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Timothy Asch and Ethnographic Film
Beautifully illustrated and featuring articles from many of Asch's friends, colleagues, and collaborators as well as an important interview with Asch himself, this is an idea introduction to his work.
Timothy Asch and Ethnographic Film
Timothy Asch (1932-1994) was probably the greatest ethnographic filmmaker of the latter twentieth century, and one of the best-known anthropologists of his generation. He worked with Margaret Mead, John Marshall and Napoleon Chagnon, lived and filmed on every continent except Antarctica, and won numerous international prizes. His work, which includes 'The Ax Fight' and more than 50 other films of the Yanomamö Indians of Venezuela, comprises the most widely used resource in the teaching of anthropology today. Timothy Asch and Ethnographic Film combines a biographical overview of Asch's life with theoretical and critical perspectives, giving a definitive guide to his background, aims and ideas, methodology and major projects. Beautifully illustrated with 60 photos, and featuring articles from many of Asch's friends, colleagues and collaborators as well as an important interview with Asch himself, it is an ideal introduction to his work and to a range of key issues in ethnographic film.
American Ethnographic Film and Personal Documentary
American Ethnographic Film and Personal Documentary is a critical history of American filmmakers crucial to the development of ethnographic film and personal documentary. The Boston and Cambridge area is notable for nurturing these approaches to documentary film via institutions such as the MIT Film Section and the Film Study Center, the Carpenter Center and the Visual and Environmental Studies Department at Harvard. Scott MacDonald uses pragmatism’s focus on empirical experience as a basis for measuring the groundbreaking achievements of such influential filmmakers as John Marshall, Robert Gardner, Timothy Asch, Ed Pincus, Miriam Weinstein, Alfred Guzzetti, Ross McElwee, Robb Moss, Nina Davenport, Steve Ascher and Jeanne Jordan, Michel Negroponte, John Gianvito, Alexander Olch, Amie Siegel, Ilisa Barbash, and Lucien Castaing-Taylor. By exploring the cinematic, personal, and professional relationships between these accomplished filmmakers, MacDonald shows how a pioneering, engaged, and uniquely cosmopolitan approach to documentary developed over the past half century.
Anthropological Filmmaking
First Published in 1988. Routledge is an imprint of Taylor & Francis, an informa company.
Biographical Dictionary of Anthropologists
This biographical dictionary provides information on 322 men and women who have made or are making significant contributions in the field of anthropology. A short biography highlights each person's professional and private background and detailed analysis of the theories or approaches that each contributed to his or her individual field and a guide to their major published works are provided. A chronological appendix lists each person's date of birth, full name, and primary field of study, guiding readers to entries covering 1681 to 2006. An extensive glossary explains technical terms used throughout the work.
Ethnographic Film
From reviews of the first edition: “Ethnographic Film can rightly be considered a film primer for anthropologists.” —Choice “This is an interesting and useful book about what it means to be ethnographic and how this might affect ethnographic filmmaking for the better. It obviously belongs in all departments of anthropology, and most ethnographic filmmakers will want to read it.” —Ethnohistory Even before Robert Flaherty released Nanook of the North in 1922, anthropologists were producing films about the lifeways of native peoples for a public audience, as well as for research and teaching. Ethnographic Film (1976) was one of the first books to provide a comprehensive introduction...
Creatures of Cain
How Cold War America came to attribute human evolutionary success to our species' unique capacity for murder After World War II, the question of how to define a universal human nature took on new urgency. Creatures of Cain charts the rise and precipitous fall in Cold War America of a theory that attributed man’s evolutionary success to his unique capacity for murder. Drawing on a wealth of archival materials and in-depth interviews, Erika Lorraine Milam reveals how the scientists who advanced this “killer ape” theory capitalized on an expanding postwar market in intellectual paperbacks and widespread faith in the power of science to solve humanity’s problems, even to answer the most ...
Visual Anthropology
El Guindi provides a comprehensive guide to the methods of visual anthropology and the use of film in cross-cultural research and ethnography. She shows how visual media — photographic, filmic, interactive — is now an accepted part of the anthropological process, a vital tool that reflects and produces knowledge about the range of cultures and about culture itself. It preserves the integrity of people, objects, and events in their cultural context, and expands our horizons beyond the reach of memory culture. El Guindi places visual anthropology within an empirically-based, analytic framework, built on systematic observation, identifying the research cycle that begins with data gathering and leads to visual ethnographic construction that is anthropological in method, process, and product. She explains how indigenous, professional, and amateur forms of pictorial/auditory materials are grounded in personal, social, cultural, and ideological contexts, and describes the non-Western critique of the Western traditions of visual anthropology. Her book is an excellent guide for ethnographic research, and for film and other media instruction concerned with cross-cultural representation.
Beyond observation
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Beyond Observation is structured by the argument that the ‘ethnographicness’ of a film should not be determined by the fact that it is about an exotic culture – the popular view – nor because it has apparently not been authored – a long-standing academic view – but rather because it adheres to the norms of ethnographic practice more generally. On these grounds, the book covers a large number of films made in a broad range of styles across a 120-year period, from the Arctic to Africa, from the cities of China to rural Vermont. Paul Henley discusses films made within reportage, ...
