DOCSLIB.ORG

Gender and Agency in an All-Girl Southern Folk Band

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gender and Agency in an All-Girl Southern Folk Band Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2019 The Krickets: Gender and Agency in an ACailtlly-n GLigihrtlle Southern Folk Band Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES THE KRICKETS: GENDER AND AGENCY IN AN ALL-GIRL SOUTHERN FOLK BAND By CAITLYN LIGHTLE A Thesis submitted to the Department of Anthropology in partial fulfillment of the requirements for the degree of Master of Arts 2019 Caitlyn Lightle defended this thesis on April 5, 2019. The members of the supervisory committee were: Vincent Joos Professor Directing Thesis Kristin Dowell Committee Member Jayur Mehta Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGMENTS I would first like to thank my thesis committee, Dr. Vincent Joos, Dr. Kristin Dowell, and Dr. Jayur Mehta at Florida State University. Thank you to all of you for your support when I told you I wanted to make a film and for your continued encouragement in this process. I would especially like to thank Dr. Kristin Dowell for making me a better filmmaker, and being as excited about this project as I was. She steered me in the right direction but always reminded me this was my project and my passion fueling it. I would also like to acknowledge the Department of Anthropology and the Department of Art History, specifically Dr. Kristin Dowell, who provided the equipment and support needed to create the accompanying film. As well, to my fellow graduate students who were supportive and helpful during the long process of fieldwork and who endured my need for feedback during the editing process. I would also like to thank the scholars whose work contributed to this project and the filmmakers who inspired it. I must also express my profound gratitude to my family and friends for providing me with unfailing support and continuous encouragement throughout my time in the Master’s program and through the process of researching, filming, editing, and writing this thesis. Finally, I have unending gratitude for the women without whom this project would not exist. To the women of The Krickets; Lauren Spring, Emily Stuckey, Katrina Kolb, Amanda Kolb, and Melissa Bowman, thank you for your incredible encouragement and trust. This accomplishment would not have been possible without you all. Thank you. iii TABLE OF CONTENTS Abstract ............................................................................................................................................v 1. INTRODUCTION ......................................................................................................................1 2. METHODS: FILM TREATMENT ............................................................................................4 3. LITERATURE REVIEW .........................................................................................................15 4. DISCUSSION AND ANALYSIS .............................................................................................29 5. CONCLUSIONS .......................................................................................................................37 APPENDICES ...............................................................................................................................40 A. IRB EXEMPTION ....................................................................................................................40 B. VIDEO RELEASE FORMS .....................................................................................................41 C. FILM ONE SHEET ..................................................................................................................46 References ......................................................................................................................................47 Biographical Sketch .......................................................................................................................53 iv ABSTRACT This thesis examines the intersection between culture-based social structure and individual agency in all-girl Southern folk band The Krickets. By utilizing practice theory we are able to understand the relationship of the individual to their inherent social rules and then compensate for individual action opposing those rules. Through the action of musical performance The Krickets express their connection to a Southern culture and act against the cultural expectations of femininity therein. In studying The Krickets we can understand how notions of femininity, Southern culture, and folk music intersect to create their individual identities, which both adhere to and subvert their cultural structures. This thesis is also accompanied by a film entitled “The Krickets”, which follows the band while they write, record, and release their sophomore album. By utilizing video ethnography as a methodology and practicing ethical feminist approaches to anthropology we can understand how The Krickets grapple with concepts of cultural identity verses personal identity. v CHAPTER 1 INTRODUCTION Problem Orientation: The aim of this thesis is to identify how all-girl band The Krickets, challenges so-called ‘traditional’ Southern gender roles through musical performance. This study will utilize practice theory, feminist theory, and documentary film ethics in order to represent the complexity of these women’s lives and understand how musical performance both represents their cultural structures of women’s roles while subverting them through the action of individual agency. The problem this project will focus on is how certain themes of gender, music, and notions of Southern culture function to create a social identity for this band. The analysis will endeavor to understand the dichotomy between cultural identity and individual identity and how The Krickets navigate these concepts. Not only can this research give insight into the niche area of Southern culture and music, but it can also provide an example of how these women interact with their culturally constructed ideas of what it means to be a woman in this era of fourth wave feminism (Munro 2013). This study will address how individual agency and social structure interact in these subjects. The importance of this study focuses on an application of ethnomusicological theory (Blacking 1974; Hood 1982; Merriam 1964), feminist theory (Abu-Lughod 1990; Butler 2011; Munro 2013; Rosaldo 1980; Walker 2001), practice theory (Bourdieu 1977; De Certeau 1998; Giddens 1979; Ortner 1984; Sahlins 2013), and film theory (Asch 1992; Columpar and Mayer 2009; Grimshaw 2001; Heider 2006; Loizos 1993; Pink 2007; Ruby 2000), in order to understand the construction of identity as it relates to music, gender, and the South. The reasons for this theoretical focus stem from postmodern approaches to identifying the voice of the subject and ensuring their accurate representation (Abu-Lughod 1992; Asch 1992; Clifford 1986). This study will shed a light on a population rarely viewed in anthropology, it will serve as insight into the connection between concepts of inherent cultural rules and individual control, and because it will encourage ethnographic film as thorough and ethical methodology in data collection. The 1 motifs and the theoretical approaches used to analyze this data will function together in order to create a complete study of an all-girl folk band and explain why this band is an appropriate example of women’s gendered identities and their expression in the music industry. A major part of the value of this research has to do with its focus on an all-girl band in the American South. The Krickets exemplify the topics this study will focus on—the band represents four women from rural Florida and Alabama who maintain feminine roles and gender identifications, play traditionally Southern folk music, and were brought up in culturally Southern homes. Rooted in place and culturally defined, these women serve as examples of the typical southern woman (Beaver 1988). At the same time however, they also subvert these ideals in their musical expression, which is a function of their individual agency and rejection of cultural norms. For the purposes of this project The Krickets have been selected as the sole case study. It is my belief as the ethnographer that this study can benefit more from a detailed analysis of one population that adheres well to the themes of the research project than to analyze multiple case studies that may not be wholly relevant to the themes at hand. Goals and Hypothesis: The central hypothesis of this research is that by studying an all-girl Southern folk band we can identify how culturally constructed gendered identities are both created and challenged in the action of musical performance. How do institutions like gender and cultural custom shape the creation of music? The goal of this work is to gain insight into the phenomenon of culture verses the individual and its application through music. How does the band represent themes of femininity, southern culture, and folk music in lyrics, instrumentation, and even in aspects of their personal lives? This research will determine more specifically the role of these motifs as structuring agents in the lives of these women. It is the conviction of this study that exploring
Load more

Recommended publications
  • Digital-Visual Stakeholder Ethnography Sarah Pink, Kerstin
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by UCL Discovery Digital-Visual Stakeholder Ethnography Sarah Pink, Kerstin Leder Mackley, Nadia Astari and John Postill Abstract In this article we discuss how new configurations of stakeholders are implicated and can be conceptualised in digital-visual applied and public ethnography. We set the discussion in the context of the increasing calls for researchers to have impact in the world, and the ways that digital technologies are increasingly implicated in this. In doing so we situate ethnographic practice and stakeholder relationships within a digital-material world. To develop our argument we discuss examples of two recent digital video ethnography projects, developed in dialogue with anthropological theory, with online digital-visual applied and public dissemination outputs. As we show, such projects do not necessarily have one direct applied line, but rather can have multiple impacts across different groups of stakeholders. Keywords Digital ethnography; visual ethnography; applied practice; stakeholders in research; environmental sustainability; impact. Introduction In a context of ‘digital materiality’, whereby the digital and material can no longer be seen as separate elements of our everyday environments and practice (Pink, Ardevol and Lanzeni 2016) new forms of applied and public scholarship and practice are emerging. On the one hand, there are calls for academic researchers to have impact in the world, and on the other the possibilities of digital and visual technologies for ethnographic practice. We argue that attention to these shifts offers new possibilities for how we can understand and activate potential forms of impact for and with stakeholders, through new interdisciplinary theory-practice interfaces.
    [Show full text]
  • Download Download
    FORUM : QUALITATIVE Volume 9, No. 2, Art. 58 S O C IA L R ES EA RC H May 2008 S OZIALFORS CHUNG Performative Social Science: A Consideration of Skills, Purpose and Context Brian Roberts Key words: Abstract: This article reviews recent work applying a notion of "performance" in the study and rep- performance, resentation of lives. It tries to clarify some of the issues involved—including the meaning of "perfor- performative turn, mance"—and "performative"—the range of possible approaches (e.g., in addition to drama—other performance arts) and the relationship between "subjects", "researcher" and "audience". An immediate concern studies is the nature of the researcher—as having the necessary skills and abilities or knowledge involved in "performance" (in researching, writing, recording and representing), as engaged (to some extent) in "artistic" endeavour, and moving between a number of "roles" and social relations in "performing" with/to others (the "researched" group, audience and society). An important issue for social science in crossing or bridging the social science-arts, in taking up "performative approaches", is "What re- mains distinctive about the social science if it becomes involved with performance approaches?" As a source for comparison (and inspiration), some brief reference will be made to the work of KANDIN- SKY—who moved across disciplinary boundaries and artistic practices—as ethnographer, painter, teacher, designer, theorist and poet. Finally, perhaps, there is a deeper "turn" indicated by the "turn to performance" in the study of lives, a more "complete" portrait of the individual as an active, communicative and sensual being. Table of Contents 1.
    [Show full text]
  • FULLTEXT01.Pdf
    International Journal of Communication 14(2020), 2120–2143 1932–8036/20200005 Communicating Academic Knowledge Beyond the Written Academic Text: An Autoethnographic Analysis of the Mirror Palace of Democracy Installation Experiment NICO CARPENTIER1 Charles University, Czech Republic Vrije Universiteit Brussel, Belgium Uppsala University, Sweden The article first discusses five approaches that aim to transcend, complement, or overturn the hegemony of the written academic text. These five approaches are (1) the cluster of science communication, science popularization, and knowledge dissemination; (2) the cluster of knowledge exchange, and participatory, transformative, and interventionist (action) research; (3) multimodal academic communication; (4) the cluster of visual anthropology and visual sociology; and (5) arts-based research. As each approach deals with (overcoming) the hegemony of the written academic text differently, the first part of the article details these approaches. In the second part, the Mirror Palace of Democracy installation experiment, which had the explicit objective of moving beyond the written academic text while still remaining in the realm of academic knowledge communication, is autoethnographically analyzed. The experiment allowed reflection on the integrated and iterative nature of academic communication, on the hybrid academic–artistic identity, and on the diversification of publics. Both the theoretical discussion on the five approaches and the Mirror Palace of Democracy installation are part of a call for
    [Show full text]
  • ESRC National Centre for Research Methods Review Paper
    ESRC National Centre for Research Methods Review Paper Introducing Visual Methods Jon Prosser, University of Leeds, UK Andrew Loxley, Trinity College, University of Dublin, Eire October 2008 National Centre for Research Methods NCRM Review Papers NCRM/010 Introducing Visual Methods Contents 1. Introduction 2. Early research data 3. Researcher-created visual data The positivist-interpretivist continuum Empirically framed researcher-created visual data Interpretivist-framed researcher-created visual data Image making in practice 4. Respondent-generated visual data Photo-elicitation Graphical elicitation Respondents with cameras Creative methods Arts-based research methods 5. Visual methods and research design Criminal identikits Reading surfaces 6. The visual as representation Visual representation of word and number research Visual representation of visual research 7. Visual ethics in context Ethics policy: some concerns about gatekeepers and their gates Visual ethics within word-oriented research ethics world Situated visual ethics Summary Notes Filmography References Introducing Visual Methods Abstract Over the last two decades there has been a global surge in interest in visual research methods. Word and number-based researchers are coming to realise there is considerable potential for gaining knowledge if image-based methodologies are adopted. This paper provides and overview of approaches and perspectives broken down into five easily digested sections to be consumed wholly or in part: early visual research; researcher created data; respondent created data; research design; and visual ethics. The paper will be of particular interest to qualitative social scientists new to visual methods or those with little experience of their application. A wide range of carefully selected references and resources are included to provide the reader with further in-depth insights.
    [Show full text]
  • Conservation of Dance Music “Awhui” and Ethnic Identity Among Lahu Na Shehleh of Northern Thailand
    Studies on Asia Dance or Change Your Religion: Conservation of Dance Music “Awhui” and Ethnic Identity Among Lahu Na Shehleh of Northern Thailand Jaquetta Hill, Nannaphat Saenghong, and Kate Grim-Feinberg1 University of Illinois, Champaign-Urbana This article has two parts. Part I introduces the culture of the people of the five Lahu Na Shehleh villages of Northern Thailand with their growing recognition of the problem of cultural loss, especially of their practice of music and dance, that in conjunction with key rituals, sustains their social and political solidarity, their good health system, and their sense of identity. Part I also presents an account of two anthropologists‟ solution to their lack of training as ethnomusicologists and ethnochoreologist, by becoming specialists in capture, collecting field audio and video recordings in forms usable by music and dance scholars back on their campus. Part II presents in some detail the results of recursive teamwork across specialist boundaries in fundamental discoveries about how the Lahu system functions. It also addresses the possible place of the scholarly work in the villagers‟ current motivation to organize cultural conservation that will address their problem of cultural loss. 1 Acknowledgment: Research and startup field work for this article was funded in part by the Center for East Asia and Pacific Studies at the University of Illinois. We thank those who participated and contributed to the research at different times over its several years of iduration: Patricia Howard, PhD., now Instructor at the University of Kentucky; Valarie Barske, PhD., University of Wisconsin, Steven‟s Point; Sarah Mosher, M. A., for ethnomusicology expertise; Patrick McCall for German translations and musical knowledge; and Prof.
    [Show full text]
  • Field Methods in Linguistic Anthropology ANTH 305 - Spring 2016 Tuesdays 4:00-6:30 Pm; Bailey 110
    Field Methods in Linguistic Anthropology ANTH 305 - Spring 2016 Tuesdays 4:00-6:30 pm; Bailey 110 Instructor Jennifer R. Guzmán, PhD Office hours Bailey 108, Mondays 2:30-4:00, Tuesdays 12:45-2:15, and by appointment. Feel free to visit office hours to discuss any questions you have about course content, assignments, or your academic progress. Email [email protected]. Feel free to email questions that can be answered briefly. If you have a complex question or situation, please visit me during office hours. I read e- mail Monday-Friday. Allow 1-2 days for a response. When sending email, include ANTH 305 and a topic in the subject line. Office Phone (585) 245-5174 Course TA Angus McCrumb ([email protected]) Course description This course introduces students to the field methods that sociolinguists, applied linguists, and linguistic anthropologists use to document language use in situ. Students will learn the basic steps in developing a research question and building competencies in field methods that include: participant observation, field note taking, mapping spaces, photography, videography, interviewing, transcription, and basic analysis. A one-day workshop will introduce students to elicitation methods that are used by documentation linguists in the field. Students will learn how to look and listen, to analyze what they see and hear, and then how to present their findings through various presentation media. Through discussion of course readings and the experience of carrying out a project, students will explore, as holistically as possible, how communities use language and other semiotic resources in their everyday interactions to organize their worlds and construct meaning in their lives.
    [Show full text]
  • Doing Visual Ethnography
    Doing visual ethnography 2 Planning and Practising ‘Visual Methods’: Appropriate Uses and Ethical Issues Contributors: Pink Sarah Book Title: Doing visual ethnography Chapter Title: "2 Planning and Practising ‘Visual Methods’: Appropriate Uses and Ethical Issues" Pub. Date: 2007 Access Date: January 08, 2014 Publishing Company: SAGE Publications, Ltd City: London Print ISBN: 9781412923484 Online ISBN: 9780857025029 DOI: http://dx.doi.org/10.4135/9780857025029.d5 Print pages: 40-63 This PDF has been generated from SAGE Research Methods. Please note that the pagination of the online version will vary from the pagination of the print book. Tufts University PARENT Copyright ©2014 SAGE Research Methods http://dx.doi.org/10.4135/9780857025029.d5 [p. 40 ↓ ] 2 Planning and Practising ‘Visual Methods’: Appropriate Uses and Ethical Issues Why use visual methods? It is impossible to predict, and mistaken to prescribe, precise methods for ethnographic research. Similarly, it would be unreasonable to ‘require that visual methods be used in all contexts’. Rather, as Morphy and Banks have suggested, ‘they should be used where appropriate, with the rider that appropriateness will not always be obvious in advance’ (1997: 14). In practice, decisions are best made once researchers are in a position to assess which specific visual methods will be appropriate or ethical in a particular research context, therefore allowing researchers to account for their relationships with informants and their experience and knowledge of local visual cultures. Nevertheless, certain decisions and indicators about the use of visual images and technologies in research usually need to be made before commencing fieldwork. Often research proposals, preparations and plans must be produced before fieldwork begins; the fieldwork may be in an area where technologies are difficult to purchase or hire; if the project is to be funded and equipment purchased from a research grant, technological needs must be anticipated and budgeted for.
    [Show full text]
  • The Poetics and Pleasures of Video Ethnography of Education
    5 The Poetics and Pleasures of Video Ethnography of Education Joseph Tobin Arizona State University Yeh Hsueh University of Memphis PAGE PROOFS The central argument of this chapter is that in thinking about the uses of video in educational research, we should break free of educational videos’ roots in instruc- tional films and observational analysis, and add to the goals of documenting and in- forming the goals of provoking self-reflection, challenging assumptions, creating things of beauty, entertaining, and giving pleasure. When we enter into video making with this expanded set of goals in mind, we end up with very different sorts of videos than if we begin with only the first set. And these more aesthetically pleasing, entertain- ing, compelling videos are not just pleasing and entertaining—they also make for more effective social science. THE NEW “PRESCHOOL IN THREE CULTURES” STUDY We are in the midst of conducting a major study, “Continuity and Change in Preschools of Three Cultures.” This study is a sequel to Preschool in Three Cultures: Ja- pan, China, and the U.S. (Tobin,Wu, & Davidson, 1989). In the new study,we are using basically the same method that was used in the original. In this method, which we sometimes call “video-cued multivocal ethnographry,” the videos function primarily neither as data nor as description but instead as rich nonverbal cues designed to stimu- 77 78 Tobin and Hsueh late critical reflection. In developing this method, we were heavily influenced by the ethnographic film Jero on Jero: A Balinese Trance Séance Observed (1981), in which the filmmakers Timothy and Patsy Asch and the anthropologist Linda Connor first filmed a trance séance and then returned to the field to show the footage of herself in a trance and to ask her to comment on her actions (Connor, Asch, & Asch, 1986).
    [Show full text]
  • Working Images
    Working Images Visual methods such as drawing, painting, video, photography and hypermedia offer increasingly accessible and popular resources for ethnographic research. In Working Images, prominent visual anthropologists and artists explore how old and new visual media can be integrated into contemporary forms of research and representation. Drawing upon projects undertaken both ‘at home’ in their native countries and abroad in locations such as Ethiopia and Venezuela, the book’s contributors demonstrate how visual methods are used in the field, and how these methods can produce and communicate knowledge about our own and other cultures. As well as focusing on key issues such as ethics and the relationship between word and image, they emphasise the huge range of visual methods currently opening up new possibilities for field research, from graphic art to new media such as digital video and on-line technologies. Contributors: Cristina Grasseni, Gemma Orobitg Canal, László Kürti, Ana Isabel Afonso, Iain R.Edgar, Paul Henley, Victoriano Camas Baena, Ana Martínez Pérez, Rafael Muñoz Sotelo, Manuel Ortiz Mateos, Manuel João Ramos, Olivia da Silva, Sarah Pink, Roderick Coover, Felicia Hughes-Freeland. Editors: Sarah Pink lectures in the Department of Social Sciences at Lough-borough University, UK. László Kürti teaches at the University of Miskolc in Hungary, and Ana Isabel Afonso lectures in the Department of Anthropology at Universidade Nova, Lisbon. Working Images Visual Research and Representation in Ethnography Edited by Sarah Pink, László Kürti and Ana Isabel Afonso LONDON AND NEW YORK First published 2004 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005.
    [Show full text]
  • Challenges and Solutions in Ethnographic Research
    CHALLENGES AND SOLUTIONS IN ETHNOGRAPHIC RESEARCH Challenges and Solutions in Ethnographic Research: Ethnography with a Twist seeks to rethink ethnography ‘outside the box’ of its previous tradition and to develop ethnographic methods by critically discussing process, ethics, impact and knowl- edge production in ethnographic research. This interdisciplinary edited volume argues for a ‘twist’ that supports openness, courage, and creativity to develop and test innovative and unconventional ways of thinking and doing ethnography. ‘Ethnography with a twist’ means both an intentional aim to conduct ethnographic research with novel approaches and methods but also sensitivity to recognize and creativity to utilize different kinds of ‘twist moments’ that ethnographic research may create for the researcher. This edited volume critically evaluates new and old methodological tools and their ability to engage with questions of power difference. It proposes new collaborative methods that allow for co-production and co-creation of research material as well as shared conceptual work and wider distribution of knowledge. The book will be of use to ethnographers in humanities and social science disciplines including sociology, anthropology and communication studies. Tuuli Lähdesmäki is a Senior Researcher and an Adjunct Professor working at the Department of Music, Art and Culture Studies, University of Jyväskylä, Finland. Eerika Koskinen-Koivisto is a Post-doctoral Researcher working at the Department of Social Sciences and Philosophy, University of Jyväskylä, Finland. Viktorija L.A. Cˇ eginskas is a Post-doctoral Researcher working at the Depart- ment of Music, Art and Culture Studies, University of Jyväskylä, Finland. Aino-Kaisa Koistinen is a Post-doctoral Researcher working at the Department of Music, Art and Culture Studies, University of Jyväskylä, Finland.
    [Show full text]
  • City University of Hong Kong
    City University of Hong Kong Information on a Course offered by the School of Creative Media with effect from Semester B in 2012 / 2013 Part I Course Title: Visual Ethnography and Creative Intervention Course Code: SM4134 Course Duration: 1 semester No. of Credit Units: 3 Level: B3 Medium of Instruction: English Prerequisites: (Course Code and Title) NA Precursors: (Course Code and Title) NA Equivalent Courses: (Course Code and Title) NA Exclusive Courses: (Course Code and Title) NA Part II 1. Course Aims: This course unfolds the many issues involved in studying everyday urban culture via ethnographic research methods. As a participant or observer, what kinds of information do we collect from the field? How does the medium employed to collect data and make field notes impact on what we learn and what know? Are the different creative media only tools? What can we learn from history and current practices the variety, diversity and complexity of ways. When we present our findings via visual narratives, such as a documentary, what are the implications? How have documentary makers so far tackled these issues? Ethnography can be summarized as ‘being there, observing, collecting and recording’, whereas Cultural Studies open up this research method (from anthropology) into ‘ethno-methodologies’, allowing flexible, reasoned combination of other research methods such as interview, textual and discourse analysis, and participatory research. Ethno-methodologies are important because they pay attention to specific live moments of specific subjects, the opposite of turning people into types and numbers. 1 Visual ethnography has become an important aspect of the study of culture, and has found ways into the research-creation process of many contemporary artists.
    [Show full text]
  • Video Ethnography; Theory, Methods, and Ethics; First Edition
    VIDEO ETHNOGRAPHY Video Ethnography describes how and why the audiovisual film medium is especially capable of transforming lived experience into vividly relatable forms of ethnographic knowledge. This essential text emphasizes the important role of the filmmaker, the variety of methods used in ethnographic films, and experiential ethics in order to describe how video ethnographies, in their production, are very closely bound up in the world of their subjects. In this thought-provoking book, Redmon considers the complex ethics of video ethnography using case studies to show ethics in practice. The straightforward and concise approach of the text encourages students to craft their own video ethnog- raphies with a fully conscious awareness of how certain skilled and attuned approaches to audiovisual techniques can help facilitate the fullest and most dynamic encounters possible. Redmon’s unique approach effectively delves into theory, methods, and ethics, explaining how this kind of filmmaking can be a means of approximating, mediating, and evoking lived experience. This book is suitable for undergraduate and postgraduate classes in ethnographic filmmaking, video ethnography, and visual anthropology/sociology. David Redmon received his Ph.D. in sociology from SUNY-Albany. His docu- mentaries have premiered at Sundance, Toronto, Museum of Modern Art, Viennale Film Festivals, and other international destinations. Redmon is a former Radcliffe Fellow and Film Studies Fellow at Harvard University. He is currently an independent scholar, filmmaker, and
    [Show full text]