DOCSLIB.ORG

Some Thoughts on Culture/Media

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. non-western societies once (and probably still) identified Alternatively, most empirical communication research as our bailiwick. Other than Hortense Powdermaker's models depend so heavily on quantitative methods that study of Hollywood (1950), some brief attempts by it is almost impossible to account for cultural difference. Gregory Bateson (1943), Margaret Mead and Rhoda In the last few years, a new generation of scholars Metraux (1953) and others to use films for the analysis - trained in both communications and anthropology - of other cultures at a distance during World War II, and has emerged whose interests in the relationship between prescient attention to new media technologies from media and culture are generating a fertile new area that 1 filmmaker and communications scholar Sol Worth might be called "culture/media." This dialogue between (1966,1969), film and video in anthropology have been disciplines became audible at sessions organized at the seen primarily as a transparent medium for American Anthropological Association meetings in 136 Volume 10 Number 1 Spring 1994 Visual Anthropology Review 1991 and 1992,2 which in turn engendered this special of cultural difference within and across societies. By issue of the Visual Anthropology Review, "Culture/ looking at the broad range of social processes that shape Media," guest edited by Victor Caldarola.1 media production, distribution, and reception in The essays collected for the "Culture/Media" issue particular settings, they offer cogent challenges to the of the VAR make a powerful case for the value of an ethnocentric assumptions of the inevitability of western anthropological approach to the study of culture and media hegemony. By exploring the intersection of media. The research and ideas they offer are an local cultures, regional histories of cinema and television, impressive demonstration of the possibility and necessity and the political economies and ideological agendas of of grounded ethnographic inquiries into the creation nation states, these papers suggest a sequel to Benedict and consumption of film and television in diverse Anderson' s Imagined Communities that would broaden cultural and national contexts. In anthropology's best his analyses of the role of print media in nation building tradition, they throw into question the taken for granted to include the cinematic and the televisual.4 nature of the way media is created and consumed in our The authors have worked in a remarkable array of own society. locations which include Belize, China, Japan, Tonga, What distinguishes an anthropological approach to the U.S., and the Alsace region of France. Their mass media as opposed to studies in communication or methods range from analyses of institutions and events, semiotics? I would argue (as do most of the authors to studies of the cultural impact of national here) that our work is marked by the centrality of people communication policies, to explorations of interpretive - as opposed to media texts or technology - to the practices, life histories and the space-time effects of empirical and theoretical questions being posed in the new technologies on social hierarchies. The authors' analysis of media as a social form, whether we focus on theoretical stances encompass debates on the its production, modes of representation, or reception. "technologies of power" through which states establish In certain ways, this parallels what critic Bill Nichols hegemonic power and the dynamics of the "public has characterized as the central problematic of sphere" through which independent criticism can ethnographic documentary: "What to do with people" develop; they address questions regarding the tensions (1981). In other words, if there is some original between ideology and culture and the semiotics of contribution to be made by an ethnographic approach, national and neocolonial regimes; and they provide it is to break up the "massness" of the media, and to provocative insights into the unstable relations between intervene in its supposed reality effect by recognizing intention, text, and effect by studying how producers the complex ways in which people are engaged in make decisions and audiences interpret works in processes of making and interpreting works in relation unpredictable and destabilizing ways. to their cultural and historical circumstances. The essays divide roughly into two groups that fall Focusing on people's activities with media, along the illusory but heuristically useful divide between however, is only the first step. The next intellectual production and reception (Dornfeld 1992): the first move, implicit in all the essays, is still only begrudgingly focuses on the consumption of popular cinema; the acknowledged in anthropology or communications: second on the production and impact of television. In that social bodies - from nation states to provincial the first group, the work of Yang, Hahn, and Caughey communities to individuals - increasingly mediate and are exemplary, in different ways, of possibilities for comprehend their identities and placement in the world carrying out what Yang calls ethnographic studies of in relation to televisual and cinematic structures and media reception of both foreign and indigenously experiences. From that premise, the authors represented produced cinema. The authors do not limit reception to here have moved along research paths that offer the moment of contact between media event and increasingly sophisticated approaches to understanding audience, but situate their questions about the reception the ways that film and television are contributing to the of cinema in relation to histories of cinema viewing mediation of national identities and to the construction (Hahn, Yang), prior interpretive practices (Hahn), and FAYE GINSBURG IS THE DIRECTOR OF THE PROGRAM IN CULTURE AND MEDIA, DEPARTMENT OF ANTHROPOLOGY, NEW YORK UNIVERSITY. Visual Anthropology Review Volume 10 Number 1 Spring 1994 137 problematic social relations that catalyze relations with life historical conditions that shape her attachment. imaginary characters (Caughey), all of which structure More broadly he argues that anthropologists need to the "codes of perception" through which interpretations take such relationships with popular culture figures as of media become forms of cultural production (de seriously as they do the ties people have with ancestors, Certeau 1984). Yang, in her study of film discussion spirit beings and other non-corporeal inhabitants of groups (qunzhong yingping) that emerged along with social landscapes more commonly associated with economic reforms in the People s Republic of China in serious anthropological research. the 1980s, offers an illuminating perspective on Western In the second group of essays, Painter, Wilk, and understandings of the public sphere as an arena of social Zinn address the production and reception of mass criticism autonomous from state or market domination media - especially television - in a range of locations, (Habermas 1989). While these forms of film criticism focusing in particular on questions of ideology, were initiated and/or structured by the state, her hegemony, and culture. They focus on the actual interviews with and readings of the reviews written by processes through which cultural and ideological members of these groups of non-professional film agendas are encoded which legitimate or destabilize enthusiasts suggest that they provide one of the few (perhaps unwittingly) national
Load more

Recommended publications
  • 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]
  • 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]
  • Documenting and Presenting Intangible Cultural Heritage on Film
    DOCUMENTING AND PRESENTING INTANGIBLE CULTURAL HERITAGE ON FILM DOCUMENTING AND PRESENTING INTANGIBLE CULTURAL HERITAGE ON FILM DOKUMENTIRANJE IN PREDSTAVLJANJE NESNOVNE KULTURNE DEDIŠČINE S FILMOM Edited by Nadja Valentinčič Furlan Ljubljana, 2015 Documenting and Presenting Intangible Cultural Heritage on Film Editor: Nadja Valentinčič Furlan Peer-reviewers: Felicia Hughes-Freeland, Tanja Bukovčan Translation into English and language revision of English texts: David Limon Translation into Slovene: Franc Smrke, Nives Sulič Dular, Nadja Valentinčič Furlan Language revision of Slovene texts: Vilma Kavšček Graphic art and design: Ana Destovnik Cover photo: Confronting the “ugly one” in Drežnica, photomontage from photographs by Kosjenka Brajdić Petek (Rovinj, 2015) and Rado Urevc (Drežnica, 2007). Issued and published by: Slovene Ethnographic Museum, represented by Tanja Roženbergar Printed by: T2 studio d.o.o. Print run: 500 Ljubljana, 2015 © 2015, authors and the Slovene Ethnographic Museum The authors are responsible for the content of the contributions. CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 719:791.229.2(497.4)(082) DOKUMENTIRANJE in predstavljanje nesnovne kulturne dediščine s filmom = Documenting and presenting intangible cultural heritage on film / uredila Nadja Valentinčič Furlan ; [prevodi David Limon ... et al.]. - Ljubljana : Slovenski etnografski muzej, 2015 ISBN 978-961-6388-60-3 1. Vzp. stv. nasl. 2. Valentinčič Furlan, Nadja 283065600 Published with the support of the Ministry of
    [Show full text]
  • Larry Gross and Jay Ruby (Eds.), the Complete Sol Worth, Los Angeles, CA: USC Annenberg Press, 2013, 848 Pp., $3.99 (Kindle Edition)
    International Journal of Communication 9(2015), Book Review 280–285 1932–8036/2015BKR0009 Larry Gross and Jay Ruby (Eds.), The Complete Sol Worth, Los Angeles, CA: USC Annenberg Press, 2013, 848 pp., $3.99 (Kindle edition). Reviewed by Paul Messaris Annenberg School for Communication University of Pennsylvania, USA Sol Worth was a pioneer in the study of visual media as communication. His graduate course on visual communication theory and research may have been the first of its kind. Worth was an adventurous thinker, an innovative researcher, and the co-author of a book that can be described, without exaggeration, as a classic. He was also the founding editor of a journal that played a significant role in the early development of visual studies as a subfield of anthropology and communication. At the time of his death, in 1977, he was one of the best known and most influential scholars in visual communication, as well as in visual anthropology. His influence on visual anthropology has been long lasting, but today references to his work in publications on media studies are few and far between. Larry Gross and Jay Ruby’s new edition of Worth’s collected writings is a valuable reminder of Worth’s enduring relevance to a field that has largely forgotten him. In two important respects, the quality of visual communication research has suffered in the years since Worth’s passing from the scene. Gross and Ruby’s publication is a welcome reminder of what we have lost and may yet regain. Sol Worth came to the academic world after a very successful 17-year career in commercial photography and filmmaking.
    [Show full text]
  • ICTM B5.Indd
    Department of Ethnomusicology, Lithuanian Academy of Music and Theatre in partnership with Klaipėda University, The Council for the Safeguarding of Ethnic Culture, The Klaipėda Ethnic Culture Center, and The Lithuanian Ethnic Culture Society 31st Symposium of the ICTM Study Group on Ethnochoreology 12th-18th July, 2021 Klaipėda, Lithuania ABSTRACTS BOOKLET Department of Ethnomusicology, Lithuanian Academy of Music and Theatre in partnership with Klaipėda University, The Council for the Safeguarding of Ethnic Culture, The Klaipėda Ethnic Culture Center, and The Lithuanian Ethnic Culture Society 31st Symposium of the ICTM Study Group on Ethnochoreology 12th-18th July, 2021 Klaipėda, Lithuania ABSTRACTS BOOKLET Symposium is supported by The author of the carp used for the cover – a certified master of national heritage products Diana Lukošiūnaitė Layout Rokas Gelažius Introductory Words by Dr. Catherine Foley Chair ICTM Study Group on Ethnochoreology The year 2020 has been a memorable and unprecedented year due to the COVID-19 pandemic. This pandemic has presented health, social, economic and pedagogi- cal challenges worldwide, which has included the cancellation or postponement of many events. This included the postponement of the 31st Symposium of the ICTM Study Group on Ethnochoreology, which was due to have taken place in July 2020 in Klaipeda, Lithuania, but on public health advice, the Executive Committee made the decision to postpone the symposium to July 2021. With the prospect of COVID-19 vaccines being rolled out in different countries in early 2021, delegates were offered the opportunity to present either face-to-face presentations at the symposium in Klaipėda in July 2021 or online presentations.
    [Show full text]
  • Social Theory and the Screen
    1 NEW YORK UNIVERSITY Department of Cinema Studies H72.3011 - SOCIAL THEORY AND THE SCREEN Welcome to Social Theory and the Screen. This is a PhD seminar, so it is not designed for the novitiate to screen studies, cultural studies, or social theory. The course co-ordinator is Toby Miller. If you have any specific issues to raise about this class, please make a time to see me. My room number is 645 and the telephone extension is 9981614. My email address is <[email protected]>. Office hours for the course are Tuesdays 2-4 pm. I am also Director of Graduate Studies and have office hours for that function on Thursdays from 2-4 pm. The class runs each Tuesday between and 6 and 10 p.m. in Room 643 of 721 Broadway. RATIONALE H72.3011 is worth 4 points towards your degree. The class is designed to give doctoral students a means of evaluating the uses of social theory for understanding the screen. What has sociology had to say about film, television, and the internet? How did the psy-complexes (ego psychology within the social sciences and psychoanalysis within the humanities) gain hegemony over discussions of the screen in academia, criticism, and public policy? How could we use social theory to deal with questions of race, class, gender, sexuality, age, religion, and so on—and what of allied approaches (economics, communication studies, anthropology, geography, and the law) that conventional screen studies sidesteps? ASSESSMENT YOUR MISSION, SHOULD YOU CHOOSE TO ACCEPT IT, IS TO WRITE A 10000 WORD ESSAY (I.E.
    [Show full text]
  • Alan Lomax As Builder and User of Ethnographic Film Archives
    Alan Lomax as Builder and User of Ethnographic Film Archives by John Bishop Department of World Arts and Cultures University of California at Los Angeles For Visual Origins Conference, IWF, Göttingen 2001 Abstract: It is more fun to shoot film than to edit film, and more fun to build an archive than to use one. In the early 1960s, Alan Lomax, who was already established as a major field collector of music, embarked on a cross-cultural study of musical style. His premise was that the redundant and public presentation of music embedded elements that identified and characterized the culture of the performers. When he extended his inquiry into stylistic elements of movement and dance, he stated “We regard the vast, endlessly provocative, prejudice-laden, existing sea of documentary footage as the richest and most unequivocal storehouse of information about humanity.” He found assembling a sample of film clips of world dance to be a daunting problem and spent years hounding film archives and individual producers for footage of dance to use in his Choreometrics study. In the process he made the most extensive use of existing film archives in an ethnographic research project, encouraged rigor in shooting and preservation of outtakes among ethnographic filmmakers, and demonstrated through his work the value of ethnographic film collections. Do I Contradict myself? Very well then I contradict myself, I am large, I contain multitudes. Walt Whitman, Song of Myself After two weeks in New Caledonia last year, filming the Pacific Arts Festival, I wearied of spear brandishing young men posturing fiercely at me.
    [Show full text]
  • Collaborative Ethnographic Film: a Workshop Case Study
    PSU McNair Scholars Online Journal Volume 5 Issue 1 Humans Being: People, Places, Article 22 Perspectives and Processes 2011 Collaborative Ethnographic Film: A Workshop Case Study Richard A. Stern Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/mcnair Let us know how access to this document benefits ou.y Recommended Citation Stern, Richard A. (2011) "Collaborative Ethnographic Film: A Workshop Case Study," PSU McNair Scholars Online Journal: Vol. 5: Iss. 1, Article 22. https://doi.org/10.15760/mcnair.2011.231 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. Portland State University McNair Research Journal 2011 Collaborative Ethnographic Film: A Worshop Case Study by Richard A. Stern Faculty Mentor: Jeremy Spoon Citation: Stern, Richard A. Collaborative ethnographic film: A workshop case study. Portland State University McNair Scholars Online Journal, Vol. 5, 2011: pages [235‐256] Collaborative Ethnographic Film A Workshop Case Study Richard A. Stern Portland State University McNair Scholars Program Faculty Mentor: Jeremy Spoon, PhD Introduction The development of ethnographic film is inexplicably interrelated with the history of cinematography itself, and holds a special relation to documentary film. Anthropologist and filmmaker-centric models have long dominated ethnography and have remained a focal point for most major theories within visual anthropology, while collaboration has often been relegated to the fringes of ethnographic work. Furthermore, within the limited collaborative approaches that have surfaced there has been scant discussion or critical analysis of the workshops and training sessions that are designed to prepare cultural constituents working with anthropologists in the practices of visual ethnography and film.
    [Show full text]
  • University of Oklahoma Graduate College
    UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE VISUAL SOVEREIGNTY AND INDIGENOUS FILM FESTIVALS: A CASE STUDY ON THE NATIVE CROSSROADS FILM FESTIVAL A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF ARTS BY CAITLIN SEVERS Norman, Oklahoma 2019 VISUAL SOVEREIGNTY AND INDIGENOUS FILM FESTIVALS: A CASE STUDY ON THE NATIVE CROSSROADS FILM FESTIVAL A THESIS APPROVED FOR THE DEPARTMENT OF ANTHROPOLOGY BY Dr. Kimberly Marshall, Chair Dr. Lucas Bessire Dr. Daniel Swan © Copyright by Caitlin Severs 2019 All Rights Reserved. iv TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................................... iv TABLE OF FIGURES ................................................................................................................... vi ABSTRACT .................................................................................................................................. vii ACKNOWLEDGEMENTS ......................................................................................................... viii Introduction ..................................................................................................................................... 1 Visual Sovereignty and Indigenous Film Festivals ..................................................................... 4 The Iterations of Culture and Visual Sovereignty ....................................................................... 7 Indigenous Media Movement &
    [Show full text]
  • Salvaging a Record for Humankind: Urgent Anthropology at the Smithsonian Institution, 1964-1984
    SALVAGING A RECORD FOR HUMANKIND: URGENT ANTHROPOLOGY AT THE SMITHSONIAN INSTITUTION, 1964-1984 by Adrianna Halina Link A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland June 2016 © 2016 Adrianna Halina Link All Rights Reserved ABSTRACT This dissertation examines the development of an international research program called “urgent anthropology” organized by scientists and staff at the Smithsonian Institution from the mid-1960s until the 1980s. It shows how through the program’s expansion during this period, ideas of urgency came to hold different meanings for different groups of people and provided a useful framework for research cutting across the natural and social sciences. By situating urgent anthropology as a product of Cold War anxieties, this dissertation also considers larger questions about the potential and limitations of museums as sites for interdisciplinary research, the application of new investigative technologies (such as ethnographic film), and the shifting responsibilities and challenges facing museums and archives for preserving records of human diversity. Following in the tradition of turn-of-the-century salvage anthropology, urgent anthropology began as a project devoted to the documentation of linguistic, behavioral, and physical data from cultures perceived to be disappearing after World War II. Under the leadership of its principal organizers, Smithsonian Secretary S. Dillon Ripley and his advisor on anthropology, University of Chicago anthropologist Sol Tax, this initiative grew into a multidisciplinary project that championed the integration of perspectives from the human sciences, especially anthropology, with contemporary views on environmental conservation and ecology. This collaboration could best be achieved within the Smithsonian’s museums, where researchers could more easily cross disciplinary boundaries and could apply the outcomes of their work to construct exhibits displaying a variety of social and scientific topics.
    [Show full text]
  • Ruby, Jay 1996 Visual Anthropology. in Encyclopedia of Cultural Anthropolog Y, David Levinson and Melvin Ember, Editors
    Visual Anthropology in Encyclopedia of Cultural Anthropology http://astro.temple.edu/~ruby/ruby/cultanthro.html Note - This article has retained the published page breaks to enable readers to correctly cite references to it. Ruby, Jay 1996 Visual Anthropology. In Encyclopedia of Cultural Anthropolog y, David Levinson and Melvin Ember, editors. New York: Henry Holt and Company, vol. 4:1345-1351. VISUAL ANTHROPOLOGY Visual anthropology logically proceeds from the belief that culture is manifested through visible symbols embedded in gestures, ceremonies, rituals, and artifacts situated in constructed and natural environments. Culture is conceived of as manifesting itself in scripts with plots involving actors and actresses with lines, costumes, props, and settings. The cultural self is the sum of the scenarios in which one participates. If one can see culture, then researchers should be able to employ audiovisual technologies to record it as data amenable to analysis and presentation. Although the origins of visual anthropology are to be found historically in positivist assumptions that an objective reality is observable, most contemporary culture theorists emphasize the socially constructed nature of cultural reality and the tentative nature of our understanding of any culture. There is an obvious relationship between the supposition that culture is objectively observable and the popular belief in the neutrality, transparency, and objectivity of audiovisual technologies. From a positivist perspective, reality can be captured on film without the limitations of human consciousness Pictures provide an unimpeachable witness and: source of highly reliable data. Given those assumptions, it is logical that as soon as the technologies were available, anthropologists attempted to produce wit] the camera the sort of objective research data the could tee stored in archives and made available for stud by future generations (Edwards 1992).
    [Show full text]
  • Vol. 22.1 (March 2015) 6Th Athens Ethnographic Film Festival, Call for Films ………
    Contents nafa:// Editorial ……………………………………………………… 2 NAFA reintroduces institutional membership ………………… 3 News from the Commission on Visual Anthropology (CVA) … 3 The 35th NAFA Conference & Film Festival, 2015 ………….. 4 Seminar: Film in Ethnographic Exhibitions …………………... 6 network Viscult 2015: Call for films …………………………………… 7 12th International Ethno film Festival, call for entries ………... 8 vol. 22.1 (March 2015) 6th Athens Ethnographic Film Festival, call for films ………... 10 Newsletter of the Nordic Anthropological Film Association Margaret Mead Film Festival, call for entries ………………… 10 Incorporating the Commission of Visual Anthropology (CVA) Circular Conference of the Finnish Anthropological Society …………. 11 Taiwan International Ethnographic Film Festival 2015 ……… 12 Web version: http://www.nafa.uib.no ISSN: 0805 - 1046 Apps and Anthropology, call for papers ……………………… 12 MA in Visual Anthropology, Aarhus University, applications .. 14 Please send news, articles and announcements to: Mulla Sadra Meets Cinema Studies – Seminar at Moesgaard … 15 Berit Madsen, Anne Mette Jorgensen and Christian Suhr NOTICE BOARD ………………………………………….. 16 Department of Anthropology Moesgaard CALENDAR ………………………………………………… 20 8270 Hoejbjerg Denmark Fax: +45 89424655 E-mail: [email protected] ; [email protected] NAFA Network vol. 22.1 (March 2015) 2 Editorial By Berit Madsen, Anne Mette Jørgensen and Christian Suhr Dear readers, In this volume we bring you news about a series of We can already by now reveal that the 2016 NAFA Please also notice that you can subscribe to the events and initiatives taking place in 2015. First of all, Film Festival and Conference will take place in Bergen Facebook page: https://www.facebook.com/CVA.iuaes we’re happy to announce that NAFA has decided to and be held in conjunction with the Bergen reintroduces institutional membership.
    [Show full text]