) 227-1534 (617) 355-5420 www.richardchalfen.com [email protected] EDUCATION: 1974 Ph.D. in Communications, Graduate School of Arts & Sciences, University of Pennsylvania, Philadelphia, Pennsylvania 1967 M.A. in Communications, Annenberg School of Communication, University of Pennsylvania, Philadelphia, Pennsylvania 1964 B.A. in Anthropology, The College, University of Pennsylvania, Philadelphia, PA HONORS: 2005 Distinguished Alumnus Award, Buckingham Browne and Nichols School, Cambridge, MA. POSITIONS: 2007 (fall) Visiting Fellow -- ESRC-SSRC Collaborative Visiting Fellowship on Real Life Methods at the ESRC National Centre for Research Methods, Leeds and Manchester Universities, UK 2004- Emeritus Professor of Anthropology, Department of Anthropology, Temple University, Philadelphia, Pennsylvania 2003- Senior Scientist, Center on Media and Child Health, Children’s Hospital Boston/Harvard Medical School, Boston MA. 2001-02 Associate Scientific Staff, Department of Adolescent Medicine, Children’s Hospital, Boston, Massachusetts 2001, 05-06 William Valentine Cole Chair, Visiting Professor of Sociology/ Anthropology, Wheaton College, Norton, Massachusetts 1997-99 Adjunct Professor, Union Institute Graduate College, Cincinnati, Ohio 1993-95, 99 Professor of Anthropology, Temple University Japan, Minami-Osawa,
    [Show full text]
  • Visual Anthropology: a Systematic Representation of Ethnography
    2021-4314-AJSS – 14 JUN 2021 1 Visual Anthropology: 2 A Systematic Representation of Ethnography 3 4 In its development of one hundred years, anthropology evolved from 5 travelogues of explorers to in-depth exploration of human from all possible 6 angles. In its every venture, anthropologists were/are always in try to get 7 closer to cultural affairs and dive deeper into human subjectivity. To achieve 8 these purposes a series of theories and methods were developed, which 9 served a lot, but with time it was also felt that readers idea of a research is 10 anchored with and limited within the textual analysis written by the 11 researcher. This dependency on the text was (and still) restricting the 12 researcher to convey an actual image of the studied phenomenon, and also 13 confining the readers from exploring their subjective self in finding meaning. 14 The emergence of using visual aids in anthropology during the 90s opened a 15 pathway for the researcher to make their researched visible to the audience. 16 This visibility opens up many scopes of interpretation that are hitherto 17 invisible. Though, researchers of other disciplines started the use of visual 18 way before anthropologists. But its efficiency in transmitting meaning soon 19 pulled the attention of anthropological social researchers. Since then, visual 20 in anthropology has evolved in its use and presently one of the frontrunning 21 methods in anthropological research. This article is systematically reviewing 22 the history to present of visual anthropology with reference to theoretical 23 development and practical use of the same.
    [Show full text]
  • The Digital Turn: New Directions in Media Anthropology
    The Digital Turn: New Directions in Media Anthropology Sahana Udupa (Ludwig Maximilian University Munich) Elisabetta Costa (University of Groningen) Philipp Budka (University of Vienna) Discussion Paper for the Follow-Up E-Seminar on the EASA Media Anthropology Network Panel “The Digital Turn” at the 15th European Association of Social Anthropologists (EASA) Biennial Conference, Stockholm, Sweden, 14-17 August 2018 16-30 October 2018 http://www.media-anthropology.net/ With the advent of digital media technologies, internet-based devices and services, mobile computing as well as software applications and digital platforms new opportunities and challenges have come to the forefront in the anthropological study of media. For media anthropology and related fields, such as digital and visual anthropology, it is of particular interest how people engage with digital media and technologies; how digital devices and tools are integrated and embedded in everyday life; and how they are entangled with different social practices and cultural processes. The digital turn in media anthropology signals the growing importance of digital media technologies in contemporary sociocultural, political and economic processes. This panel suggested that the digital turn could be seen a paradigm shift in the anthropological study of media, and foregrounded three important streams of exploration that might indicate new directions in the anthropology of media. More and more aspects of people’s everyday life and their lived experiences are mediated by digital technologies. Playing, learning, dating, loving, migrating, dying, as well as friendship, kinship, politics, and news production and consumption, have been affected by the diffusion of digital technologies. We often hear far-reaching statements about these transformations, such as euphoric pronouncements about digital media as a radical enabler of grassroots democracy.
    [Show full text]
  • Some Thoughts on Culture/Media
    Some Thoughts on Culture/Media Faye Ginsburg When I was asked to develop a program in documentation. Until very recently, with the exception ethnographic film in 1986,1 was determined to develop of some interest in the development of media use by a curriculum or, more ambitiously, expand the paradigm indigenous peoples since the 1980s (Ginsburg 1991, in a way that would not reproduce the reified dualisms 1993; Michaels 1986,1991a, 1991b; Ruby 1991; Turner of gemienschafiJgesellschaft that have had a striking 1991, 1992a, 1992b), there has been little systematic and depressing resilience in the field of ethnographic ethnographic engagement with what is rapidly becoming film, visual anthropology, and communications research. the most widespread means of cultural production and Despite the early and important work of people such as mediation on the globe. As Debra Spitulnick notes in Jean Rouch that broke down these barriers, notions of her recent review of "Anthropology and the Mass "us" as high-tech and post-industrial and "them" as pre- Media," tech and underdeveloped still persist. Myriad versions could be summarized and parodied along the following ...an inquiry into just why and how anthropologists lines: have managed to neglect the centrality of mass media in twentieth century life would not only be of we have cameras/ they have exotic rituals historical interest, but also of potential use in we have mass media/ they have "authentic" art illuminating certain conceptual gaps in we have alienation/ they have face to face contemporary anthropological theory (1993: 1) communities we have post-modernism/ they have ecologically- In the field of communications, much contemporary integrated world views theory still views mass media as inexorably hegemonic and homogenizing in the interest of dominant social For anthropologists, mass media have mostly been groups, wiping out the cultural integrity, authenticity, viewed as disruptive if not corrupting of the small-scale and diversity of the people at the receiving end.
    [Show full text]
  • Editor's Introduction
    Studies in Visual Communication Volume 1 Issue 1 Fall 1974 Article 2 1974 Editor's Introduction Sol Worth Recommended Citation Worth, S. (1974). Editor's Introduction. 1 (1), 1-2. Retrieved from https://repository.upenn.edu/svc/vol1/ iss1/2 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol1/iss1/2 For more information, please contact [email protected]. Editor's Introduction This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol1/iss1/2 teachers. It also seemed to be the case that the term "Program in Ethnographic Film" seemed to emphasize r • ~ filmmaking, while both that term and "Visual Anthropol­ ogy" seemed to exclude people in Sociology, Psychology, Art History, Communication, and other related fields, who were also interested in how man thought of, understood, EDITOR'S INTRODUCTION made, communicated by, and used materials and events that were in the visual mode. Volume One, Number One of a new publication is always The very awkwardness of this new term, The Anthropol­ . an ambiguous event. On the one hand there is no question ogy of Visual Communication, which we have chosen as the that adding to the unending stream of publications is in itself title of our Society and of our publication, might have one always suspect; on the other hand grown men and women important and salutary effect. It can never be made to roll devote unusual amounts of energy for no economic, and very glibly off the tongue as a description of what one does, or of little social compensation, in order to start, sustain, and whom one is affiliated with.
    [Show full text]
  • Is an Enthnographic Film a Filmic Ethnography?
    Studies in Visual Communication Volume 2 Issue 2 Fall 1975 Article 6 1975 Is an Enthnographic Film a Filmic Ethnography? Jay Ruby Recommended Citation Ruby, J. (1975). Is an Enthnographic Film a Filmic Ethnography?. 2 (2), 104-111. Retrieved from https://repository.upenn.edu/svc/vol2/iss2/6 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/svc/vol2/iss2/6 For more information, please contact [email protected]. Is an Enthnographic Film a Filmic Ethnography? This contents is available in Studies in Visual Communication: https://repository.upenn.edu/svc/vol2/iss2/6 its infancy (Worth 1966). It would therefore seem premature to relegate these media to any particular place in social science. While it is reasonable to expect anthropologists and other educated members of our culture to be highly sophisticated, competent, and self-conscious about speaking and writing, an IS AN ETHNOGRAPHIC Fl LM analogous assumption cannot be made about their under­ A FILMIC ETHNOGRAPHY? standing- and use of visual communicative forms. Training in visual communication is not a commonplace experience in our education. It is rare to find an anthropologist who knows JAY RUBY very much about these forms, and even rarer to find one who has any competence in their production. It is only recently that our society has begun to acknowledge the need to INTRODUCTION 1 educate people about photographic media, and only in the last decade have anthropology departments attempted to In the social sciences, the communication of scientific develop ongoing training programs in the area. 2 thought has been, by and large, confined to the printed and Despite this situation, there is a long tradition of spoken word.
    [Show full text]
  • Indigenous Peoples As a Research Space of Visual Anthropology
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Siberian Federal University Digital Repository Journal of Siberian Federal University. Humanities & Social Sciences 9 (2014 7) 1471-1493 ~ ~ ~ УДК 304.2 Indigenous Peoples as a Research Space of Visual Anthropology Mariya I. Ilbeykina* Siberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia Received 14.05.2014, received in revised form 04.07.2014, accepted 30.08.2014 The article reviews visual anthropological projects that study culture of indigenous peoples both in foreign and domestic practices. Development of visual anthropology as a separate area of the humanities, from the moment of appearance of the first visual anthropological experiments to the topical research, is considered, the main lines of its development in the context of the indigenous peoples’ visual systems study are specified, i.e. such an ethno-cultural group, which development is not indicated in the finished form, but continues in the process of interaction with a multicultural community. Keywords: visual anthropology, indigenous peoples, visual sociology, “camera-intermediary”, visual systems, contemporary museum practices. Visual anthropology is a method of S.A. Smirnov writes in detail about the describing and analyzing the phenomena of fate of anthropology and its role for the social culture, founded on photos, video and audio philosophy of the 20th century, in modern records. Visual anthropology works not only anthropology he simultaneously sees powerful with cultural, but also with social problematics philosophical basis and definite application [30]. of humanitarian practices designed to create Visual anthropology that appeared within and implement “the projects of man”.
    [Show full text]
  • Remembering Exhibitions on Race in the 20Th-Century United States
    Visual Anthropology MUSEUM REVIEW ESSAY Remembering Exhibitions on Race in the 20th-century United States SAMUEL REDMAN ABSTRACT This museum review places the American Anthropological Association’s recent exhibition entitled “Race: Are We So Different?” into historical context by comparing it to other major exhibitions on race in the 20th century. I argue that although exhibitions on race in the 19th-century United States are frequently examined in the historical and anthropological literature, later exhibitions from the 20th century are frequently forgotten. In particular, I compare the AAA’s recent exhibition to displays originally crafted for the 1915 and 1933 World’s Fairs. [Keywords: museum, exhibit, human remains, race] HE AMERICAN ANTHROPOLOGICAL Association subject of race that was intended to reach a national audi- T (AAA)–sponsored touring exhibition, “Race: Are We ence. The changing foci of these exhibits are demonstrative So Different?,” offers visitors the current anthropological of the evolving understandings of racial difference among consensus on race through exploration of lived experiences both scientists and the public. Although the narratives of of ethnically diverse peoples by outlining the scientific ba- 19th-century display are relatively well understood (Conn sis of human variation and by inviting visitors to engage in 1998; Rydell 1987; Stocking 1968), more recent exhibitions discussions on issues such as affirmative action.1 The 1,500 on race—those of the 20th century—are largely neglected square-foot exhibit, designed by the Science Museum of in the historical literature. To better understand the import Minnesota, was initially set to conclude a nationwide tour of such displays as the recent AAA exhibit, it is imperative at the Smithsonian in 2011.
    [Show full text]
  • Visual Anthropology Complete Handout.Pdf
    visual anthropology handout Dr Àngels Trias i Valls 05 Department of Anthropology Visual Anthropology Handout Dr Ma. Àngels Trias i Valls University of Wales Lampeter Room GO46 Arts Hall – contact: [email protected] – visiting hours: Tues&Thurs at 4.00pm Index 1. Module page with course description 2 2. Objectives 3 3. Bibliography 5 4. Internet 10 5. Intranet 11 6. Course Itinerary 12 7. Assessment 14 8. Lecture and Tutorial Handouts 15 8.1 Lectures 1 to 12 15 8.2 Tutorials 1 to 8 46 9. Revision and Exam Techniques 66 1 visual anthropology handout TiV04 0 Module Description The module is concerned how different cultures are depicted in a range of media, in particular ethnographic film and photography, and deals with the analytical and ethical issues raised by these representations. It considers how the analysis of art and material culture can be used by the anthropologists to gain insight into cultural forms and values. It also examines how different cultural groups represents themselves, to each other and to outsiders through art, material culture and performance. Course code: 1ANTH0420 Course Lecturer: Dr. Ma Àngels Trias i Valls Lent Term 2004 20 Credits 2 visual anthropology handout TiV04 1 Object of the Course In this course we will study the place of the ‘visual’ and visual systems from a cross- cultural point of view. We will examine how anthropology can contribute to –and gain insight from- the analysis of visual forms of representations. We will explore how images, forms or art, maps, pictures, ethnographic film, the body, gender, adornments to name a few, are constructed in societies across the globe.
    [Show full text]
  • Focality and Extension in Kinship Essays in Memory of Harold W
    FOCALITY AND EXTENSION IN KINSHIP ESSAYS IN MEMORY OF HAROLD W. SCHEFFLER FOCALITY AND EXTENSION IN KINSHIP ESSAYS IN MEMORY OF HAROLD W. SCHEFFLER EDITED BY WARREN SHAPIRO Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN(s): 9781760461812 (print) 9781760461829 (eBook) This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/ legalcode Cover design and layout by ANU Press. Cover photograph of Hal Scheffler by Ray Kelly. This edition © 2018 ANU Press To the memory of Harold Walter Scheffler, a compassionate man of the highest scholarly standards Contents List of Figures and Tables . ix Acknowledgements . xiii Contributors . xv Part I. Introduction: Hal Scheffler’s Extensionism in Historical Perspective and its Relevance to Current Controversies . 3 Warren Shapiro and Dwight Read Part II. The Battle Joined 1 . Hal Scheffler Versus David Schneider and His Admirers, in the Light of What We Now Know About Trobriand Kinship . 31 Warren Shapiro 2 . Extension Problem: Resolution Through an Unexpected Source . 59 Dwight Read Part III. Ethnographic Explorations of Extensionist Theory 3 . Action, Metaphor and Extensions in Kinship . 119 Andrew Strathern and Pamela J. Stewart 4 . Should I Stay or Should I Go? Hunter-Gatherer Networking Through Bilateral Kin . 133 Russell D. Greaves and Karen L.
    [Show full text]
  • Visual Anthropology, Media and Documentary Practices Master of Arts
    VISUAL ANTHROPOLOGY, MEDIA AND DOCUMENTARY PRACTICES MASTER OF ARTS NEW MASTER PROGRAM 2 WWU WEITER BILDUNG 03 INDEX OBJECTIVES OF THE MASTER PROGRAM 04 STRUCTURE AND PROGRAM OUTLINE 05 STUDY ORGANIZATION 10 ADMISSION REQUIREMENTS AND APPLICATION 11 MANAGEMENT AND LECTURERS 11 YoUR STAY IN MÜNSTER 12 CoNTACT AND IMPRINT 14 04 OBJECTIVES OF THE MastER PROGRAM OBJECTIVES OF THE MASTER PROGRAM In today’s globalized world, where media representations This program is for students with a background in the social shape social and political spheres, a critical understanding sciences and humanities, especially those in cultural, media of media and (audio-) visual culture is crucial. Media studies, and communication studies. Applications are welcome from rooted in social anthropology, offers an in-depth approach both Germany and abroad. to analyzing the complex connections between media, culture and society. The Master Program trains students in theory and practice in the areas of visual anthropology, the documentary arts (film/photography/installation), media culture and media anthropology. Conceptual and practical knowledge within these areas can be applied in academia, the arts, and culture and media industries, as well as to social, applied, or educational media projects. Students study the theoretical and practical foundations of visual anthropology, they gain experience in film production, project development, and (audio-) visual installation. Ultimately, they acquire the necessary skills for producing their own research projects and media outputs. STRUCTURE AND PROGRAM OUTLINE 05 STRUCTURE AND PROGRAM OUTLINE > Structure The Master Program was designed with working professio- Students have the possibility to complete the program after nals in mind. The in-house classes will be offered as block 5 semesters (two and a half years).
    [Show full text]