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1
De, Coninck Cécile. „Enjeux politiques et esthétiques de l'anthropologie visuelle. Programmes et débats du Comité du Film Ethnographique (1947-1962)“. Electronic Thesis or Diss., Université de Lille (2022-....), 2024. https://pepite-depot.univ-lille.fr/ToutIDP/EDSHS/2024/2024ULILH048.pdf.
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Cette étude propose de retracer l'histoire du Comité du Film Ethnographique (CFE) dont les fondements furent établis à Paris en 1947 lors du Premier Congrès du Film Ethnologique et de géographie humaine. Les enjeux politiques et esthétiques de cette institution, créée officiellement en 1952, seront analysés à travers l'examen des documents d'archives relatifs aux catalogues de films, à leur réalisation et à leur réception ainsi qu'aux comptes rendus des débats-projections lors des séminaires et des festivals internationaux organisés par ses membres de 1953 à 1962. En proposant un tour d'horizon historiographique des différentes acceptions du concept d'anthropologie visuelle, nous examinerons dans quelle mesure le CFE fait figure de pionnier dans ce domaine en nous fondant sur les films qu'il produit et programme durant cette période. Si Jean Rouch en est la principale cheville ouvrière, il n'en est pas le seul artisan. Aussi cette étude se propose-t-elle de réinscrire ses films dans l'ensemble de la production des années trente jusqu'au début des années soixante en apportant un éclairage sur des films ethnographiques moins connus, notamment ceux de Luc de Heusch qui inventa le concept de caméra participante comme moyen de révéler les pouvoirs heuristiques du médium tout en contrecarrant sur le plan éthique, les stéréotypes des films de voyage « exotisants » et de propagande coloniale. Ainsi le CFE se situait-il à l'avant-garde d'une culture visuelle promouvant la recherche d'une alliance entre les ethnographes et les cinéastes pour créer une nouvelle forme de partage du sensible entre filmeur et filmé contribuant, dans le même temps, à faire bouger les lignes des fondements épistémologiques de la discipline ethnographique ainsi que celles des usages du médium-filmThis study proposes to retrace the history of the Ethnographic Film Committee (CFE) whose foundations were established in Paris in 1947 during the First Congress of Ethnological Film and Human Geography. The political and aesthetic issues of this institution, officially created in 1952, will be analyzed through the examination of archival documents relating to film catalogues, the making of films and their reception, reports of debates and screenings at seminars and international festivals organized by its members from 1955 to 1962. By offering a historiographical overview of the different meanings of the concept of visual anthropology, we will examine to what extent the CFE is a pioneer in this field based on the films it produced and programmed during this period. While Jean Rouch is the main driving force, he is not the only craftsman. This study therefore aims to re-inscribe his films in the overall production from 1930 to 1962 by shedding light on lesser-known ethnographic films, notably those of Luc de Heusch, who invented the concept of the participatory camera as a means of revealing the heuristic powers of the medium while ethically counteracting the stereotypes of “exotic” travel films and colonial propaganda. The CFE was thus at the forefront of a visual culture promoting the search for an alliance between ethnographers and filmmakers to create a new form of sharing the sensible between the filmmaker and the filmed, contributing at the same time to shifting the lines of the epistemological foundations of the ethnographic discipline as well as those of the uses of the film medium
2
Taylor, John. „About Aboutness: The Ethnographic Film "Reassemblage"“. University of Arizona, Department of Anthropology, 1994. http://hdl.handle.net/10150/112129.
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3
Attridge, Jeffrey Nathaniel. „Indigeneity on Display: Ethnographic Adventure Film in Amazonia“. Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/77691.
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This paper seeks to explore the early twentieth century trend of ethnographic adventure filmmaking. A subgenre of the ethnographic film, these works blended ethnographic observations with scripted and staged adventure stories, advancing popular tropes of indigenous first contact and the superiority of Western civilization. Focusing on a 1931 expedition to the Amazon which resulted in the creation of the first sync-sound ethnographic adventure film, titled Matto Grosso: The Great Brazilian Wilderness, I argue that despite flaws in its conception, production, and media coverage, this film serves as an example of how non-academic sources of knowledge production can still create important primary documents for indigenous source communities.Master of Arts
4
Bisson, Vincent J. 1984. „Historical Film Reception: An Ethnographic Focus beyond Entertainment“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10816.
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xi, 180 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.Drawing upon theories from folkloristics, history, and audience studies, this thesis analyzes historical films, their reception, and the importance of history and film in everyday life. Using an interdisciplinary approach, I demonstrate how a folkloric perspective may contribute to and strengthen the study ofhistorical films by emphasizing the attributes of narrative and belief at the vernacular level of reception. With an ethnographic and qualitative focus on the informal, common, and everyday film viewing habits of specific individuals in relation to historical belief, this project provides empirical evidence that is necessary for a more accurate understanding of the function and reception of historical films. This study also re-examines the formal aspects of historical films in relation to historical re-construction, the definition and categorization of such films, their reception, their function beyond entertainment, and the need for an integration of new research in both audience studies and folklore studies.
Committee in Charge: Dr. Daniel Wojcik, Chair; Dr. Jeffrey Hanes; Dr. Bish Sen
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Cohen, Hart K. „From ethnographic film to indigenous media : communications and the evolution of the ethnographic subject“. Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=75987.
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An important connection exists between ethnographic film and indigenous media though they are rarely linked in film theory. The link is not just hypothetical. Cast in the form of historiography, ethnographic film and indigenous media practices may be read as a continuist discourse with a number of critical turns. One such turn is the transformation of the ethnographic subject into a critical public. What is described as indigenous media allows us to categorize this transformation as a significant difference for the practice of ethnography, but the question remains as to whether this difference is retreivable in the terms set by ethnography. The emergence of the indigenous ethnographer has consequences for understanding the problems in the relations between Western and non-Western cultural formations. As a means through which a culture or nation may represent its own historical evolution, indigenous media is also, however, a discourse in formation--characterized by heterogenous claims and practices.
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Erik, Rosshagen. „Sync Event : The Ethnographic Allegory of Unsere Afrikareise“. Thesis, Stockholms universitet, Institutionen för mediestudier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131291.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audio-vision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly. Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Ribera, Deborah. „(Re)Presentation: An Affective Exploration of Ethnographic Documentary Film Production“. Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1428658018.
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Rosshagen, Erik. „Sync Event : The Ethnographic Allegory of Unsere Afrikareise“. Thesis, Stockholms universitet, Filmvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183273.
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The thesis aims at a critical reflexion on experimental ethnography with a special focus on the role of sound. A reassessment of its predominant discourse, as conceptualized by Cathrine Russell, is paired with a conceptual approach to film sound and audiovision. By reactivating experimental filmmaker Peter Kubelka’s concept sync event and its aesthetic realisation in Unsere Afrikareise (Our Trip to Africa, Peter Kubelka, 1966) the thesis provide a themed reflection on the materiality of film as audiovisual relation. Sync event is a concept focused on the separation and meeting of image and sound to create new meanings, or metaphors. By reintroducing the concept and discussing its implication in relation to Michel Chion’s audio-vision, the thesis theorizes the audiovisual relation in ethnographic/documentary film more broadly.Through examples from the Russian avant-garde and Surrealism the sync event is connected to a historical genealogy of audiovisual experiments. With James Clifford’s notion ethnographic allegory Unsere Afrikareise becomes as a case in point of experimental ethnography at work. The sync event is comprehended as an ethnographic allegory with the audience at its focal point; a colonial critique performed in the active process of audio-viewing film.
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Kaplan, Mark J. „Ethnographic film : an investigation with specific reference to the Bushman ethnographies of John Marshall“. Thesis, Massachusetts Institute of Technology, 1985. http://hdl.handle.net/1721.1/75516.
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Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1985.MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaf 43).
This thesis consists of a text and a videotape, entitled Pull Ourselves Up or Die Out. The written thesis is an examination of the tradition of documentary film making with particular reference to notions of Realism, particularly as revealed in the ethnographic films made by John Marshall. The Marshall material spans a period from 1951 to the present day and relates the changes that the !Kung Bushman of Namibia have been forced to undergo. The material is unique and this thesis elaborates on the conditions and influences that have determined the film maker's strongly personal approach. The videotape that accompanies this thesis is 3/4 inch U-Matic, 25 minutes long, color, sound and. in English, Afrikaans and Ju/Wasi languages.
by Mark J. Kaplan.
M.S.V.S.
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Ferrari, Matthew P. „Mysterious Objects of Knowledge: An Interpretation of Three Feature Films by Apichatpong Weerasethakul in Terms of the Ethnographic Paradigm“. Ohio : Ohio University, 2006. http://www.ohiolink.edu/etd/view.cgi?ohiou1150466591.
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Hey, Jessica L. „A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.
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Singh, Arvind. „A Dream Lost in Dream: A Love-Hate Relationship of an Alien with America“. Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc84277/.
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Exploring the theme of Diaspora, this paper is an accompanying document for the documentary, A Dream Lost in Dream. It sheds light on the purpose, and process of producing this documentary. The main purpose for the production of this documentary has been described as initiation of healthy and casual dialog between diverse populations in America. It emphasizes the importance of creating visual media targeting masses rather than the elite. It is argued that it can act as a tool of awareness, reducing anxiety in the society. It also embarks on the production journey of the documentary A Dream Lost in Dream. The film is a portrayal of an East Indian immigrant struggling between economic survival, family issues and passion to fly.
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Baxter, Patrick. „Ghost developments on film : an experimental ethnographic exploration of place and space in post-Celtic Tiger Ireland“. Thesis, Manchester Metropolitan University, 2017. http://e-space.mmu.ac.uk/618444/.
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How can film and social research be used to interrogate the relationship between a marginalized place and its vacant spaces - what I refer to as Ghost Developments? This research project investigated aspects of the post-Celtic Tiger Ireland newly built environment through the production of an experimental ethnographic documentary film and an accompanying scholarly text. In the wake of the Global Financial Crisis, the Republic of Ireland experienced one of the most dramatic property market collapses in recorded history, resulting large swathes of vacant and/or unfinished housing and commercial property throughout the country. My hometown and county Longford was one of the places that suffered disproportionally as a site of what became known as ‘ghost estates’ - unfinished housing estates, though it should be noted there remained a paucity of social or artistic research into vacant commercial property. In my research I have expanded on the popular term ‘ghost estate’ to arrive at ‘ghost developments’ as a new conceptualization within ruin studies that seeks to explore the aesthetic, artistic, historical, relational, material and experiential qualities of a range of ruined spaces in post-Celtic Tiger Ireland, and furthermore what they can tell us about the social dynamics of place. I use the ‘ghost development’ conceptualization as a social and filmic device that not only questions how vacant space has been represented in post-Celtic Tiger Ireland, but furthermore to propose the idea that through these spaces we can begin to think of the categories of urban/rural/suburban not solely as spatial delineations but as sets of social practices which are negotiated differently depending on social setting or location. My film A Place Where Ghosts Dwell employs a number of different styles, film modes and techniques to narratively tease out the spaces between ethnographic film and the essay-film to create an artistic film that is subjective and intersubjective, stylized and socially contextualized. As an experimental ethnography, this project (text and film) is both artistic and social research.
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Weidle, Franziska [Verfasser]. „Of Trees and Clouds : Software-Mediated Visions in Documentary and Ethnographic Filmmaking Practices / Franziska Weidle“. Göttingen : V&R Unipress, 2020. http://www.v-r.de/.
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Shefer, Tamara. „Discourses of heterosexual subjectivity and negotiation“. Thesis, University of the Western Cape, 1999. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=init_3537_1177926176.
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It is widely acknowledged that there are problems with the way in which heterosexual relationships are negotiated. A critical focus on heterosexuality has been particularly stimulated by feminist discourse on gender power relations and the global imperative to challenge HIV infection. In the South African contextthere has been a growing on researching and education about (hetero)sexuality, particularly in the wake of the continued increase in HIV prevalence rates which are highest among young black, South Africans.
16
Strong, Adrian. „Representation of Indigenous People Through Documentary and Ethnographic Film: With Particular Reference to the Ju/'hoan Community of the Kalahari, and the Effect Film has had on Their Lives“. Thesis, Griffith University, 2012. http://hdl.handle.net/10072/365633.
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While documentary films featuring indigenous people have a long history and include ethnographic films made under educational or scientific auspices, many films about indigenous people have been prone to projection by filmmakers, particularly those with little in depth knowledge of their film subjects. People labeled ‘Bushmen’ have, more than any other indigenous people, been portrayed in documentaries in ways which relate more to the fantasies of the filmmaker and those of his or her culture than to the people at the other end of the camera. In order to investigate this problem, this dissertation employs both an audio-visual component and a written exegesis. The latter considers the problem by examining the evolution of the work of iconic ethnographic filmmaker, John Marshall who, during fifty years of filming the Ju/’hoansi (a.k.a. Kalahari Bushmen), tirelessly invented creative solutions to reduce his own projections and present more truthful and accurate representations of the people in his films. This exegesis introduces issues of projection and archetype in documentary and discusses historical examples of the ‘Bushman myth’ in documentary before analyzing the evolution of Marshall’s filmmaking career in the Kalahari and his efforts to counter the myth. Throughout the exegesis reference is made to the impact of Marshall’s ideas and philosophy of flmmaking on my own practice.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
Full Text
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Sjöberg, Johannes E. „Ethnofiction : genre hybridity in theory and practice-based research“. Thesis, University of Manchester, 2009. http://www.manchester.ac.uk/escholar/uk-ac-man-scw:68172.
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The thesis and the two films form a practice PhD in drama exploring ethnofiction - an experimental ethnographic filmmaking approach pioneered by visual anthropologist Jean Rouch. In the mid-1950's Rouch started to experiment with fiction and 'projective improvisation' in ethnographic films such as Jaguar (1957-1967), Moi, unnoir (1957) and La pyramide humaine (1959). Film critics would call these films 'ethnofictions'. After agreeing a story outline, the camera simply follows the subjects' improvisations of their own, and others', lived experiences. The aim is to show aspects of ethnographic research otherwise hard to represent. A key question of the doctoral research has been whether a nuanced understanding of foreign cultures can be created and mediated by combining ethnographic research methods with the processes of dramatic work. Even though Rouch made ethnofictions as part of his ethnographic research, he infused the genre with elements of surrealism and poetry, and often opposed anyone trying to establish theories about his films. Defying Rouch's view on this matter, this thesis explores ethnofiction as an ethnographic filmmaking method by drawing on the experiences from fieldwork and filmmaking among transgendered Brazilians living in São Paulo. The fieldwork resulted in a feature-length ethnofiction and an ethnographic documentary short: Transfiction focuses on identity and discrimination in the daily lives of Brazilian travestis and transsexuals. Informed by transgendered artists, prostitutes, healthworkers and political activists, Fabia Mirassos projected her life through the role of Meg, a transsexual hairdresser confronting intolerance and re-living memories of abuse. Savana 'Bibi' Meirelles plays Zilda who makes her living as one of the many transgendered sex workers in São Paulo, as she struggles to find her way out of prostitution. Drama Queens is an ethnographic documentary short and contains four scenes from the over 200 hours of rushes that were recorded during the fieldwork. The scenes are from São Paulo's annual Pride Parade and present Bibi, Fabia and Phedra who were the main informants of the research conducted at the theatre Os Satyros in central São Paulo.
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Koven, Mikel J. „An ethnography of seeing : a proposed methodology for the ethnographic study of popular cinema /“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape8/PQDD_0006/NQ42479.pdf.
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Gruber, Martin [Verfasser], Dorle [Akademischer Betreuer] Dracklé und Peter [Akademischer Betreuer] Crawford. „Liparu Lyetu - Our Life : Participatory Ethnographic Filmmaking in Applied Contexts [[Elektronische Ressource]] / Martin Gruber. Gutachter: Dorle Dracklé ; Peter Crawford. Betreuer: Dorle Dracklé“. Bremen : Staats- und Universitätsbibliothek Bremen, 2015. http://d-nb.info/1072304201/34.
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García, Blizzard Mónica del Carmen. „The Indigenismos of Mexican Cinema before and through the Golden Age: Ethnographic Spectacle, “Whiteness,” and Spiritual Otherness“. The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468943537.
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Helgesson, Ralevic Sonya. „Stuck in the Truck: Oil Dependency, Acceleration, and the Nature of Catastrophe : An Ecocritical Reading of The Wages of Fear (Le Salaire de la Peur, Henri-Georges Clouzot, 1953)“. Thesis, Stockholms universitet, Filmvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-182340.
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As a medium of modernity, film has always been entwined with the energy regime sustaining it. This thesis is interested in the interrelation between film and oil, and approached as a piece of petro-fiction, Henri-Georges Clouzot’s film The Wages of Fear (1953) is subject to a close, ecocritical analysis. A selection of four additional oil-films are used as points of comparison. By looking at a variety of representational and aesthetic aspects, the study explores how the film visualises the Anthropocene and negotiates the oil culture in which it exists. By reading the film in terms of oil, this thesis finds that the film in various ways expresses an entanglement with oil culture, while also criticising the same dependency. From the five oil films that have been analysed, catastrophe is an inherent motif, and part of the attraction of oil as subject matter, mirrored in broader culture of exuberance. In contrast to the other films, The Wages of Fear plays less into spectacle but opens to a critical examination of the various exploitations involved at the hands of the oil industry.
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Rodrigues, Mariana Leal. „Mulheres da Rede Fitovida: ervas medicinais, envelhecimento e associativismo“. Universidade do Estado do Rio de Janeiro, 2007. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=1193.
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Existem no Rio de Janeiro cento e oito grupos que produzem remédios com ervas medicinais de maneira voluntária. Desde 2000, formam a Rede Fitovida para transmitir conhecimento e debater soluções conjuntas para as dificuldades que enfrentam. É um movimento sem filiação partidária ou religiosa cujas características principais são o trabalho voluntário e a venda de preparações medicamentosas a preço de custo. É composto por mulheres com 50 anos ou mais, de camadas populares, que se reúnem em cozinhas comunitárias. O objetivo da pesquisa é analisar os aspectos culturais práticas curativas e transmissão de conhecimentos de um grupo que integra a Rede Fitovida. Através da metodologia antropológica e do registro audiovisual, o que possibilita um olhar mais cuidadoso sobre os fenômenos sociais, esta pesquisa visa compreender quem são essas mulheres, o que fazem e por que o fazem. Na medida em que participam de uma rede de trocas, além de cuidarem da saúde de si, dos familiares e vizinhos, as mulheres da Rede Fitovida se constituem como um movimento social reivindicatório pois demandam o reconhecimento do Estado pelo saber que detêm e transformam a própria percepção enquanto sujeitos em processo de envelhecimento, resignificando alguns estigmas negativos da velhice.In Rio de Janeiro State, there are one hundred and eight groups of women who produce medicines with herbs. Since 2000, they are organized in a network called Rede Fitovida to transmit their knowledge and debate how to deal with their common difficulties. Its a social movement without party or religion affiliation composed by old women from popular layers that get together at kitchens of communitarian centers. None of them receive money or any other kind of payment for their work. Their activity is volunteer and non- profitableThe objective of this ethnography is to analyze cultural aspects of a group that belongs to this network, such as healing practices and knowledge transmission. Through an anthropological methodology and audiovisual documentation which allows a more careful look on the social phenomena this research aims to understand who are those women, what they do and why. As part of a network of exchanges, besides taking care of their health and of their neighborhoods, these women create a social movement that demands the recognition for their traditional knowledge by the State. They also change their own perception of individuals in aging process, overcoming the negative elderly stigmas
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Rodrigues, Mariana Leal. „Folhas e curas em imagens: a circulação do conhecimento no Rio de Janeiro e na Paraíba“. Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9330.
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No estado do Rio de Janeiro e no agreste da Paraíba, há centenas de grupos de mulheres voluntárias comprometidas com o resgate de saberes tradicionais sobre cuidados com a saúde por meio de plantas medicinais. Esses grupos produzem preparações medicamentosas, suplementos alimentares, sabonetes e pomadas, vendidos a preço de custo ou doados. No Rio de Janeiro, a Rede Fitovida conta com mais de cem grupos espalhados por diversas regiões, promove eventos culturais e reivindica o reconhecimento de seus saberes como patrimônio imaterial. Já no agreste da Paraíba, as mulheres se organizam em comissões nos sindicatos de trabalhadores rurais do Polo Sindical da Borborema, a fim de promover a melhoria da qualidade de vida dos agricultores familiares locais. Elas promovem oficinas, encontros e visitas mútuas para difundir o uso de plantas medicinais, motivadas não só pela solidariedade, mas pela bandeira de não deixar esse conhecimento ser vencido pelo tempo. A proposta desta pesquisa é comparar as formas de transmissão de conhecimento de tais grupos, evidenciando, por consequência, os resultados decorrentes dessa ação. Para efeito de uma análise aprofundada.In the metropolitan area of the state of Rio de Janeiro and in the semiarid region of the state of Paraiba, there are hundreds of groups of women who voluntarily commit themselves to rescue traditional knowledge about health care with medicinalplants. Those groupsproducemedicinalpreparations,foodsupplements,soapsand ointments are organized in a network called RedeFitovida that transmits their knowledge through cultural events and claims recognition of such knowledge as their intangible heritage. In Paraiba, women organize themselves into committees within rural workers' unions seeking to improve workshops, meetings and interchange visits aiming to spread the use of medicinal plants. By using an anthropological methodology and audiovisual documentation, which allows a more careful look on the social phenomenon, this research aims to understand how those groups transmit their traditional knowledge. Besides written ethnography, this research presents seven short ethnographic documentaries. The purpose of this research is to examine and compare the mechanisms used by those groups to transmit their traditional knowledge. By using an anthropological methodology and audiovisual documentation, the research aims to offer a more careful look
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Carriere, Glenda Mary. „Going Up the Down Escalator: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000“. Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16020/1/Glenda_Carri%C3%A8re_Thesis.pdf.
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This thesis examines the implementation of the new digital information and communications
technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. A quantitative survey of Australian peak women's NGOs participating in the electronic mailing list - Pamela's List is also conducted mapping the context in which WIFT operates and providing an overview of Australian women's peak NGOs' uptake and use of ICTs. The
findings are situated in relation to a review of the international surveys available on women's
NGOs and the surveys and research reports available on the overall NGO sector, nationally
and internationally.
The study addresses two neglected areas in the ICT literature. For over a decade Feminist
theorists have pointed to the omission of gender as a focus in studies on the new information
and communications technologies. There has also been little research and few surveys into the uptake of ICTs by either women's NGOs or the broader NGO sector, nationally or internationally.
The detailed, longitudinal case study of the implementation process from pre-establishment
through to advanced use of digital communications by a women's NGO at state, national and international level is also unique. Combined with the survey, it affords the opportunity to not only document which ICTs are being adopted but also why particular technologies are being used over others and how they are being used.
Despite key successes, the results show less than optimum uptake, a lack of advanced or strategic use, and the myriad of challenges shared by all three WIFT organisations, Australian women's peak NGOs, and the national and international NGO sector in utilising ICTs. The reasons for this are analysed revealing the conflicting values between the NGO sector and
those underlying the development of ICTs and demonstrates that difficulties systemic to both
the technology and the NGO sector are limiting access and utilisation by women's NGOs.
While the myths of women as technophobic are seriously challenged by the findings, the study
highlights the importance of gender factors in limiting access and uptake and shaping the use
of ICTs. Australian women's NGOs' uptake is shown to be less than their mixed gender
counterparts and the study also reveals a lack of acknowledgement by government of gender as a key factor in the uptake of ICTs.
It is also shown that significant funding, infrastructure support and policy initiatives recognising the special technological and communication challenges of women's NGOs and the overall NGO sector are needed, if both are to fully and strategically embrace these technologies and function effectively in the new millennium.
The significant contribution to knowledge of this thesis lies foremost in furthering the
understanding of gender as a key factor in the uptake and utilisation of the new ICTs while at
the same time challenging the patriarchal myth of women as technophobic. It thus contributes
to the reconstruction of the epistemologies surrounding women's relationship to technology.
The study also contributes to furthering the current very limited knowledge and understanding
of women's NGOs and the overall NGO sector's uptake and use of information and communications technology. The knowledge and the critical insight provided is not purely historical but rather as the push to take up broadband begins, has relevance to this and future technological innovations. Without an understanding of the process, requirements and challenges faced by women's NGOs and the NGO sector in general, the existing problems will continue to be replicated.
The material presented in this study will be useful to all women's organisations and NGOs
contemplating establishing digital communications or wishing to review their current use of these technologies. It will also be of value to government and policy makers seeking to establish policies and initiatives that will enable NGOs to take up the new information and communication technologies.
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Carriere, Glenda Mary. „Going Up the Down Escalator: An ethnographic case study of the uptake and utilisation of information and communication technologies by three Women in Film and Television (WIFT) organisations at the State, National and International level, 1995-2000“. Queensland University of Technology, 2005. http://eprints.qut.edu.au/16020/.
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This thesis examines the implementation of the new digital information and communications technologies (ICTs) by the Women in Film and Television (WIFT) Non-government organisation (NGO) at the state, national and international levels through an ethnographic, participant observation case study, informed by the precepts of feminist research. A quantitative survey of Australian peak women's NGOs participating in the electronic mailing list - Pamela's List is also conducted mapping the context in which WIFT operates and providing an overview of Australian women's peak NGOs' uptake and use of ICTs. The findings are situated in relation to a review of the international surveys available on women's NGOs and the surveys and research reports available on the overall NGO sector, nationally and internationally. The study addresses two neglected areas in the ICT literature. For over a decade Feminist theorists have pointed to the omission of gender as a focus in studies on the new information and communications technologies. There has also been little research and few surveys into the uptake of ICTs by either women's NGOs or the broader NGO sector, nationally or internationally. The detailed, longitudinal case study of the implementation process from pre-establishment through to advanced use of digital communications by a women's NGO at state, national and international level is also unique. Combined with the survey, it affords the opportunity to not only document which ICTs are being adopted but also why particular technologies are being used over others and how they are being used. Despite key successes, the results show less than optimum uptake, a lack of advanced or strategic use, and the myriad of challenges shared by all three WIFT organisations, Australian women's peak NGOs, and the national and international NGO sector in utilising ICTs. The reasons for this are analysed revealing the conflicting values between the NGO sector and those underlying the development of ICTs and demonstrates that difficulties systemic to both the technology and the NGO sector are limiting access and utilisation by women's NGOs. While the myths of women as technophobic are seriously challenged by the findings, the study highlights the importance of gender factors in limiting access and uptake and shaping the use of ICTs. Australian women's NGOs' uptake is shown to be less than their mixed gender counterparts and the study also reveals a lack of acknowledgement by government of gender as a key factor in the uptake of ICTs. It is also shown that significant funding, infrastructure support and policy initiatives recognising the special technological and communication challenges of women's NGOs and the overall NGO sector are needed, if both are to fully and strategically embrace these technologies and function effectively in the new millennium. The significant contribution to knowledge of this thesis lies foremost in furthering the understanding of gender as a key factor in the uptake and utilisation of the new ICTs while at the same time challenging the patriarchal myth of women as technophobic. It thus contributes to the reconstruction of the epistemologies surrounding women's relationship to technology. The study also contributes to furthering the current very limited knowledge and understanding of women's NGOs and the overall NGO sector's uptake and use of information and communications technology. The knowledge and the critical insight provided is not purely historical but rather as the push to take up broadband begins, has relevance to this and future technological innovations. Without an understanding of the process, requirements and challenges faced by women's NGOs and the NGO sector in general, the existing problems will continue to be replicated. The material presented in this study will be useful to all women's organisations and NGOs contemplating establishing digital communications or wishing to review their current use of these technologies. It will also be of value to government and policy makers seeking to establish policies and initiatives that will enable NGOs to take up the new information and communication technologies.
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Cabezas, Pino Angélica. „'This is my face' : audio-visual practice as collaborative sense-making among men living with HIV in Chile“. Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/this-is-my-face-audiovisual-practice-as-collaborative-sensemaking-among-men-living-with-hiv-in-chile(43b02bdb-70d9-466f-ab41-4cd0ce0d86d1).html.
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The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.
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Lang, Ian William, und n/a. „Conditional Truths: Remapping Paths To Documentary 'Independence'“. Griffith University. Queensland College of Art, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20031112.105737.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]
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Lang, Ian William. „Conditional Truths: Remapping Paths To Documentary 'Independence'“. Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367923.
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(Synopsis to introductory statement): An introductory statement to five documentary films made by Ian Lang in Australia between 1981 and 1997 exemplifying a 'democratising' model of sustainable and ethical documentary film production. This document critically reflects on the production process of these films to accompany their submission for the degree of Doctor of Philosophy by Publication at Griffith University. It finds that a contemporary tendency towards 'post-industrial' conditions allows an observational film-maker to negotiate a critical inter-dependence rather than a romantically conceived 'independence' traditional to the genre. [Full thesis consists of introductory statement plus six DVD videodiscs.]Thesis (PhD Doctorate)
Doctor of Philosophy by Publication (PhD)
Queensland College of Art
Full Text
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Gaydos, Benjamin. „[ethno]graphic design“. VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd_retro/98.
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Visual communication is a part of everyone's daily existence. It is a ubiquitous mode that shapes not only the environment that individuals inhabit, but the very identity of the individual. Graphic designers, who create the vast majority of the visual communication encountered, play a crucial role in the production of cultural identity. It is a necessity that designers understand that role, as agents of cultural production.[ethno]graphic design is an ever-evolving approach to graphic design which utilizes anthropological methods in the creative process. This document presents a collection of projects which take an anthropological approach to the design process, utilizing techniques developed by cultural anthropologists to aid the design process primarily ethnographic fieldwork, participant observation, collaboration, multivocal representation and reflexivity.
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Varde, Abhijit. „Local looking, developing a context-specific model for a visual ethnography a representational study of child labor in India /“. Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1132682652.
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31
Segarra, Josep Juan. „"Paz entre nós, guerra aos senhores!": uma etnografia sobre o Bloco de Lutas pelo Transporte Público e a ocupação da Câmara de Vereadores de Porto Alegre“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/129991.
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Esta pesquisa tem como principal objeto de estudo os repertórios de ação e mobilização utilizados durante e ao redor da Ocupação da Câmara de Vereadores de Porto Alegre (10-18 de julho de 2013). A partir da experiência etnográfica e do engajamento militante no Bloco de Lutas pelo Transporte Público, busca-se compreender de que formas o Bloco se organizou e quais são os valores que nortearam esta organização. Ao mesmo tempo, atenta-se para os sujeitos responsáveis por essas práticas e por esses meios, procurando identificar as redes sociais que os aproximam e suas trajetórias de vida. Assembleias, atos, comissões, ocupações, redes sociais e cine-debates servem para analisar as disputas dentro do Bloco de Lutas e ao redor da Ocupação da Câmara de Vereadores de Porto Alegre. É priorizado o recorte etnográfico e o diálogo com outros autores que pensam as práticas de governo e os sentidos das políticas nesses tempos e nesses espaços. Finalmente, identificam-se as divergências estratégicas como o principal problema do Bloco, as ocupações como uma forma de ação coletiva integral e a potencialidade da antropologia pública e das camadas de autoria.This research has as its main object of study the repertoires of action and mobilization used in and around the Occupation of the City Council of Porto Alegre (10-18 July 2013). From the ethnographic experience and militant engagement in the Fight Block for Public Transportation, we seek to understand what this Block was organized like, and what values are the ones that guided this organization. Meanwhile, we focused on the subjects responsible for these practices and means, trying to identify social networks that link them and their life trajectories. Meetings, acts, commissions, occupations, social networks and cine-debates served to analyze disputes within the Fight Block and about the Occupation of the City Council of Porto Alegre. It is prioritized the ethnographic research and dialogue with other authors who think government practices and senses of policies in these times and spaces. Finally, it identifies the strategic divergences as the main problem of the Block, the occupations as a form of full collective action and the potential of public anthropology and authory layers.
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Liu, Hsin-Ju, und 劉馨茹. „"God's craftsmen in Taiwan"- Ethnographic Film Production of Beiguan instruments“. Thesis, 2016. http://ndltd.ncl.edu.tw/handle/b3e457.
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碩士國立臺灣師範大學
民族音樂研究所
104
“God’s craftsmen” is a documentary about Beiguan instruments. Craftmen who make Beiguan instruments are called God’s Craftsmen. The “Beiguan” culture roots China, it was introduced into Taiwan by Chinese immigrants in 17c.. It has prevalently immersed into Taiwan social society and influenced its culture, which includes Hakka Bayin Music and the backcourt music of Taiwan Glove Puppet, String Puppet Show, Taiwanese Opera and Taoist Rituals. One could hear the Beiguan music during the religious ceremonies and traditional festivals everywhere in Taiwan. Being one of the most developed traditional music in Taiwan, Beiguan has diverse species and spreads widely in Taiwan. With 200-year history, Beiguan was the pop music and background music of Taiwan in the early age. For ancestors, “Beiguan” play the important role in thanksgiving and entertainment. Combined with the pilgrimage activities or military dramas, the bright sound of Gong, Drum, Cymbals and Suona draw attentions of the people around the villages to the shows in the early age. Therefore, the craftsmen of the Beiguan instruments play important roles since they could influments the timbre and pitch of Beiguan instruments. However, there are rarely related books and videos introducing the production of Beiguan instruments, expect a few academic papers and the documentary series “Legacy” made by Chinese Public Television. The musical instrument was given the mission of cultural heritage, they should be valued. Therefore, I use “God’s craftsman” as the theme for this study. I made a documentary, recording the manufacture of Beiguan instruments, the interviews of Beiguan masters (including Wen-Chang Hsu, “Baying King” Jian-Cheng Chen, “Xian Jen Ho” Shi-Qun Wong, and “LingWu gong” Lie-Chi Lin) and the pilgrimage activities of “Li Chuen Yuan“, “Dalongdong Bao'an Temple”, “Jilong Mid-summer Ghost Festival”, and “Sung Shan Tsu Huei Temple”. The documentary helps people understand the current situations of manufacture of traditional music instruments and the occasions where the Beiguan music is applied.
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Shepherd, Gyde F. „Conveying traditional Indigenous culture: From ethnographic film to community-based storytelling“. Thesis, 2013. http://spectrum.library.concordia.ca/978261/1/Shepherd_MA_S2014.pdf.
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In the following chapters, I discuss several works of film, video and photography made since the early twentieth century depicting Inuit and other Indigenous peoples of North America. Their creators have been motivated by a desire to produce a record, through various methods of reconstruction, of past ways of life of their Indigenous subjects. In the context of these efforts, the question of how to structure the material to attract and hold the attention of an audience has been a primary concern. The films discussed in chapters two and three exemplify ethnographic filmmaking as a visual and narrative practice of salvage ethnography. In contrast, the films and videos discussed in chapters four and five are examples of Indigenous media—that is to say, media produced by Indigenous people and communities—that make use of ethnographic, or simply cultural, reconstruction in a way that assumes the continuing vitality of Indigenous cultures and a healthy balance between past and present. Focusing on the example of Canada’s first Inuit-made feature-length fiction film, Atanarjuat: The Fast Runner, I argue that the film’s success and significance is grounded in a respect for traditional Inuit storytelling practices and an experiential approach to teaching that uses video as a proxy for directly “showing how,” an effort to make traditional Inuit cultural memory and stories relevant to Inuit and wider audiences in the present and future.
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Yang, Chia-Wen, und 楊嘉文. „The Study of Japanese Film Industry’s Competitive Strategy Centering Around The Production Committee“. Thesis, 2009. http://ndltd.ncl.edu.tw/handle/52130530096159793943.
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碩士淡江大學
日本研究所碩士班
97
In 1995, it is the first time that “production committee” system has been used in Japan to produce video products. Japanese film has its own “production committee” system which members drawn from major press, manufacturers of video game or toy, television stations, issuer, banks and so on. Members as well as donors to provide their professional assistance for a movie script, casting, scene selection, publish, promotion, and listing of related products in advance market planning. The research findings are as follows: 1. It becomes a key factor for developing Japanese culture industry continually when civilian industry provided many kinds of assistance besides government’s policy. 2. Although the primary goal of production committee is to produce commercial films with investment recovery; however, it also becomes a direction of fundraising to cover the high production capital. 3. At present, each Asian country’s film has its own characteristic that creates the absolute advantage for Taiwanese film industry. Japanese film industry as a model for Asian countries, it shows that the foreign film is not only choice.
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Kao, Yan-Shew, und 高雅雪. „Interweaving Ethnic Identity with Life~ Four Aborigines'' Life Experiences about Ethnic Identity and An Ethnographic Film ~“. Thesis, 2000. http://ndltd.ncl.edu.tw/handle/17467883999706379189.
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碩士國立花蓮師範學院
多元文化研究所
88
My thesis is a focused report on four aboriginal youths'' ethnic identities, which will involve interviewing them at-length on their personal history, understanding the process of identity-shaping, as well as how they face ethnic-selves at every life stages. I have furthermore videotaped the subject and present it in an ethnographic film. What is "Aborigine"? What''s the deep meaning when a person declares that s/he is an aborigine and how dose s/he identify this self in social relations and social interaction? In the past, many scholars used stage theory to explain ethnic identity formation, but it''s too simple and typical a way to understand one''s life experiences about ethnic identity. Thus, in this thesis I use constructivist narrative approach combined with life history interviews to substitute for stage theory. By this way, I focused on my reporters'' life experiences, seeing how they are being, doing, and knowing" aborigine ". Furthermore, paying close attention to issues of "academic study" and "feedback", I took a shot at videotaping, which conveys emotional experiences and become another way to realize our world. Besides, visual record is easier to understand than written report, so that it may create more possibilities for all participators in this study and audience to discuss and share opinions with each other. In this study, I analyzed four reporters'' personal narratives in order to understand how a person constructs ethnic identity and memories through daily life practices in the public and private field. Ethnic identity is so complicated and undergoes constant transformation that we can not clearly understand one''s identity just by saying--"I am Aborigine". From reporters'' experiences we find that people take different strategies in different moment to face their ethnic selves, and that dichotomies will twist their real experiences. Moreover, ethnic identity is being constructed by internal-external dialectic, and social dynamics such as gender, class and age will affect it. Finally, the important transitions of life may be the key point to change ethnic identity, because every transition means an important selection and decision, we can realize how people deal with these experiences and events, and learn to interpret it as empathetically as possible.
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Mullin, Ian Scott. „A critical analysis of Robert Gardner's Forest of Bliss : pursuing a pragmatic approach to ethnographic film“. Thesis, 2001. http://hdl.handle.net/1885/146071.
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Nuska, Petr. „DSLR video a jeho vliv na konvence ve filmové tvorbě“. Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-268040.
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The thesis deals with the involvement of digital single-lens reflex cameras (DSLR) with video-capturing capacity in documentary and ethnographic film, more particularly, it examines whether and to what extent these genres were influenced by a trend called DSLR revolution. The main contribution of the work is a qualitative analysis of the testimonies of ten filmmakers, who used DSLR cameras while working on their films during the years 2010-2014. The synthesis of this analysis is conceptualised as a reconstruction of the process of decision-making whether to use or not to use a DSLR camera, considering its benefits (affordability, technical and aesthetic qualities, compactness and simplicity) and its limits (ergonomics, visual artifacts, workflow limits). The reconstruction of this decision-making process is considered in the context of specific experiences of the participants and it focuses on the impact of DSLRs on filming workflow and final product. The final chapter deals with the DSLR revolution as a social trend which was stimulated by the influence of online communities of DSLR filmmakers who actively participated in the course of the revolution. Appendix of the thesis contains a brief description of the film projects of all participants and the model of the structured questionnaire used for data...
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Key, Liza Jane. „'Victims of foolish pleasure': film, ethnography, and coloured women making music in the Great Karoo“. Thesis, 2011. http://hdl.handle.net/10539/10137.
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MA, School of Music, Faculty of Humanities, University of the WitwatersrandIn 2003 I made a documentary film called Karoo Kitaar Blues with South African songwriter and guitarist, David Kramer, on the rare musicians, music, and instruments of scattered coloured communities in the Northern Cape. When I set out, seven years ago, to make the film I had no intention of making an ethnographic film or producing a visual ethnography in the anthropological sense (I am a documentary filmmaker), but two academic reviews, critical of its lack of ‘ethnographic context’ caught my intention. This dissertation attempts to respond to their critique. I explore the territory of visual anthropology and ethnographic methodology in order to understand why my film, with hindsight, is and is not ‘ethnographic’, and to establish how ethnographic practice could enhance my work as a filmmaker. I use Karoo Kitaar Blues as my visual monograph and examine the differences between ethnographic film and documentary (in the observational mode) with reference to ethnographic methodologies and theory in ethnomusicology, and consider how film can be used ‘as’ ethnography or ‘in’ ethnography. I conclude that Karoo Kitaar Blues film lies somewhere between ethnographic and observational filmmaking.
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Close, Natalie Frances. „Hierarchies of a Japanese Community Festival“. Phd thesis, 2016. http://hdl.handle.net/1885/141437.
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This thesis looks at how hierarchies are formed and maintained
within a mikoshi festival, which is a form of common Japanese
community festival involving a portable shrine carried around the
neighbourhood in order for the god to bless the local homes and
businesses within. The festival in question is located in
Kichijoji, a district that lies to the West of central Tokyo. Of
particular note in this festival is that in addition to the usual
mikoshi teams representing the shopping districts (shotenkai),
there is a team (Musashi), representing the local shrine, and by
extension the entire town. This has led to a complex hierarchical
dynamic between the two kinds of team.
In this thesis I examine the hierarchical relationships that
exist within the festival teams, and how they were formed,
including the relationships between the Musashi team and the
shotenkai teams, and the ways individual members advance between
them. Methodolgically film has been integral to my research and I
used a camera from the beginning of my fieldwork.. The use of a
camera not only allowed me access to the participants and the
performance, but in addition the analysis of the film and the
editing process itself revealed aspects of hierarchy that would
otherwise have been difficult to discern. Using a camera, as well
as more traditional ethnographic methodologies, enabled me to
record the event in greater detail than I would otherwise have
been able to.
In my thesis film and text work together, complementing each
other in enabling me to analyse and represent the working of
hierarchy within the Kichijoji Autumn festival. The filmmaking
process allowed for the complex and often subtle relationships
between individual team members to come to light. On the other
hand, the thesis allowed for a wider analysis of the teams
themselves within a historical and structural context.
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Porybná, Tereza. „Kulturologický pohled na vývoj vizuálních a audiovizuálních reprezentací domorodých kultur“. Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-305938.
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English Summary This dissertation primarily aims to synoptically place the theme of audiovisual representations of indigenous cultures within the context of cultural studies. With its interdisciplinary overlapping, the cultural studies approach is well suited to understanding the complex significance of visual representations of culture, which are both cultural artefacts and cultural interpretations and have an impact that is as artistic as it is scientific and political. The first part of the work describes the manner in which native cultures are audio-visually represented, especially in ethnographic photographs and films which emerged in the North American and European context. The mapping of "exotic others" intensified with the first modern overseas discoveries, first by means of exhibitions of living natives, illustrations and figurines, later through photographs, films and videos. These representations were significantly influenced by the socio-cultural conditions in which they arose. As late as the turn of the 20th century, there was a dominating conviction about the capability of photographs to present an objective record of reality. This technology was therefore used as an instrument for recording and classifying physical and cultural differences. The widespread acceptance of the doctrine of...
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Rousek, Jan. „Ladislav Helge: mezi mocí a filmem“. Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-344395.
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The aim of the thesis is to map political activities of Ladislav Helge, a film director. Due to his social sensitivity and sympathies for the Red army as a liberator of Czechoslovkaia, he favored left-wing politics. At the beginning of his career he was not involved in politics and instead immersed himself fully in his profession of a film director. His first initiation to the world of politics came with the shooting of Frona. This film represents a turning point in both his artistic and political activities. Gradual de-Stalinization across the 1950s happened alongside Helge's first independent film project and his deliberate joining of KSC. The political intervention of the communist party into the liberal functioning of Czechoslovak film during the Banska Bystrica film festival determined his political activism that was to follow. In the mid 1960s Helge, as a leader of a professional film organization FITES, stood up to the attempts of the communist functionaries to curtail the artistic freedom of filmmakers belonging to the New Wave movement. Between 1968 and 1969 he led the Coordinating committee of creative associations and defended the freedoms gained during the Prague Spring. Soon after, his employment at Barrandov studios was terminated. In 1977 he signed the Anti-Charter. The last chapter...
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Matias, Ana Rita. „Um outro bairro na cidade: práticas de intervenção sócio urbanística no Bairro da Mouraria“. Master's thesis, 2015. http://hdl.handle.net/10362/15755.
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Este trabalho aborda uma proposta de utilização do filme etnográfico no contexto do processo de reabilitação sócio urbanística do bairro da Mouraria, em Lisboa. Foca-se numa tentativa de criação de um diálogo entre as duas mais marcantes visões face à nova reconfiguração sócio espacial: a institucional e a popular. Juntamente com o filme, Explora a utilização da antropologia visual de três diferentes formas, na análise da cultura visual e na fotografia. Ainda, considera a hipótese da utilização do filme etnográfico como mediador comunicativo, capaz de criar um espaço para a consciencialização do outro, afirmando-se como um contributo à participação integrada e ao desenvolvimento de metodologias comunicativas.
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Kupková, Marika. „Z písaře ministerským radou: Působení Jiřího Mařánka v kinematografii čtyricátých a padesátých let“. Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-371279.
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1 Abstract The thesis focuses on the involvement of Jiří Mařánek in the management of the Film Department of the Ministry of Information during the years 1945 - 1948. His ministe- rial engagement is related to the contemporary strengthening of the importance of literary preparation of the film and to the associated state dramaturgical supervision. Jiří Mařánek belongs to the circle of writers connected on one hand through their affiliation with the interwar avant-garde movements, on the other hand by their postwar involve- ment in the power apparatus that ended by the political and economic changes in the late forties and fifties. His professional fate speaks about the changes of cultural policy of the state, about the institutional development of the cinema and about the relations between literary and cinematic arts. It is a testimonial of what a successful professional career meant for a man of letters and what relationship it had to the cinema. We follow therefore a relatively brief but breakthrough episode of a writer and retired officer in the position of the Ministerial Counsellor, and we try to place its course and causes into a complex network of historical and social contexts and personal motivation. Focusing on this personality unburdened neither by a historical uniqueness, fundamental role of...
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Durňak, Milan. „Antropologický seriál: kognitivní a semiotické modely kultury“. Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313503.
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ANTROPOLOGICKÝ SERIÁL - Kognitívne a semiotické modely kultury Abstract /english version/: The author of the thesis has developed a methodological framework of visual anthropology by collecting relevant information concerning the subject and by verifying this knowledge practically in an authentic living environment. This interconnection represents the main twist in the methodology, which turns away from the informative and interpretative version of ethnographic (anthropological) film and moves towards its functional, socio-cultural analysis. The subject of the thesis is an interdisciplinary research and possibilities of applying cognitive and semiotic analytical schemes into the process of directing an anthropological series. The entire project of an authentic ethnographic research and the film tumenge (I., II., III.) attempt to display the interethnical relations in the village Palota in the North-East of Slovakia, particularly bringing the life in the local Roma settlement and its individual members into sharp focus.
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Corrêa, Ana Cristina Coêlho Alves. „Corpus Inscriptionum: Mergulhadores de Corumbau“. Master's thesis, 2021. http://hdl.handle.net/10362/131594.
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Esta pesquisa teve como objetivo investigar e aprender com os mergulhadores de apneia da Reserva Extrativista Marinha do Corumbau-BA, localizada no Banco de Abrolhos, Brasil; sobre as práticas e transformações da caça subaquática, frente aos desafios impostos pelo aquecimento global, às mudanças climáticas e aos desastres ambientais ocorridos no ano de 2019; nomeadamente o branqueamento dos corais (Duarte, et al., 2020), e o derramamento misterioso de petróleo cru no ambiente (Soares, et al., 2020). A componente fílmica deste trabalho, além de ferramenta fundamental na construção da narrativa, pretende comunicar sobre uma realidade pouco visível: o mundo subaquático em suas interações de vida, observado sob a linha d’água. Chamo esta malha social existente entre os elementos humanos e não humanos de “Sistema Coral”. Assim, os recifes de coral e as relações sociais estabelecidas entre as espécies, tornam-se o fio condutor desta abordagem, visando clarificar as interações sociais da malha em seus efetivos laços de apoio, perturbação e sustentabilidade. A partir do método etnográfico, proponho o uso das imagens como ferramenta central e articuladora, de forma a dar espaço ao “cruzamento de perspectivas culturais” (MacDougall 1997), onde a composição das vozes foi criando o conteúdo. A câmara segue as linhas de vida, em busca do encontro dos elementos e dos materiais. Pretendi gerar conteúdo polifônico, por meio da captação de imagem e voz, sobre o conhecimento empírico associado à pesca submarina, e ensinado por meio da prática e da observação cotidiana. Para dar conta da diversidade de detalhes e complexos imbricados de vidas e materiais relacionados a esta etnografia, proponho a utilização do sistema coral, como uma janela de observação, para compreender o impacto das alterações climáticas `a escala local proposta.This research aimed to investigate and learn with underwater divers from the Marine Extractive Reserve of Corumbau, located in the Banco de Abrolhos, (Bahia-Brazil); on the practices and transformations of underwater hunting, given the challenges posed by global warming, climate change and environmental disasters that occurred in 2019; namely coral bleaching (Duarte, et al., 2020), and the mysterious spill of crude oil into the environment (Soares, et al., 2020). The filmic component of this work, in addition to being a fundamental tool in the construction of the narrative, intends to communicate about a barely visible reality: the underwater world in its life interactions, observed under the waterline. I call this social mesh that exists between the human and non-human elements the “Coral System”. Thus, coral reefs and the social relationships established between species, become the guiding principle of this approach, aiming to clarify the social interactions of the mesh in their effective ties of support, disturbance, and sustainability. From the ethnographic method, I propose the use of images as a central and articulating tool, to give space to the “crossing of cultural perspectives” (MacDougall 1997), where the composition of the voices created the content. The camera follows the lines of life, in search of the meeting of elements and materials. With this, I intended to generate polyphonic content, through image and voice capture, about the empirical knowledge associated with underwater fishing, and taught through daily practice and observation. To account for the diversity of details and complex intertwined lives and materials related to this ethnography, I propose the use of the coral system, as an observation window, to understand the impact of climate change on the proposed local scale.
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Saraiva, António João. „Filme e hipervídeo : um retrato polifónico da geração dos Capelinhos a partir da emigração e regresso“. Doctoral thesis, 2013. http://hdl.handle.net/10400.2/3729.
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Tese de Doutoramento em Antropologia na especialidade de Antropologia Visual apresentada à Universidade AbertaOs Açorianos nascem nas suas ilhas marcados pela inevitabilidade da partida: “Nascemos já preparados para a partida”, dizem-nos na ilha de S. Jorge. Sismos, dificuldades económicas, escassez de terra estão na origem desta circunstância. A geografia a sobrepor-se à história, como sublinhava Vitorino Nemésio. Uma fatalidade na partida que tem associada a ideia de regresso. Partida e regresso fazem parte das narrativas açorianas no romance, no conto ou na música. Uma vez na diáspora, o regresso (ou o desejo de regressar) permanece. “Ricos ou desiludidos pretendem voltar. O ideal do Açoriano é formar lá um pecúlio e vir depois gozá-lo na sua ilha querida”, diz-nos mestre Leite de Vasconcelos depois de uma saudosa visita às ilhas em 1926. Muito frequentemente, o regresso acaba por não se concretizar, principalmente por razões familiares. Um conflito que a expressão “minha terra minha dor, meu filho meu amor” bem expressa. Os processos migratórios originam sempre novos territórios culturais, desde logo pela desterritorialização (perda da relação natural com o território cultural de origem). A adaptação cultural que ela obriga desencadeia fenómenos de reterritorialização ou, por outras palavras, processos de adaptação a novos territórios, originando novas ilhas açorianas em terras da América. O arquipélago prolonga-se para lá da ilha do Corvo. Outras ilhas existem mais a ocidente. Este estudo centra-se na questão do regresso a partir da vaga migratória dos Capelinhos, nome com que ficou conhecida a geração que emigrou na sequência da erupção dos Capelinhos, em 1957, e que está hoje na idade de reforma e, por isso, com possibilidade de voltar. Com uma permanência longa, de várias décadas, em terras novas, as suas raízes estão divididas entre a terra onde nasceram e onde se encontram as suas memórias de infância, e a Califórnia, onde viveram vidas ativas e onde nasceram os filhos e os netos. “A terra dos nossos filhos é também a nossa terra”, dizem-nos em S. José (Califórnia). A terra velha terá ficado para trás. O texto apresentado será, nos aspetos essenciais, intencionalmente multidiscursivo e polifónico (múltiplas vozes), tomando caraterísticas diferentes que passarão pela etnohistória, narrativas pessoais biográficas, descrições pormenorizadas da vida quotidiana de famílias, com o propósito de apresentar um texto que pretendemos seja uma alegoria sobre o regresso (allegoria, de allos “outro” + agoria “discurso”). Refletiremos também sobre o contributo e as especificidades de um trabalho de observação mediado por câmara e sobre o contributo do filme etnográfico e do hipervídeo enquanto discursos narrativos que concorrem com o texto para a compreensão do regresso e da Açorianidade. Apresentaremos seis casos de estudo (seis famílias), que foram objeto de acompanhamento durante dois meses de trabalho de campo em S. Jorge (Açores) e nove meses em S. José (Califórnia). Com este trabalho, que inclui a produção de um documentário e de um hipervídeo, estudámos o modo como o desejo de regressar é vivenciado nos quotidianos, acrescentando conteúdos para um retrato polifónico do regresso, que pretenderá juntar-se a um álbum de outros retratos sobre a Açorianidade. A escrita, o audiovisual, o hipervídeo não são, pois, discursos e narrativas separados mas resultam numa cultura de convergência dos média e dos conteúdos.
Azoreans are born onto their islands marked by the inevitability of departure: "We are born prepared for departure" we are told on the island of S. Jorge. Earthquakes, economic difficulties, shortage of land are the source of this condition. The geography overlaps history as is stressed Vitorino Nemésio. One outcome of any departure is that it is often associated with the idea of return. Departure and return are a part of Azorean narratives, be it in novels, short story or in music. Once in the diaspora, return or the desire to do so will persevere. “Rich or disillusioned, they intend to return. The Azorean ideal is to save up and return, in order to enjoy it on their beloved island”, says Leite Vasconcelos, after a heartfelt visit to the islands in 1926. More often then not, however, the definite return does not materialize, owed primarily for family reasons. A sentiment well expressed in the saying: “my land my pain, my son my love”. Migration processes ultimately originate new cultural territories, brought about by deterritorialization (loss of a natural relationship with the cultural territory of origin). The forced cultural brings about a phenomena of reterritorialization, or, in other words, a processes of adaptation to new territory, leading to the creation of ‘new Azorean islands’ on the American landscape. The archipelago extends beyond the islands of Flores and Corvo. This study focuses on issues of return, focusing on the Capelinhos migration wave, the name given to the generation of emigrants that departed following the eruption of the Capelinhos volcano in 1957 and who, today, are of retirement age and, therefore, could hold the possibility of returning. With their prolonged stay, now ranging several decades, in ‘the new land’, their roots are divided by the land where they were born and where their childhood memories are implanted, and California where they lived out their active lives and where their children and grandchildren were born. “The land of our children is also our land”, we are told in San Jose (California). The old country has been left behind. The text to be presented will be on these essential aspects, intentionally multi-discursive and polyphonic (multiple voiced) taking into consideration different characteristics that will include ethno-histories, personal biographical narratives, detailed descriptions of daily family life, this with the purpose of presenting a written account aimed to be an allegory on return (allegoria, from allos 'other' + agoria 'speaking'). We will additionally reflect on the contribution and specificities garnished through observation fieldwork mediated by video camera relying on the contribution of ethnographic film and hypervideo as narrative discourse methods that while accompany the text for a richer understanding of return and the Azoreaness. We present six case studies (six families) who were the object of fieldwork observation for a period of two months on the island of S. Jorge (Azores) and nine months in San Jose (California). With this study, which additionally includes the production of a documentary and hypervideo, we observe how the desire to return is experienced on a daily basis, adding content to a polyphonic portrait of return with the aim of putting together an album of portraits on Azoreaness.