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Eva Newsletter BULLETIN D'information INTERNATIONAL UNION OF ANTHROPOLOGICAL AND ETHNOLOGICAL SCIENCES UNION INTERNATIONALE DES SCIENCES ANTHROPOLOGIQUES ET ETHNOLOGIQUES COMMISSION ON VISUAL ANTHROPOLOGY COMMISSION D'ANTHROPOLOGIE VISUELLE eva newsletter BULLETIN D'INFORMATION published by / publié par with the collaboration / avec la collaboration Commission on Visual Anthropology Médiathèque Commission d'anthropologie visuelle Canadian Museum of Civilization Département d'anthropologie Université de Montréal Musee canadien des civilisations C.P. 6128, succursale A Ottawa (Ontario) Canada Montréal (Québec) Canada KlA 0M8 H3C 3J7 Our Newsletter is distributed free of charge. The Commission has no funding. In view of this, we would welcome donations from our American and European colleagues. A contribution of $10 will enable us to send the Newsletter to three new institutions in the Third World. Your donations will strengthen our commitment to the promotion of visual anthropology activities in developing countries. Ce bulletin d'information est distribué gratuitement. La Commission ne reçoit aucun subside régulier. Dans ce contexte, nous acceptons volontiers des dons de nos collègues américains et européens. Une contribution de $10 nous permettrait de faire parvenir ce bulletin à trois nouvelles institutions dans le Tiers-Monde. Votre don encouragerait notre engagement envers la promotion des activités d'anthropologie visuelle dans les pays en voie de développement. May/mai 1989 COMMISSION ON VISUAL ANTHROPOLOGY NEWSLETTER PUBLICATION The Commission on Visual Anthropology IUAES asks for voluntary contributions in order to support the production and distribution of this Newsletter. It is not mandatory for you to send a contribution in order to receive the Newsletter; however even the smallest donation will be greatly appreciated. Correspondants who don't wish to receive the CVA Newsletter are invited to immediately inform our Montreal office. The extra issues will help widen the distribution of the Newsletter in Third World countries. Please inform our Montreal office of any change of address. All checks in support of the Newsletter, address updates and material for publication should be returned to: Asen Balikci "In Trust", Commission on Visual Anthropology, Department of Anthropology, University of Montreal, P.O. Box 6128, Station A, Montreal (Quebec) CANADA H3C 3J7. Please fill out this form and mail it with your contribution, address update or material for publication. NEWSLETTER -- COMMISSION ON VISUAL ANTHROPOLOGY Name: Address: Please note the following items for submission for publication: My contribution of $ in support of the NEWSLETTER is enclosed. NESWLETTER STAFF Editor Secretary Asen Balikci Ginette Simard Managing Editor Consultant Anna Balikci Fernanda Claudio The CVA Newsletter is published by: COMMISSION D'ANTHROPOLOGIE VISUELLE Tél: (514) 343-6565 COMMISSION ON VISUAL ANTHROPOLOGY Fax: (514) 343-2185 UNIVERSITÉ DE MONTRÉAL DÉPARTEMENT D'ANTHROPOLOGIE C.P. 6128, SUCCURSALE A MONTRÉAL (QUÉBEC) H3C 3.77 CANADA All submissions of news items, announcements, reviews, reports and articles should be sent to the CVA at the address given above. ISSN: 0839-3605 INDEX A LETTER FROM ASEN BALIKCI 3 ARTICLES 5 WORLD NEWS AND REPORTS 41 UPCOMING MEETINGS 53 CONCLUDING REMARKS ON PAST MEETINGS 69 FILM REVIEWS . 88 PUBLICATION ANNOUNCEMENTS 94 LATE NEWS 106 A LETTER FROM ASEN BALIKCI Chairman Commission on Visual Anthropology The duty of a commission's chairman is to inform our colleagues around the world about new developments and new events concerning our discipline. To a considerable degree this is accomplished through the publication of our Newsletter, which is now regularly issued with the support of the Canadian Museum of Civilization. The vocation of our Newsletter is international and we are careful to include articles and news items from all corners of the world. We tend to avoid both controversies concerning personalities and sectorian celebrations. We remember what Margaret Mead wrote in 1975 in reference to visual anthropology projects: "I venture to say that more words have been used, spoken and written, disputing the value of, refusing funds for, and rejecting these projects than ever went into the efforts themselves." Undoubtedly Margaret Mead was referring to developments in America and her statement carries considerable truth even today. Our duty is to inform, not to take sides. In November last year I lectured in Manchester and was privileged to observe the beginnings of the new Granada Centre for Visual Anthropology under the able leadership of Paul Henley. The students are devoted and the program draws on a great variety of resources. Granada, with its rich film archive, is close by and its help is felt continuously. All this holds great promise. No doubt in the near future the Manchester School will serve as a model for similar institutes to be established in several European universities in the near future. Later I attended meetings in the Soviet Union and in France always searching to detect new developments in our discipline. Some of our European colleagues appeared worried and expressed feelings of insecurity in reference to the marginal position of visual anthropology in the university setting: "here at the university we are tolerated at best; in America at least ethnographic films are regularly used in the classroom and that is quite an achievement, a positive recognition; what is the best institutional shelter for us - the university, the very few specialized institutes, the cultural centre involved in regional work or maybe the museum?" After prolonged discussions our friends appeared to agree that, after all, culture history museums may provide the beat opportunities for visual anthropology activities in the future. Most anthropology museums already own substantial photographic archives and the larger institutions shelter important film collections. Increasingly objects in static exhibits are being realistically integrated and given deeper meaning by the use of related audiovisuals. The Troppen Museum in Amsterdam is the leader in this field. This practice, however, is meeting with difficulties due to the lack of directly appropriate film materials. And there is the growing museum related use of ethnographic films outside the exhibit settings: in lecture halls, in the context of old and new film festivals, and in association with television. It clearly appears that anthropology museums may be well suited for the acquisition, conservation and public presentation of visual ethnographies. Further, considering the success of the Osaka vidéothèque, other museums may follow suit. All this may be very true, but what about the general lack of museum involvement in the production of new ethnographic films? It is a fact that the Smithsonian in the 70's sponsored the National Anthropological Film Center with vast production ambitions, but the Center had a short life. What holds the larger anthropology museums from establishing comprehensive production programs - 3 -- drawing inspiration possibly from the the DECADE project designed by Alan Lomax? Lack of funding? Lack of vision? Or a set of conservative policies rejecting innovation? And is conservatism in the best interest of anthropology museums? In this context, it is possible to refer to a recently published book by Kenneth Hudson, Museums of Influence (Cambridge University Press, 1987). The author writes in the preface of his book: "Some of these ethnographical museums are very large and... important, but none that I have yet seen or heard of contrives to communicate the essential features of the societies with which the museum or the collection is concerned, in a way that many films... have contrived to do. Visually, these displays are often extremely attractive but, with very rare exceptions, they present the surface of society... The ambitious, the fears, the poverty, the disease, the climate, the cruelty and brutality, the satisfactions and the sufferings of these people are not there to give blood, sense and cohesion to the exhibits. Ethnographical museums may collect widely but they do not dig deeply." The contrast between the power of ethnographic film and the superficiality of the static exhibit is self evident. It is up to the anthropology museums to assess the significance of this contrast and draw conclusions. Visual anthropologists remain ready to collaborate with museums in establishing film production programs which may rejuvenate the ancient repositories of artifacts. In this task, visual anthropologists may be helped by new developments in technology: SONY will begin marketing this year a new high definition 8 mm video camera with up to 450 lines resolution (EV-900 and CCD-V900). This light equipment may well prove to be ideally suited for field recordings. I'll welcome comments, criticisms and original articles from our members and correspondents on the subject of visual anthropology activities in the museum setting. In 1985, I published an article on this subject in MUSEUM-UNESCO which provides some background information on a variety of issues. In this context, the Commission would like to organize an international conference in the spring of 1990 with the clear intention of bringing together visual anthropologists and museologists to discuss the role of museums in the production and diffusion of visual ethnographies. The Parnu anthropological film festival will take place this year during the first week of October. For information write to: Peeter Eelsaare, Stuudio
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