The Experts below are selected from a list of 324 Experts worldwide ranked by ideXlab platform

Jay Ruby - One of the best experts on this subject based on the ideXlab platform.

  • A Future for Ethnographic Film
    Journal of Film and Video, 2008
    Co-Authors: Jay Ruby
    Abstract:

    Ethnographic Film IS A CONTESTED GENRE, not unlike the documentary. The majority opinion is that an Ethnographic Film is any documentary that focuses on non-Western people (see Heider). The adjective "Ethnographic" is used in a very loose manner, similar to the way psychological or historical is applied to a Film. Few people expect a psychological Film to be a serious rendering of the constructs of psychology or for the maker of the Film to be a professionally trained psychologist. As a consequence, many Films screened at places such as the American Anthropological Association or the Margaret Mead festival are documentaries made by professional Filmmakers who have little or no training in anthropology. I have argued for a more restricted approach-one that confines the genre to the work of academic anthropologists. In my book Picturing Culture, I articulated a fantasy version of this position. To begin ... a moral tale for anthropologists, a fantasy in which an anthropological cinema exists-not documentaries about "anthropological" subjects, but Films designed by anthropologists to communicate anthropological insights. It is a well-articulated genre distinct from the conceptual limitations of realist documentary and broadcast journalism. It borrows conventions and techniques from the whole of cinema-fiction, documentary, animation and experimental. A multitude of Film styles vie for prominence-equal to the number of theoretical positions found in the field. There are general audience Films produced for television as well as highly sophisticated works designed for professionals. While some Films intended for a general audience are collaboratively made with professional Filmmakers, solely professional anthropologists, who use the medium to convey the results of their Ethnographic studies and ethnological knowledge, produce most. University departments regularly teach the theory, history, practice and criticism of anthropological communications-verbal, written and pictorial-enabling scholars from senior professors to graduate students to select the most appropriate mode in which to publish their work. There are a variety of venues where these works are displayed regularly and serve as the basis for scholarly discussion. Canons of criticism exist that allow for a critical discourse about the ways in which anthropology is realized pictorially. A low-cost distribution system for all these anthropological products is firmly established. Videotapes/CD-ROMs/DVDs are as common as books in the libraries of anthropologists, and the internet and world wide web occupy a place of some prominence as an anthropological resource. Needless to say, the fantasy has remained just that. I see no reason to assume things will change much, although with the advent of "prosumer" three-chip digital cameras and the ease of computer editing, more anthropologists are delving into video production. Having lived through a number of major technological changes, beginning with cable television and sync-sound Super 8mm cameras, which both promised radical departures from the norm, I am not one to put much faith in what might be called techno-salvation. A change in technology will not bring about the kind of changes I am interested in because the problems are not technical. They are conceptual. To accomplish the task I have proposed, anthropologists will have to divorce themselves from the economic realities of the commercial documentary world. Anthropological Filmmaking would have to become a scholarly activity with no commercial potential, similar to the way scholars write books published by scholarly publishers. Academics never assume that their publishing efforts will produce a living wage. It is now possible for scholars to experiment without obtaining large grants that require the production of materials designed either for the classroom or for public television, nor are they forced to hire professional crews whose goals are often at odds with those of a scholar. …

  • Film as ethnography innovation in Ethnographic Film from innocence to self consciousness the cinema of john marshall china turned on television reform and resistance
    Visual Anthropology Review, 1994
    Co-Authors: Jay Ruby, Emile De Brigard, Dru C. Gladney
    Abstract:

    Film as Ethnography, Peter Ian Crawford and David Turton. editors. Manchester: Manchester University press in association with the Granada Centre for Visual anthropology. 1992.322 pages With illustrations isbn 0-7190-3683. 6. Softbound No price. Innovation In Ethnographic Film: From Innocence to Self-Consciousness. Peter Loizos .Chicago: University of Chicago Press. 1993. 224 pages with Illustrations. Hardbound $42.50. Paper $15.95. The Cinema of John Marshall. Edited by Jay Ruby. 1993 282 pp. Philadelphia: Harwood Academic Publishers. China Turned on; Television, Reform, and Resistance. James Lull. London and New York: Routledge. 1991. 230 pp, isbn: 0-415-05216-5. Paperback.

  • Film as Ethnography/Innovation in Ethnographic Film: From Innocence to Self‐Consciousness/The Cinema of John Marshall/China Turned On; Television, Reform, and Resistance.
    Visual Anthropology Review, 1994
    Co-Authors: Jay Ruby, Emile De Brigard, Dru C. Gladney
    Abstract:

    Film as Ethnography, Peter Ian Crawford and David Turton. editors. Manchester: Manchester University press in association with the Granada Centre for Visual anthropology. 1992.322 pages With illustrations isbn 0-7190-3683. 6. Softbound No price. Innovation In Ethnographic Film: From Innocence to Self-Consciousness. Peter Loizos .Chicago: University of Chicago Press. 1993. 224 pages with Illustrations. Hardbound $42.50. Paper $15.95. The Cinema of John Marshall. Edited by Jay Ruby. 1993 282 pp. Philadelphia: Harwood Academic Publishers. China Turned on; Television, Reform, and Resistance. James Lull. London and New York: Routledge. 1991. 230 pp, isbn: 0-415-05216-5. Paperback.

  • the architectural uncanny the surreptitious speech the cinematic grtot Ethnographic Film aesthetics narrative traditions deer camp magic eyes partial recall waucoma twilight
    Visual Anthropology Review, 1993
    Co-Authors: Paul Rabinow, Arnd Bohm, Emilie De Brigard, Karl G. Heider, Jay Ruby
    Abstract:

    The Architectural Uncanny. 1992. By Anthony Vidler. Cambridge: Mit Press The Surreptitious Speech: Presence Africaine and The Politics of Otherness, 1947—1987. Ed. V. Y. Mudimbe. Chicago and London: The university of Chicago Press, 1992. The Cinematic Griot: the Ethnography of Jean Rouch. 1992. By Paul Stoller. xvii. 247 pp. Chicago: Chicago University Press. Emilie De Brigard Anthropological Film research institute Ethnographic Film Aesthetics and Narrative Traditions: Proceedings From Nafa 2. 1992. Peter I. Crawford and Jan K. Simonsen (editors). Aarhus (Denmark): intervention press. Deer camp: Last Light in the Northeast Kingdom. 1993- Photographs and text by John M. Miller. 130 pp, 60 duotone illustrations Mit press, co–published with The Vermont Folklife Center. Magic Eyes: Scenes from an Andean Girlhood. 1992. By Wendy Ewald. From stories told by Alicia and Maria Vasquez. Photographs by wendy Ewald and children of Raquira. Colombia. 180 pp. With Illustrations. Seattle: bay press. Partial Recall 1993. Ed. Lucy Lippard. With essays by S. Benally. J. Durham. R. Green. J. Harjo. G. Mcmaster. J. Rickard. R. Sakiestewa. D. Seals. P. C. Smith. J. Quick–To–See Smith. G. Tremblay. and G. Vizenor. 199 pp. New York the New Press. Waucoma Twilight: Generations op the farm. 1992. By Dona Schwartz. 220 176 pp. With b/w halftones. Washington, D.c.: Smithsonian Instttution press.

  • The Architectural Uncanny/ The Surreptitious Speech/ The Cinematic Grtot / Ethnographic Film Aesthetics & Narrative Traditions / Deer Camp / Magic Eyes / Partial Recall / Waucoma Twilight
    Visual Anthropology Review, 1993
    Co-Authors: Paul Rabinow, Arnd Bohm, Emilie De Brigard, Karl G. Heider, Jay Ruby
    Abstract:

    The Architectural Uncanny. 1992. By Anthony Vidler. Cambridge: Mit Press The Surreptitious Speech: Presence Africaine and The Politics of Otherness, 1947—1987. Ed. V. Y. Mudimbe. Chicago and London: The university of Chicago Press, 1992. The Cinematic Griot: the Ethnography of Jean Rouch. 1992. By Paul Stoller. xvii. 247 pp. Chicago: Chicago University Press. Emilie De Brigard Anthropological Film research institute Ethnographic Film Aesthetics and Narrative Traditions: Proceedings From Nafa 2. 1992. Peter I. Crawford and Jan K. Simonsen (editors). Aarhus (Denmark): intervention press. Deer camp: Last Light in the Northeast Kingdom. 1993- Photographs and text by John M. Miller. 130 pp, 60 duotone illustrations Mit press, co–published with The Vermont Folklife Center. Magic Eyes: Scenes from an Andean Girlhood. 1992. By Wendy Ewald. From stories told by Alicia and Maria Vasquez. Photographs by wendy Ewald and children of Raquira. Colombia. 180 pp. With Illustrations. Seattle: bay press. Partial Recall 1993. Ed. Lucy Lippard. With essays by S. Benally. J. Durham. R. Green. J. Harjo. G. Mcmaster. J. Rickard. R. Sakiestewa. D. Seals. P. C. Smith. J. Quick–To–See Smith. G. Tremblay. and G. Vizenor. 199 pp. New York the New Press. Waucoma Twilight: Generations op the farm. 1992. By Dona Schwartz. 220 176 pp. With b/w halftones. Washington, D.c.: Smithsonian Instttution press.

Matthias De Groof - One of the best experts on this subject based on the ideXlab platform.

  • Ethnographic Film s relation to african cinema safi faye and jean rouch
    Visual Anthropology, 2018
    Co-Authors: Matthias De Groof
    Abstract:

    Critical reading on the Senegalese Filmmaker Safi Faye is scarce, on her embodiment of different shifts in Ethnographic Film or on her relationship with Jean Rouch’s work; but her oeuvre is now see...

  • Ethnographic Film’s Relation to African Cinema: Safi Faye and Jean Rouch
    Visual Anthropology, 2018
    Co-Authors: Matthias De Groof
    Abstract:

    Critical reading on the Senegalese Filmmaker Safi Faye is scarce, on her embodiment of different shifts in Ethnographic Film or on her relationship with Jean Rouch’s work; but her oeuvre is now see...

  • Rouch's Reflexive Turn: Indigenous Film as the Outcome of Reflexivity in Ethnographic Film
    Visual Anthropology, 2013
    Co-Authors: Matthias De Groof
    Abstract:

    One of the most important driving forces in the development of Ethnographic Film and its theory has been reflexivity. As a cinematographic and theoretical device, reflexivity is put forward by epistemological and ethical concerns in Ethnographic Filmmaking, and has shaped the genre of Ethnographic Film. Reflexivity, and particularly its limits, constitutes a very particular pivotal point of the shift from Western Ethnographic Film to indigenous Film, a shift characterized both as disruption and as continuity. We will briefly recapitulate how the corpus of Ethnographic Film has dealt with its own problems and how it ultimately recycles indigenous Film in its own paradigm. The best example to illustrate Ethnographic cinema's “reflexive turn” as well as its problems can be found in the work of the Ethnographic Filmmaker Jean Rouch (1917–2004) and his relation to African cinema; and in the reaction of African Filmmakers to Rouch's work. How does this “indigenous cinema” offer productive challenges to the assu...

Nasko Kriznar - One of the best experts on this subject based on the ideXlab platform.

  • Ethnographic Film in Slovenia and Serbia: Outline of Project Results
    Traditiones, 2010
    Co-Authors: Nasko Kriznar
    Abstract:

    V casu Socialisticne federativne republike Jugoslavije so bila med njenimi nacionalnimi etnologijami v navadi redna srecevanja in razprave. Ko so bili tovrstni stiki zaradi razpada države prekinjeni, je bilo prekinjeno tudi medsebojno informiranje o stanju na podrocju etnografskega Filma. Medtem je prislo do hitrega razvoja in velikih sprememb v etnografskem Filmu in vizualni antropologiji v celoti. Zato se avtor clanka v sklepu osredinja predvsem na premislek o oblikah sodobne vizualne etnografije, ki se najbolj ustreza znanstveno raziskovalnim praksam obeh etnoloskih institutov (pri ZRC SAZU v Ljubljani in SANU v Beogradu), in o ustreznem izobraževanju za to podrocje. *** Within Yugoslavia, regular conferences and discussions used to take place between ethnologists working in the various Yugoslav republics. When Yugoslavia collapsed and these contacts were interrupted, information about developments in Ethnographic Film also stopped being exchanged. Meanwhile, rapid development and great changes took place in Ethnographic Film and visual anthropology as a whole. This article therefore primarily focuses on the reflection of forms of contemporary visual ethnography, which largely corresponds with the research practices of the ethnology institutions in Ljubljana and Belgrade (ZRC SAZU and SANU, respectively), and suitable education in ethnology.

  • Portfolio of Ethnographic Film, Visual Anthropology and Visual Research in Slovenia
    Visual Anthropology Review, 2007
    Co-Authors: Nasko Kriznar
    Abstract:

    Slovenia has a diverse range of Ethnographic Film, visual anthropology and visual research. Visual production includes Ethnographic and documentary Film, as well as emerging genres such as videos produced for museum exhibition and student video works. Commentary on these productions focuses on the difference between documentary and Ethnographic Film, and on the difference between Ethnographic Films and visuals works made for research. Much visual media created for Slovene ethnological purposes stores images of a culture as a kind of inventory or list that is structured according to professional standards. Visual ethnography is a specific way of researching culture with the help of a photo or video camera. There is no need for a researcher to be a Filmmaker in a classical sense. Rather, it is sufficient that the researcher be skilled in shooting and flexible in the use of the camera under different methodological circumstances.

Paul Rabinow - One of the best experts on this subject based on the ideXlab platform.

  • the architectural uncanny the surreptitious speech the cinematic grtot Ethnographic Film aesthetics narrative traditions deer camp magic eyes partial recall waucoma twilight
    Visual Anthropology Review, 1993
    Co-Authors: Paul Rabinow, Arnd Bohm, Emilie De Brigard, Karl G. Heider, Jay Ruby
    Abstract:

    The Architectural Uncanny. 1992. By Anthony Vidler. Cambridge: Mit Press The Surreptitious Speech: Presence Africaine and The Politics of Otherness, 1947—1987. Ed. V. Y. Mudimbe. Chicago and London: The university of Chicago Press, 1992. The Cinematic Griot: the Ethnography of Jean Rouch. 1992. By Paul Stoller. xvii. 247 pp. Chicago: Chicago University Press. Emilie De Brigard Anthropological Film research institute Ethnographic Film Aesthetics and Narrative Traditions: Proceedings From Nafa 2. 1992. Peter I. Crawford and Jan K. Simonsen (editors). Aarhus (Denmark): intervention press. Deer camp: Last Light in the Northeast Kingdom. 1993- Photographs and text by John M. Miller. 130 pp, 60 duotone illustrations Mit press, co–published with The Vermont Folklife Center. Magic Eyes: Scenes from an Andean Girlhood. 1992. By Wendy Ewald. From stories told by Alicia and Maria Vasquez. Photographs by wendy Ewald and children of Raquira. Colombia. 180 pp. With Illustrations. Seattle: bay press. Partial Recall 1993. Ed. Lucy Lippard. With essays by S. Benally. J. Durham. R. Green. J. Harjo. G. Mcmaster. J. Rickard. R. Sakiestewa. D. Seals. P. C. Smith. J. Quick–To–See Smith. G. Tremblay. and G. Vizenor. 199 pp. New York the New Press. Waucoma Twilight: Generations op the farm. 1992. By Dona Schwartz. 220 176 pp. With b/w halftones. Washington, D.c.: Smithsonian Instttution press.

  • The Architectural Uncanny/ The Surreptitious Speech/ The Cinematic Grtot / Ethnographic Film Aesthetics & Narrative Traditions / Deer Camp / Magic Eyes / Partial Recall / Waucoma Twilight
    Visual Anthropology Review, 1993
    Co-Authors: Paul Rabinow, Arnd Bohm, Emilie De Brigard, Karl G. Heider, Jay Ruby
    Abstract:

    The Architectural Uncanny. 1992. By Anthony Vidler. Cambridge: Mit Press The Surreptitious Speech: Presence Africaine and The Politics of Otherness, 1947—1987. Ed. V. Y. Mudimbe. Chicago and London: The university of Chicago Press, 1992. The Cinematic Griot: the Ethnography of Jean Rouch. 1992. By Paul Stoller. xvii. 247 pp. Chicago: Chicago University Press. Emilie De Brigard Anthropological Film research institute Ethnographic Film Aesthetics and Narrative Traditions: Proceedings From Nafa 2. 1992. Peter I. Crawford and Jan K. Simonsen (editors). Aarhus (Denmark): intervention press. Deer camp: Last Light in the Northeast Kingdom. 1993- Photographs and text by John M. Miller. 130 pp, 60 duotone illustrations Mit press, co–published with The Vermont Folklife Center. Magic Eyes: Scenes from an Andean Girlhood. 1992. By Wendy Ewald. From stories told by Alicia and Maria Vasquez. Photographs by wendy Ewald and children of Raquira. Colombia. 180 pp. With Illustrations. Seattle: bay press. Partial Recall 1993. Ed. Lucy Lippard. With essays by S. Benally. J. Durham. R. Green. J. Harjo. G. Mcmaster. J. Rickard. R. Sakiestewa. D. Seals. P. C. Smith. J. Quick–To–See Smith. G. Tremblay. and G. Vizenor. 199 pp. New York the New Press. Waucoma Twilight: Generations op the farm. 1992. By Dona Schwartz. 220 176 pp. With b/w halftones. Washington, D.c.: Smithsonian Instttution press.

Dru C. Gladney - One of the best experts on this subject based on the ideXlab platform.