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Journal articles on the topic 'Committee of Ethnographic Film'

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Published: 21 December 2024

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1

Цорос, Алтман Валерьевич, and Эльза Петровна Бакаева. "Kalmyk Shrines: Part 4 of the Documentary Film “Secrets of the Kalmyk Steppe: From the Life of the Kalmyks and Tatars”." ТРАДИЦИОННАЯ КУЛЬТУРА, no. 4 (November 25, 2021): 61–72. http://dx.doi.org/10.26158/tk.2021.22.4.005.

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В статье рассматривается часть документального фильма, снятого в начале 1920-х гг. швейцарской экспедицией. Благодаря фильму Августа Керна сохранились визуальные материалы о культуре и быте калмыков в эпоху перехода от кочевой жизни к оседлой. Исследование показало, что создание фильма “Die Geheimnisse der Kalmückensteppe. Aus dem Leben der Tataren und Kalmücken” (Тайны калмыцкой степи. Из жизни калмыков и татар) было связано с актуальным направлением гуманитарного кино начала 1920-х гг., создававшегося при поддержке организаций Международного комитета Красного Креста. А. Керн снимал фильм, являясь представителем Швейцарского общества Красного Креста на юге России, но сохранившиеся части фильма являются кинохроникой этнографического типа, в которой отражена буддийская культура калмыков, несомненно представлявшая особый интерес для европейского зрителя. Сохранились две из четырех частей фильма, имеются два их варианта: с титрами на чешском языке и с немецкими и французскими титрами. Калмыцкая часть фильма была снята в поселениях Зёты и Ханата. Спустя сто лет «Тайны калмыцкой степи…» представляет важный визуальный документ как для ученых, так и для широкой аудитории, и его исследование только начинается. This article discusses part of a documentary film shot in the early 1920s by a Swiss expedition. Thanks to the director, August Kern, visual material has been preserved about the life and culture of the Kalmyks in the era of their transition from nomadic to sedentary life. The article shows how the film “Die Geheimnisse der Kalmückensteppe. Aus dem Leben der Tataren und Kalmücken” (“Secrets of the Kalmyk Steppe. From the Life of the Kalmyks and Tatars”) reflects the humanitarian tendency in cinema of the early 1920s, created with the support of organizations like the International Committee of the Red Cross. Kern shot the film as a representative of the Swiss Red Cross in southern Russia. The surviving parts of the film are newsreels of an ethnographic type and examine the Kalmyks’ Buddhist culture, undoubtedly of particular interest to the European viewer. Two of the four parts of the film have been preserved; there are two versions of them, with titles in Czech and with German and French titles. The Kalmyk part of the film was shot in the settlements of Zeta and Khanate. A hundred years after it was made, the “Secrets of the Kalmyk Steppe” is an important visual document for both scholars and the general public.
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2

Lidya Meti Fiorentina and Lalu Takdir Jumaidi. "Accounting Practices in the Barapan Kebo Custom in Sumbawa Regency." Formosa Journal of Multidisciplinary Research 3, no. 3 (March 27, 2024): 189–212. http://dx.doi.org/10.55927/fjmr.v3i3.8567.

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Traditional accounting practices in the context of the Barapan Kebo tradition in Sumbawa Regency have not yet been widely researched. This research seeks to fill this gap in the literature by focusing on how buffalo breeders and traditional actors in this tradition record, measure costs and determine profits. Using an ethnographic approach, data was collected through observations and interviews for days in the field. The results show that the concept of profit and loss is not only seen from a material perspective, but is also influenced by spiritual beliefs and local beliefs. Even though financial recording practices tend to be informal, the importance of financial monitoring is still reflected through simple recording carried out by the executive committee. The emphasis on non-material aspects in assessing profits, such as happiness and gratitude, illustrates that spiritual cultural values play a key role in accounting practices in the Barapan Kebo tradition. Accounting is understood as financial management that is not only practical, but also closely connected to the cultural and spiritual values of society.
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3

Jhala, Jayasinhji. "Encountering Ethnographic Film: Innovation in Ethnographic Film . Peter Loizos." American Anthropologist 96, no. 4 (December 1994): 982–84. http://dx.doi.org/10.1525/aa.1994.96.4.02a00240.

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4

Sperschneider, Werner. "Voices in Ethnographic Film." Anthropology Today 12, no. 6 (December 1996): 22. http://dx.doi.org/10.2307/2783406.

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5

Strecker, Ivo. "Creativity in ethnographic film." Visual Anthropology 14, no. 2 (June 2001): 203–11. http://dx.doi.org/10.1080/08949468.2001.9966826.

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6

Otto, Ton. "Ethnographic Film as Exchange." Asia Pacific Journal of Anthropology 14, no. 2 (April 2013): 195–205. http://dx.doi.org/10.1080/14442213.2013.768698.

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7

Clarfield, Geoffrey. "On Teaching Ethnographic Film." Academic Questions 26, no. 4 (October 20, 2013): 465–75. http://dx.doi.org/10.1007/s12129-013-9390-3.

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8

Aldridge, Michael. "Scholarly Practice—Ethnographic Film and Anthropology. “Beyond Ethnographic Film: Hypermedia and Scholarship”." Visual Anthropology 7, no. 3 (January 1995): 233–35. http://dx.doi.org/10.1080/08949468.1995.9966650.

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9

Cabezas, Sue, Mary Wolff, and Judith Nierenberg. "Ethnographic Film in the Classroom." Practicing Anthropology 8, no. 3-4 (July 1, 1986): 22–23. http://dx.doi.org/10.17730/praa.8.3-4.2187621pu51t25hh.

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Any discussion of ethnographic film in the classroom must begin by defining what constitutes ethnographic film. For the purposes of this paper, the definition given by Karl Heider in Ethnographic Film (University of Texas, 1976) is useful: "ethnographic film is film which reflects ethnographic understanding." If a film is informed by this understanding; it enables the viewer to see the activities in a cultural context, not simply, as isolated or exotic behaviors. The ethnographic content can be provided directly in the film through narration, titling, or interviews; or written ethnographies can be used to provide the information needed to place the film's events and activities in a relevant cultural context.
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10

PEDERSEN, LENE. "Timothy Asch and Ethnographic Film:Timothy Asch and Ethnographic Film." American Anthropologist 108, no. 3 (September 2006): 518–19. http://dx.doi.org/10.1525/aa.2006.108.3.518.2.

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11

Adamowicz, Elza. "Ethnology, Ethnographic Film and Surrealism." Anthropology Today 9, no. 1 (February 1993): 21. http://dx.doi.org/10.2307/2783342.

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12

Homiak, John P. "Ethnographic Film: Then and Now." AnthroNotes : National Museum of Natural History bulletin for teachers 16, no. 1 (September 12, 2014): 1. http://dx.doi.org/10.5479/10088/22333.

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13

Henley, Paul. "British Ethnographic Film: Recent Developments." Anthropology Today 1, no. 1 (February 1985): 5. http://dx.doi.org/10.2307/3032764.

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14

Lansing, J. Stephen. "The Decolonization of Ethnographic Film." Society for Visual Anthropology Review 6, no. 1 (March 1990): 13–15. http://dx.doi.org/10.1525/var.1990.6.1.13.

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15

TARI (WITH MARCUS BANKS), JÁNOS. "Time in Hungarian Ethnographic Film." Visual Anthropology Review 23, no. 1 (March 2007): 76–83. http://dx.doi.org/10.1525/var.2007.23.1.76.

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16

Lansing, J. Stephen. "The decolonization of ethnographic film." Visual Sociology 4, no. 2 (March 1989): 10–17. http://dx.doi.org/10.1080/14725868908583633.

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17

Jhala, Jayasinhji, and Anna Passagrilli. "A Review of: “Ethnographic Film”." Visual Anthropology 21, no. 2 (February 21, 2008): 183–88. http://dx.doi.org/10.1080/08949460701849765.

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18

Ruby, Jay. "A Future for Ethnographic Film?" Journal of Film and Video 60, no. 2 (2008): 5–14. http://dx.doi.org/10.1353/jfv.0.0005.

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19

Loizos, Peter. "Second Gottingen Ethnographic Film Festival." Anthropology Today 10, no. 5 (October 1994): 18. http://dx.doi.org/10.2307/2783080.

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20

RUBY, JAY. "A Future for Ethnographic Film?" Journal of Film and Video 60, no. 2 (July 1, 2008): 5–14. http://dx.doi.org/10.2307/20688590.

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21

Sikand. "Filmed Ethnography or Ethnographic Film? Voice and Positionality in Ethnographic, Documentary, and Feminist Film." Journal of Film and Video 67, no. 3-4 (2015): 42. http://dx.doi.org/10.5406/jfilmvideo.67.3-4.0042.

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22

Eaton, Michael. "Third International Festival of Ethnographic Film." Anthropology Today 8, no. 6 (December 1992): 23. http://dx.doi.org/10.2307/2783269.

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23

Sperschneider, Werner. "Gottingen International Ethnographic Film Festival 1996." Anthropology Today 12, no. 6 (December 1996): 21. http://dx.doi.org/10.2307/2783405.

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24

Banks, Marcus. "The Non-Transparency of Ethnographic Film." Anthropology Today 4, no. 5 (October 1988): 2. http://dx.doi.org/10.2307/3032746.

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25

Banks, Marcus. "Memories of a Meeting: Ethnographic Film." Anthropology Today 6, no. 6 (December 1990): 18. http://dx.doi.org/10.2307/3032921.

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26

Banks, Marcus. "The Seductive Veracity of Ethnographic Film." Society for Visual Anthropology Review 6, no. 1 (March 1990): 16–21. http://dx.doi.org/10.1525/var.1990.6.1.16.

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27

Asch, Patsy, and Linda Connor. "Opportunities for " Doublevoicing " In Ethnographic Film." Visual Anthropology Review 10, no. 2 (January 8, 2008): 14–28. http://dx.doi.org/10.1525/var.1994.10.2.14.

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28

Mathew, Wesley. "Reality in Ethnographic Film: Documentaryvs. Docudrama." Visual Anthropology 27, no. 1-2 (December 19, 2013): 17–24. http://dx.doi.org/10.1080/08949468.2013.756713.

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29

Santos, Dominique. "Reflections on an Ethnographic Film Festival." Anthropology News 58, no. 5 (September 2017): e329-e333. http://dx.doi.org/10.1111/an.626.

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30

Devlieger, Patrick J. "Ethnographic Film by Karl G. Heider." Visual Anthropology Review 25, no. 1 (May 2009): 71–72. http://dx.doi.org/10.1111/j.1548-7458.2009.01013.x.

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31

Hughes-Freeland, Felicia, Peter Ian Crawford, and Jan Ketil Simonsen. "Ethnographic Film Aesthetics and Narrative Traditions." Man 29, no. 1 (March 1994): 195. http://dx.doi.org/10.2307/2803527.

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32

Enevoldsen, Kyle. "Virtual Reality: Viewership and Ethnographic Film." Visual Anthropology 21, no. 5 (October 16, 2008): 410–28. http://dx.doi.org/10.1080/08949460802341878.

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33

Fuchs, Peter. "Ethnographic film in Germany: An introduction." Visual Anthropology 1, no. 3 (October 1988): 217–33. http://dx.doi.org/10.1080/08949468.1988.9966475.

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34

Cremers, A. L., B. J. Visser, Z. Getahun, M. Borku, E. Meskele, J. Ahmed, M. van Vugt, and E. Birnie. "Using ethnographic film in tackling podoconiosis." Transactions of The Royal Society of Tropical Medicine and Hygiene 114, no. 12 (November 19, 2020): 896–98. http://dx.doi.org/10.1093/trstmh/traa098.

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Abstract Background Ethiopia has one of the worst podoconiosis rates in the world, affecting >1.5 million patients. We present our ethnographic film ‘Tigist, the story of a girl with podoconiosis’ and its potential use in tackling podoconiosis. Methods We conducted visual ethnography, consisting of video-recorded participant observations and interviews with seven patients, three healthcare workers and two podoconiosis experts. Results We acquired video recordings of social moments, the state of podoconiosis patients’ bodies and minds, their emotions and the impact of poverty. Conclusions Our film allows for an intensified understanding of patients’ daily experiences with podoconiosis, potentially impacting care, awareness and medical teaching programs.
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35

Gregory, Chris. "The Learning From Ethnographic Film Project." Canberra Anthropology 17, no. 2 (October 1994): 73–89. http://dx.doi.org/10.1080/03149099409508420.

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36

Bright, Brenda Jo 1955. "Ethnographic film and the popular imagination." American Quarterly 50, no. 1 (1998): 183–91. http://dx.doi.org/10.1353/aq.1998.0052.

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37

Douglas-Jones, Rachel. "Committee as Witness." Cambridge Journal of Anthropology 39, no. 1 (March 1, 2021): 55–71. http://dx.doi.org/10.3167/cja.2021.390105.

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This article explores the ethics review committee as a contemporary witness to the conduct of biomedical research. Ethics committee work is an internationally growing form of deliberation and decision making, a technology of anticipation that grants researchers access to experimental spaces, research funds and publication venues. Drawing on ethnographic work with a range of ethics committees across the Asia-Pacific region, I explore the metaphorical extension of logics of seeing into bureaucratic forms of ethics review. My analysis untethers the witnessing voice from an individual ‘point of view’, focusing on the attestive assemblage and its documentation. By exploring the committee as a form of collective attestation, I aim to show witnessing as a form of ethical work, for ethical ends.
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38

Pink, Sarah. "Gottingen International Ethnographic Film Festival, IWF, Germany." Anthropology Today 14, no. 4 (August 1998): 23. http://dx.doi.org/10.2307/2783354.

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39

Mermin, Elizabeth. "Being Where? Experiencing Narratives of Ethnographic Film." Visual Anthropology Review 13, no. 1 (March 1997): 40–51. http://dx.doi.org/10.1525/var.1997.13.1.40.

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40

Gillette, Maris Boyd. "New Ethnographic Film in the New China." Visual Anthropology Review 30, no. 1 (May 2014): 1–10. http://dx.doi.org/10.1111/var.12026.

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41

Vannini, Phillip. "Ethnographic Film and Video on Hybrid Television." Journal of Contemporary Ethnography 44, no. 4 (June 24, 2014): 391–416. http://dx.doi.org/10.1177/0891241614538665.

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42

LeeKijung. "John Marshall's , a Western African Ethnographic Film." Contemporary Film Studies 8, no. 2 (November 2012): 389–416. http://dx.doi.org/10.15751/cofis.2012.8.2.389.

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43

Sharma, Aparna. "Festival: Ninth RAI Festival of Ethnographic Film." Leonardo 39, no. 3 (June 2006): 274–76. http://dx.doi.org/10.1162/leon.2006.39.3.274.

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44

Mhiripiri, Nhamo. "Reflexivity and the Challenges of Ethnographic Film." Visual Anthropology 16, no. 1 (March 13, 2003): 73–80. http://dx.doi.org/10.1080/08949460309595100.

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45

Shepperson, Arnold. "Beyond scholarship? Ethnographic film and academic practice." Visual Anthropology 7, no. 3 (January 1995): 236–40. http://dx.doi.org/10.1080/08949468.1995.9966651.

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46

Henley, Paul. "Ethnographic film: Technology, practice and anthropological theory." Visual Anthropology 13, no. 2 (January 2000): 207–26. http://dx.doi.org/10.1080/08949468.2000.9966800.

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47

Portis-Winner, Irene. "Jean Rouch: The semiotics of ethnographic film." Sign Systems Studies 41, no. 2/3 (November 7, 2013): 230–40. http://dx.doi.org/10.12697/sss.2013.41.2-3.06.

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Jean Rouch (1917–2004) is considered to be the greatest ethnographic filmmaker in the world. His films, which focus primarily on the Songhay of the Upper Niger in Africa, have fundamentally changed the spirit, goals, and methods of ethnographic filmmaking. I ask how Rouch established contact with those he filmed, how his invented semio-ethnic terms and his understanding of twoness and the other informed his practice, and in what sense his films were “shared anthropology” (his term).
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48

Stern, Richard. "Collaborative Ethnographic Film: A Workshop Case Study." McNair Scholars Online Journal 5, no. 1 (2011): 231–55. http://dx.doi.org/10.15760/mcnair.2011.231.

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49

Wärnlöf, Christofer. "The ‘Discovery’ of the Himba: The Politics of Ethnographic Film Making." Africa 70, no. 2 (May 2000): 175–91. http://dx.doi.org/10.3366/afr.2000.70.2.175.

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AbstractThis article is concerned with the way an African ethnic group is represented in the medium of television. It is argued, first, that, in the broad spectrum of programmes, ethnographic films will never be in the top rank. Nevertheless, as part of a general range appealing to an intellectual and academic audience, ethnographic films will be competing in this market. One solution is to let ethnographic films become more attractive through a closer resemblance to fictional films. But it creates a dilemma for an ethnographic film screened on television, as it must legitimise its position by differentiating itself from fiction through establishing a certain realism while at the same time employing fictional devices to dramatise ethnographic ‘stories’. This leads to distorted and sometimes racist undertones. The second issue concerns the ambitions of the film team. Their temporary role in the locality becomes political when, as inevitably happens, they favour, and are favoured by, one section of the local community in order to fulfil their mission of producing an ethnographic film. A split in the community is caused by such external forces and justified by the fact that we are all ‘living in a global village’.
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50

MacDougall, David. "Colin Young, Ethnographic Film and the Film Culture of the 1960s." Visual Anthropology Review 17, no. 2 (September 2001): 81–88. http://dx.doi.org/10.1525/var.2001.17.2.81.

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