Guide to Sound Recordings Collected by Ian Bryson, 1995-1996
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Memories of the Origins of Ethnographic Film / Beate Engelbrecht (Ed.)
Contents Preface Beate Engelbrecht IX Introduction 1 The Early Years of Visual Anthropology Paul Hockings 3 The Prehistory of Ethnographic Film Luc de Heusch 15 Precursors in the Documentary Film 23 Robert Flaherty as I Knew Him. R ichard L eacock 2 5 Richard Leacock and the Origins of Direct Cinema: Re-assessing the Idea of an 'Uncontrolled Cinema' Chris tof Decker 31 Grierson Versus Ethnographic Film Brian Winston 49 Research and Record-Making Approaches 57 Recording Social Interaction: Margaret Mead and Gregory Batcson's Contribution to Visual Anthropology in Ethnographic Context Gerald Sullivan 59 From Bushmen to Ju/'Hoansi: A Personal Reflection on the Early Films of John Marshall. Patsy Asch 71 Life By Myth: The Development of Ethnographic Filming in the Work of John Marshall John Bishop 87 Pulling Focus: Timothy Asch Between Filmmaking and Pedagogy Sarah Elder 95 VI Contents Observational and Participatory Approaches 121 Colin Young, Ethnographic Film and the Film Culture of the 1960s David MacDougall 1 23 Colin Young and Running Around With a Camera Judith MacDougall 133 The Origins of Observational Cinema: Conversations with Colin Young Paul Henley 139 Looking for an Indigenous View 163 The Worth/Adair Navajo Experiment - Unanticipated Results and Reactions Richard Chalfen 165 The Legacy of John Collier, Jr. Peter Biella 111 George Stoney: The Johnny Appelseed of Documentary Dorothy Todd Henaut 189 The American Way 205 "Let Me Tell You A Story": Edmund Carpenter as Forerunner in the Anthropology of Visual Media Harald Prins and John Bishop 207 Asen Balikci Films Nanook Paul Hockings 247 Robert Gardner: The Early Years Karl G. -
Antropología
Artes y Humanidades Guías para una docencia universitaria con perspectiva de género Antropología Jordi Roca Girona ESTA COLECCIÓN DE GUÍAS HA SIDO IMPULSADA POR EL GRUPO DE TRABAJO DE IGUALDAD DE GÉNERO DE LA RED VIVES DE UNIVERSIDADES Elena Villatoro Boan, presidenta de la Comisión de Igualdad y Conciliación de Vida Laboral y Familiar, Universitat Abat Oliba CEU. M. José Rodríguez Jaume, vicerrectora de Responsabilidad Social, Inclusión e Igualdad, Universitat d’Alacant. Cristina Yáñez de Aldecoa, coordinadora del Rectorado en Internacionalización y Relaciones Institucionales, Universitat d’Andorra. Maria Prats Ferret, directora del Observatorio para la Igualdad, Universitat Autònoma de Barcelona. M. Pilar Rivas Vallejo, directora de la Unidad de Igualdad, Universitat de Barcelona. Ruth María Abril Stoffels, directora de la Unidad de Igualdad, Universitat CEU Cardenal Herrera. Anna Maria Pla Boix, delegada del rector para la Igualdad de Género, Universitat de Girona. Esperanza Bosch Fiol, directora de la Oficina para la Igualdad de Oportunidades entre Mujeres y Hombres, Universitat de las Illes Balears. Consuelo León Llorente, directora del Observatorio de Políticas Familiares, Universitat Internacional de Catalunya. Mercedes Alcañiz Moscardó, directora de la Unidad de Igualdad, Universitat Jaume I. Anna Romero Burillo, directora del Centro Dolors Piera de Igualdad de Oportunidades y Promoción de las Mujeres, Universitat de Lleida. María José Alarcón García, directora de la Unidad de Igualdad, Universitat Miguel Hernández d’Elx. Maria Olivella Quintana, coordinadora de la Unidad de Igualdad, Universitat Oberta de Catalunya. Dominique Sistach, responsable de la Comisión de Igualdad de Oportunidades, Universitat de Perpinyà Via Domitia. Silvia Gómez Castán, técnica de Igualdad del Gabinete de Innovación y Comunidad, Universitat Politècnica de Catalunya. -
Anthropology of Indigenous Australia
Anthropology of Indigenous Australia Class code ANTH-UA 9037 – 001 Instructor Petronella Vaarzon-Morel Details [email protected] Consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Fall 2017 Anthropology of Indigenous Australia Tuesday 12:30 – 3:30pm 5 September to 12 December Room 202 NYU Sydney Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000 Prerequisites None. Class This course offers an introduction to some of the classical and current issues in the Description anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, art and writing. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic and historical texts, films, archives and Indigenous life-writing accounts, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. -
Oral History: NFSA’S Hidden Collections by Graham Shirley Film Historian Graham Shirley Was the Speaker at AMOHG's September 2018 Meeting
Oral History: NFSA’s Hidden Collections By Graham Shirley Film historian Graham Shirley was the speaker at AMOHG's September 2018 meeting. Graham is arguably more familiar with the NFSA's oral history collection than anyone else – having recorded a great number, and used many more in his research. In his talk he noted that NFSA holds many oral history interviews with significant figures in the media industry – figures whose stories range from the silent film era to the present day. But while household names such as Jimmy Barnes and films like Picnic at Hanging Rock are featured and easy to find, there are hundreds of other interviews with industry figures who are less well-known, but whose memories and insights together tell the story of the Australian media industry, and how the rest of the NFSA's audiovisual collection – Australia's history on screen and in sound – came to be made. Profiling Oral History at NFSA Since the advent of the new NFSA website – ‘new’ as of several years ago - the NFSA’s oral history holdings have been profiled in ways unimaginable even five years ago. Much of this has been thanks to NFSA production teams who have collaborated with text, audio clips, video clips, photos and graphics for NFSA online exhibitions – for instance, those dealing with such well-known feature films as Picnic at Hanging Rock, Priscilla Queen of the Desert, Storm Boy, Muriel’s Wedding, Strictly Ballroom, and such household names as Graham Kennedy, the singers Jimmy Barnes and Tex Perkins, the actors Damon Herriman and Chris Haywood, and TV journalists including Barrie Cassidy, Jeff McMullen, Leigh Sales and Lisa Wilkinson. -
Anthropology of Indigenous Australia
Anthropology of Indigenous Australia Class code ANTH-UA 9037 – 001 Instructor Petronella Vaarzon-Morel Details [email protected] 0428 633 216 (mobile) Office Hours: Monday 12:00 – 2:00pm or consultations by appointment. Please allow at least 24 hours for your instructor to respond to your emails. Class Details Fall 2015 Anthropology of Indigenous Australia Monday, 9:00am – 12:00pm August 31 to December 7 Room 202 NYU Sydney Academic Centre Science House: 157-161 Gloucester Street, The Rocks 2000 Prerequisites None Class This course offers an introduction to some of the classical and current issues in the Description anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, art and writing. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic and historical texts, films, archives and Indigenous life-writing accounts, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. -
Etnografija I Etnografski Film
Etnografija i etnografski film Mirković, Maja Master's thesis / Diplomski rad 2017 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: University of Pula / Sveučilište Jurja Dobrile u Puli Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:137:535260 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-09-29 Repository / Repozitorij: Digital Repository Juraj Dobrila University of Pula Sveučilište Jurja Dobrile u Puli Odjel za interdisciplinarne, talijanske i kulturološke studije MAJA MIRKOVIĆ ETNOGRAFIJA I ETNOGRAFSKI FILM Diplomski rad Pula, 2017. Sveučilište Jurja Dobrile u Puli Odjel za interdisciplinarne, talijanske i kulturološke studije MAJA MIRKOVIĆ ETNOGRAFIJA I ETNOGRAFSKI FILM Diplomski rad JMBAG: 39- KT-D, redovita studentica Studijski smjer: Kultura i turizam Predmet: Etnografija industrije Znanstveno područje: Humanističke znanosti Znanstveno polje: Etnologija i antropologija Znanstvena grana: Etnologija Mentor: doc. dr. Andrea Matošević Pula, ožujak 2017. IZJAVA O AKADEMSKOJ ČESTITOSTI Ja, dolje potpisani Maja Mirković, kandidat za magistra Kulture i turizma ovime izjavljujem da je ovaj Diplomski rad rezultat isključivo mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na objavljenu literaturu kao što to pokazuju korištene bilješke i bibliografija. Izjavljujem da niti jedan dio Diplomskog rada nije napisan na nedozvoljen način, odnosno da je prepisan iz kojega necitiranog rada, te da ikoji dio rada krši bilo čija autorska prava. Izjavljujem, također, -
An Anthropology of Science, Magic and Expertise Semester 1, Alan Turing Building, G.107 Credits 20 (UG) 15 (PG)
FACULTY OF HUMANITIES SCHOOL OF SOCIAL SCIENCES SOCIAL ANTHROPOLOGY COURSE UNIT OUTLINE 2018/19 SOAN 30051/60051: An Anthropology of Science, Magic and Expertise Semester 1, Alan Turing Building, G.107 Credits 20 (UG) 15 (PG) Course Convener: Professor Penelope Harvey Lecturers: Penny Harvey and Vlad Schuler Room: (Penny Harvey) 2.058 Arthur Lewis Building. Telephone: 275-8985 Email: [email protected] [email protected] Office Hours: (Penny Harvey) Mondays 3-4pm (Vlad Schuler) TBC Administrators: UG Kellie Jordan, UG Office G.001 Arthur Lewis Building (0161) 275 4000 [email protected] PG Vickie Roche, 2.003, Arthur Lewis building (0161) 275 3999 [email protected] Lectures: Monday 9.00 - 11.00 am Alan Turing Building, G.107 Tutorials: Allocate yourself to a tutorial group using the Student System Assessment: Short reports (500 words) x 3 = 10% 1000 word Book review = 20% 3000 word Assessed essay = 70% PGT (MA students) 4000 word Assessed essay = 100% Due Dates: Short report 1 - Friday 19th October 2pm Short report 2 - Friday 16th November 2pm Short report 3 - Friday 7th December 2pm 1 Book review - Friday 9th November 2pm Final essay date – Monday 14th January 2pm PGT (MA students) – Monday 14th January 2pm Please read the following information sheet in the Assessment Section on Blackboard, in connection with Essays and Examinations: INSTRUCTIONS FOR SOCIAL ANTHROPOLOGY UNDERGRADUATE ESSAYS AND COURSEWORK Reading week: 29th October – 2nd November 2018 Communication: Students must read their University e-mails regularly, as important information will be communicated in this way. Please read this course outline through very carefully as it provides essential information needed by all students attending this course. -
History Sydney Film Festival
HISTORY OF THE SYDNEY FILM FESTIVAL 1954 - 1983 PAULINE WEBBER MASTER of ARTS FACULTY OF HUMANITIES AND SOCIAL SCIENCES 2005 For John and David ACKNOWLEDGEMENTS I would like to thank David Donaldson, Valwyn Wishart, John Baxter, Dorothy Shoemark, Tony Buckley, David Stratton and many others involved in the SFF during its formative years who gave generously of their time and knowledge during the preparation of this thesis. I am especially grateful to Trish McPherson, who entrusted me with the SFF memorabilia of her late husband, Ian McPherson. Thanks also to my supervisor, Professor Elizabeth Jacka, for her enthusiasm and support, and to Associate Professor Paul Ashton and Raya Massie who undertook to read the final draft and who offered invaluable advice. TABLE OF CONTENTS Table of Abbreviations i Sydney Film Festival: A Chronology 1954-1983 ii Abstract vi Introduction 1 An International Context; A Local Context Chapter One Art Form of a Generation: The Early Years 1954-1961 18 Reinventing Australia: 1946-1954; Connections and Divisions; Olinda 1952; From Concept to Reality; The First Festival; The Festival Takes Shape; Is it Here? Does it Look like Arriving?; Here to Stay; From Crisis to Cohesion Chapter Two Expansion and Consolidation: 1962-1975 57 Coming of Age; The Times They Are A-Changin’: 1962-1967; The Proliferation of Unacceptable Thoughts; Communal Rapture: The Start of the Stratton Era; The Anxious Years: 1968-1972; Throwing Down the Gauntlet; Going Global; The Festival at the Top of its Form; The Best and the Most Interesting; A Rising Clamour to be Seen and Heard Chapter Three Beguiling Times: The SFF and Australian Cinema 121 The Old and the New; The Film Buffs, the Festival People, the Trendies, the Underground; The Short Film Awards; A Thrilling New Wave: The Film Revival and After Chapter Four Change and New Directions: 1976-1983 149 A Lean Operation; Some of the People, Some of the Time; Backing Winners; Old Problems, New pressures; A Sort of Terrible Regression; The Last of the Stratton Years; 1983; 1984: Brave New World. -
Australian Aboriginal Oral Traditions
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace Oral Tradition 1/2 (1986): 231-71 Australian Aboriginal Oral Traditions Margaret Clunies Ross 1. Aboriginal Oral Traditions A History of Research and Scholarship1 The makers of Australian songs, or of the combined songs and dances, are the poets, or bards, of the tribes, and are held in great esteem. Their names are known in the neighboring tribes, and their songs are carried from tribe to tribe, until the very meaning of the words is lost, as well as the original source of the song. It is hard to say how far and how long such a song may travel in the course of time over the Australian continent. (Howitt 1904:414) In 1988 non-Aboriginal Australians will celebrate two hundred years’ occupation of a country which had previously been home to an Aboriginal population of about 300,000 people. They probably spoke more than two hundred different languages and most individuals were multilingual (Dixon 1980). They had a rich culture, whose traditions were centrally concerned with the celebration of three basic types of religious ritual-rites of fertility, initiation, and death (Maddock 1982:105-57). In many parts of Australia, particularly in the south where white settlement was earliest and densest, Aboriginal traditional life has largely disappeared, although the memory of it has been passed down the generations. Nowadays all Aborigines, even in the most traditional parts of the north, such as Arnhem Land, are affected to a greater or lesser extent by the Australian version of Western culture, and must preserve their own traditions by a combination of holding strategies. -
Dialogue and Indigenous Policy in Australia
Dialogue and Indigenous Policy in Australia Darryl Cronin A thesis in fulfilment of the Requirements for the degree of Doctor of Philosophy Social Policy Research Centre Faculty of Arts & Social Sciences September 2015 ABSTRACT My thesis examines whether dialogue is useful for negotiating Indigenous rights and solving intercultural conflict over Indigenous claims for recognition within Australia. As a social and political practice, dialogue has been put forward as a method for identifying and solving difficult problems and for promoting processes of understanding and accommodation. Dialogue in a genuine form has never been attempted with Indigenous people in Australia. Australian constitutionalism is unable to resolve Indigenous claims for recognition because there is no practice of dialogue in Indigenous policy. A key barrier in that regard is the underlying colonial assumptions about Indigenous people and their cultures which have accumulated in various ways over the course of history. I examine where these assumptions about Indigenous people originate and demonstrate how they have become barriers to dialogue between Indigenous people and governments. I investigate historical and contemporary episodes where Indigenous people have challenged those assumptions through their claims for recognition. Indigenous people have attempted to engage in dialogue with governments over their claims for recognition but these attempts have largely been rejected on the basis of those assumptions. There is potential for dialogue in Australia however genuine dialogue between Indigenous people and the Australian state is impossible under a colonial relationship. A genuine dialogue must first repudiate colonial and contemporary assumptions and attitudes about Indigenous people. It must also deconstruct the existing colonial relationship between Indigenous people and government. -
The Big Picture
The igicture b p The Gurindji people lived in the Victoria River country in the Northern Territory for thousands of years. In 1883, Europeans came and set up Wave Hill cattle station on Gurindji land. The traditional owners had nowhere to live and their hunting grounds were destroyed by the cattle. To survive, they took jobs on cattle stations as house servants and stockmen. Indigenous workers were treated like slaves. They could not leave the cattle stations and often worked without pay. In 1914, Wave Hill cattle station was taken over by the Vestey Pastoral Wave Hill cattle station Company, owned by English millionaire Lord Vestey. The company made is about 600 kilometres huge profits by paying Indigenous workers flour and beef instead of money. south of Darwin in the Indigenous families at Wave Hill lived in iron huts with dirt floors and no Northern Territory. lights, running water or toilets. There were no schools or health clinics. On 22 August 1966, more than 200 men, Wave Hill cattle station was set up on the traditional lands of the Gurindji people, who had lived there for women and childrenEyewitness words thousands of years before European settlement. of the Gurindji peopleBilly Bunter Jampijinpa Unfair pay packed their belongingsBilly Bunter Jampijinpa was 16 at the time of By 1966, the Vestey Pastoral Company the walkout. About living conditions at Wave had leased about 16 000 square and walked off HillWave cattle station, he said: kilometres of Northern Territory land We were treated just and employed more than 30 000 Hill cattle station in the people worldwide. -
Learning Through Country: Competing Knowledge Systems and Place Based Pedagogy’
'Learning through Country: Competing knowledge systems and place based pedagogy’ William Patrick Fogarty 2010 'Learning through Country: Competing knowledge systems and place based pedagogy’ A thesis submitted for the degree of Doctor of Philosophy of The Australian National University William Patrick Fogarty September 2010 DECLARATION OF AUTHORSHIP I, William Patrick Fogarty, declare that this thesis contains only my original work except where due acknowledgement has been made in the text. This thesis contains an extract from a jointly authored paper (Fordham et al. 2010) which I made an equal contribution to and is used here with the express permission of the other authors. This thesis does not exceed 100,000 words in length, exclusive of footnotes, tables, figures and appendices. Signature:………………………………………………………… Date:……………………… Table of Contents LIST OF TABLES, FIGURES AND PHOTOGRAPHS..................................................................III ACKNOWLEDGEMENTS……………………………………………………………………………V DEDICATION .................................................................................................................................... VII ABSTRACT ...................................................................................................................................... VIII LIST OF ACRONYMS.........................................................................................................................X CHAPTER 1 INTRODUCTION AND METHOD ..............................................................................1