Les Actes De Colloques Du Musée Du Quai Branly Jacques Chirac, 4
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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. -
A Study of Post-Revolutionary South Carolina Legislation, 26 Vanderbilt Law Review 939 (1973) Available At
Vanderbilt Law Review Volume 26 Issue 5 Issue 5 - October 1973 Article 2 10-1973 American Independence and the Law: A Study of Post- Revolutionary South Carolina Legislation James W. Ely, Jr. Follow this and additional works at: https://scholarship.law.vanderbilt.edu/vlr Part of the State and Local Government Law Commons Recommended Citation James W. Ely, Jr., American Independence and the Law: A Study of Post-Revolutionary South Carolina Legislation, 26 Vanderbilt Law Review 939 (1973) Available at: https://scholarship.law.vanderbilt.edu/vlr/vol26/iss5/2 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Law Review by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. American Independence and the Law: A Study of Post-Revolutionary South Carolina Legislation James W. Ely, Jr.* Joseph Brevard, a South Carolina judge, observed in 1814 that "the laws of a country form the most instructive portion of its his- tory."' Certainly the successive printed collections of state statutes are among the most reliable and readily available sources for early American legal history.2 While statutes on their face do not reveal * Assistant Professor of Law, Vanderbilt University. Member, Bar of State of New York. A.B. 1959, Princeton University; LL.B. 1962, Harvard Law School; Ph.D. 1971, Univer- sity of Virginia. 1. 1 J. BREVARD, AN ALPHABETICAL DIGEST OF THE PUBLIC STATUTE LAW OF SOUTH CARO- LINA ix (1814). Brevard (1766-1821) served as a circuit court judge from 1801 to 1815 and thereafter spent 4 years as a member of Congress. -
THE CORRESPONDENCE of ISAAC CRAIG DURING the WHISKEY REBELLION Edited by Kenneth A
"SUCH DISORDERS CAN ONLY BE CURED BY COPIOUS BLEEDINGS": THE CORRESPONDENCE OF ISAAC CRAIG DURING THE WHISKEY REBELLION Edited by Kenneth A. White of the surprisingly underutilized sources on the early history Oneof Pittsburgh is the Craig Papers. Acase inpoint is Isaac Craig's correspondence during the Whiskey Rebellion. Although some of his letters from that period have been published, 1 most have not. This omission is particularly curious, because only a few eyewitness ac- counts of the insurrection exist and most ofthose were written from an Antifederalist viewpoint. These letters have a value beyond the narration of events, how- ever. One of the questions debated by historians is why the federal government resorted to force to put down the insurrection. Many have blamed Alexander Hamilton for the action, attributing it to his per- sonal approach to problems or to his desire to strengthen the central government. 2 These critics tend to overlook one fact : government officials make decisions based not only on their personal philosophy but also on the facts available to them. As a federal officer on the scene, Craig provided Washington and his cabinet with their informa- Kenneth White received his B.A. and M.A.degrees from Duquesne Uni- versity. While working on his master's degree he completed internships with the Adams Papers and the Institute of Early American History and Culture. Mr. White is presently working as a fieldarchivist for the Pennsylvania His- torical and Museum Commission's County Records Survey and Planning Study.— Editor 1 Portions of this correspondence have been published. For example, all or parts of six of these letters appeared in Harold C. -
Examination of Otis T. Mason's Standard of Authenticity| Salvage Ethnography and Indian Baskets at the Smithsonian Institution
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2002 Examination of Otis T. Mason's standard of authenticity| Salvage ethnography and Indian baskets at the Smithsonian Institution Zachary T. Androus The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Androus, Zachary T., "Examination of Otis T. Mason's standard of authenticity| Salvage ethnography and Indian baskets at the Smithsonian Institution" (2002). Graduate Student Theses, Dissertations, & Professional Papers. 2282. https://scholarworks.umt.edu/etd/2282 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. **Please check "Yes" or "No" and provide signature** Yes, I grant permission __ No, I do not grant permission __ Author's Signature; Date: Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 An Examination of Otis T. Mason’s Standard of Authenticity; Salvage Ethnography and Indian Baskets at the Smithsonian Institution by Zachary T. -
Photographic Presence in New Mexico
Past, Present and Future: Photographic Presence in New Mexico Devorah Romanek A thesis submitted for the degree of Doctor of Philosophy in Anthropology, Department of Anthropology, University College London (UCL), 2019 I, Devorah Romanek Confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. Photograph on frontispiece: Will Wilson (2012). “Zig Jackson, Citizen of the Mandan, Hidatsa, and Arikara Nation, Professor of Photography, Savannah College of Art and Design.” Label text from the 2013 exhibition Toward a Critical Indigenous Photographic Exchange: Will Wilson’s CIPX at the Maxwell Museum of Anthropology, University of New Mexico: “Critical Indigenous Photographic Exchange, New Mexico Museum of Art, Santa Fe Indian Market, 2012. Archival pigment print from wet plate collodion scan. Jackson takes a picture of an Indian taking a picture of an Indian as Andrew Smith protects his soul from theft.” Photo credit: © Will Wilson, courtesy of the artist. ii Abstract This thesis investigates the relationship between historical ethnographic photographs of Native Americans, their disposition in archives and collections, and the relationship of those images to their contemporary circulation and use by Native American artists, and others, particularly in New Mexico. Having undertaken original research into mid-19th century photographs in archives internationally, pertaining to Native America in the American Southwest, new histories and a re- framing of the photographs in question has been assembled. This portion of the research was undertaken both as a starting point for further investigation, and as a return to the people of New Mexico, particularly the Indigenous inhabitants of that place. -
Presentation Tile
Authentic and engaging artist-led Education Programs with Thomas Readett Ngarrindjeri, Arrernte peoples 1 Acknowledgement 2 Warm up: Round Robin 3 4 See image caption from slide 2. installation view: TARNANTHI featuring Mumu by Pepai Jangala Carroll, 2015, Art Gallery of South Australia, Adelaide; photo: Saul Steed. 5 What is TARNANTHI? TARNANTHI is a platform for Aboriginal and Torres Strait Islander artists from across the country to share important stories through contemporary art. TARNANTHI is a national event held annually by the Art Gallery of South Australia. Although TARNANTHI at AGSA is annual, biannually TARNANTHI turns into a city-wide festival and hosts hundreds of artists across multiple venues across Adelaide. On the year that the festival isn’t on, TARNANTHI focuses on only one feature artist or artist collective at AGSA. Jimmy Donegan, born 1940, Roma Young, born 1952, Ngaanyatjarra people, Western Australia/Pitjantjatjara people, South Australia; Kunmanara (Ray) Ken, 1940–2018, Brenton Ken, born 1944, Witjiti George, born 1938, Sammy Dodd, born 1946, Pitjantjatjara/Yankunytjatjara people, South Australia; Freddy Ken, born 1951, Naomi Kantjuriny, born 1944, Nyurpaya Kaika Burton, born 1940, Willy Kaika Burton, born 1941, Rupert Jack, born 1951, Adrian Intjalki, born 1943, Kunmanara (Gordon) Ingkatji, c.1930–2016, Arnie Frank, born 1960, Stanley Douglas, born 1944, Maureen Douglas, born 1966, Willy Muntjantji Martin, born 1950, Taylor Wanyima Cooper, born 1940, Noel Burton, born 1994, Kunmanara (Hector) Burton, 1937–2017, -
Franz Boas's Legacy of “Useful Knowledge”: the APS Archives And
Franz Boas’s Legacy of “Useful Knowledge”: The APS Archives and the Future of Americanist Anthropology1 REGNA DARNELL Distinguished University Professor of Anthropology University of Western Ontario t is a pleasure and privilege, though also somewhat intimidating, to address the assembled membership of the American Philosophical ISociety. Like the august founders under whose portraits we assemble, Members come to hear their peers share the results of their inquiries across the full range of the sciences and arenas of public affairs to which they have contributed “useful knowledge.” Prior to the profes- sionalization of science in the late 19th and early 20th centuries, the boundaries between disciplines were far less significant than they are today. Those who were not experts in particular topics could rest assured that their peers were capable of assessing both the state of knowledge in each other’s fields and the implications for society. Benjamin Franklin, Thomas Jefferson, and George Washington were all polymaths, covering what we now separate into several kinds of science, humanities, and social science in ways that crosscut one another and illustrate the permeability of disciplinary boundaries. The study of the American Indian is a piece of that multidisciplinary heri- tage that constituted the APS and continues to characterize its public persona. The Founding Members of the Society all had direct and seminal experience with the Indians and with the conflict between their traditional ways of life and the infringing world of settler colonialism. On the one hand, they felt justified in exploiting Native resources, as surveyors, treaty negotiators, and land speculators. On the other hand, the Indians represented the uniqueness of the Americas, of the New World that defined itself apart from the decadence of old Europe. -
The Essential Introduction to Aboriginal Art (25 Facts)
INTRODUCTION TO ABORIGINAL ART INTRODUCTION TO THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) Authors Jilda Andrews, Fenelle Belle, Nici Cumpston and Lauren Maupin The Art Gallery of South Australia acknowledges and pays respect to the Kaurna people as the Traditional Custodians of the land on which the Gallery stands. Aboriginal and Torres Strait Islander people are respectfully advised that this publication may contain the names of people who have passed away. INTRODUCTION TO ABORIGINAL ART ABORIGINAL TO INTRODUCTION THE ESSENTIAL INTRODUCTION TO ABORIGINAL ART (25 FACTS) artgallery.sa.gov.au/learning There’s a lot of misinformation out there about Aboriginal and Torres Strait Islander peoples and art. That’s why this guide was created, in collaboration with leading Aboriginal curators. | Learning at the Gallery | Art Gallery of South Australia Aboriginal and Torres Strait Islander art and culture is In our increasingly globalised world, this ability to the oldest continuous tradition on the planet. In recent speak across cultural borders without forsaking decades it has also emerged as one of the world’s most any of its distinctive identity makes Aboriginal and important contemporary art movements. Whether on Torres Strait Islander art some of the most innovative bark, canvas or in new media, Aboriginal and Torres and challenging contemporary art being produced Strait Islander artists have used art to express the power anywhere today. and beauty of their culture, across cultures: to show their enduring connection to, and responsibility for, ancestral lands and the continuity of their identities and beliefs. image: Daniel Boyd, Kudjla/Gangalu peoples, far north Queensland, born 1982, Cairns, Queensland, Treasure Island, 2005, Canberra, oil on canvas, 192.5 x 220.0 cm; Purchased 2006, National Gallery of Australia, Canberra, Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney. -
1St COLLEEX WORKSHOP Book of Abstracts
colleex.wordpress.com 1st COLLEEX WORKSHOP Book of Abstracts 13th - 15th July 2017 Jardim Botânico Tropical Lisbon Ethnographic Experimentation Fieldwork Devices and Companions First International Workshop of the #Colleex Collaboratory for Ethnographic Experimentation, an EASA network 1 Cover image credits Wearable Chairs CC BY Gianni Pettena Taken from https://commons.wikimedia.org/wiki/File:WEARABLE_CHAIRS.jpg Organised by #Colleex – Collaboratory for Ethnographic Experimentation, an EASA network Instituto de Ciências Sociais (ICS), Universidade de Lisboa EBANO Collective – Ethnography-Based Art Nomad Organisation, Lisbon Supported by European Association of Social Anthropologists (EASA) ICS-Ulisboa GI Identidades, Culturas, Vulnerabilidades (UID/SOC/50013/2013) Jardim Botânico Tropical, Museu Nacional de História Natural e da Ciência (MUNHAC), Universidade de Lisboa Professorship for Participatory Technology Design, MCTS, TU Munich Organising Committee Eeva Berglund, independent scholar Francesca De Luca, ICS, ULisboa Adolfo Estalella, Spanish National Scientific Council Anna Lisa Ramella, Locating Media, University of Siegen Chiara Pussetti, ICS, ULisboa Tomás Sánchez Criado, MCTS, TU Munich 2 Ethnographic Experimentation: Fieldwork Devices and Companions “Fieldwork is not what it used to be” (Faubion and Marcus, 2009). The investiga- tion of previously ignored social domains and the incorporation of new sensibilities beyond its typically verbal or visual conventions, have expanded ethnography: An- thropologists now engage in novel forms of relationship and intervention, and enter into heterodox exchanges with other disciplines like arts and design. The invocation of experimentation in fieldwork is part of this widened exploration of new ethno- graphic modalities that reshape the norm and form of fieldwork. Recent invocations of experimentation in ethnographic projects are not mere- ly a metaphorical gesture. -
Hdl 67064.Pdf
1 2 INDIGENOUS DESIGN ISSUES: CHRISTIES BEACH ABORIGINAL CHILDREN AND FAMILY CENTRE ___________________________________________________________________________________ TABLE OF CONTENTS PREFACE .................................................................................................................................. 5 ACKNOWLEDGEMENTS .......................................................................................................... 5 INTRODUCTION ....................................................................................................................... 5 PART 1: PRECEDENTS AND „BEST PRACTICE‟ DESIGN ................................................... 10 The Design of Early Learning, Child- care and Children and Family Centres for Aboriginal People ........................................................................................................ 10 Conceptions of Quality ............................................................................................... 10 Precedents: Pre-Schools, Kindergartens, Child and Family Centres ......................... 12 Kulai Aboriginal Preschool ............................................................................ 12 The Djidi Djidi Aboriginal School ................................................................... 13 Waimea Kohanga Reo Victory School .......................................................... 15 Mnjikaning First Nation Early Childhood Education Centre........................... 16 Native Child and Family Services of Toronto ............................................... -
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,