Expanded Visions: A New Anthropology of the Moving Image

Description

This book argues for a new anthropology of the moving image, bringing together an important range of essays on time-based media in the contemporary arts and anthropology. It builds on recent attempts to develop more experimental formats and engages with debates on epistemologies of ethnography, relational aesthetics, materiality, sensory ethnography, and observational and participatory cinema. Arnd Schneider critically revisits Baudrillard’s idea of the simulacrum and the hyperreal, engages with new media theory, and elaborates on the potential of the Writing Culture critique for moving image practices bordering art and anthropology. This important work will be essential reading for anybody working across the fields of visual anthropology, film and media studies and visual studies. Cover Half Title Title Page Copyright Page Dedication Contents Figures Acknowledgements A note on illustrations and copyrighted material 1. Expanded visions 1 2 3 4 Notes 2. Experimenting with film, art, and ethnography: Oppitz, Downey, Lockhart Prelude Shamans of the Blind Country The Laughing Alligator Teatro Amazonas Coda Acknowledgement Notes 3. Rethinking anthropological research and representation through experimental film Introduction Experimental film: the fundamental questions Experienced time and optical effects The single camera and the multiple observer Experimental film and anthropology: critical challenges and differences Conclusion Acknowledgement Notes 4. Stills that move: photofilm and anthropology Film/photo: remarks on an intrinsic kinship Photofilm Sensibilities of the ethnographic between photography and ethnopoetry: the photofilms of Leonore Mau and Hubert Fichte Photofilm as narrated evidence: John Haviland's Australian research films Visual poetry and sonic collage: Dick Blau's "A Polish Easter in Chicago" Conclusions Acknowledgment Notes 5. On the set of a cinema movie in a Mapuche reservation The intrusion of the hyperreal El Camino: The storyline The film's agenda On location The crew The villagers of Aluminé The Mapuche of Ruca Choroi Impersonating fiction Shooting and representation SCENE 1: Shooting and onlooking Multiple representations SCENE 2: Mapuche woman cutting vegetables SCENE 3: Getting the beat Who is indigenous? Notes 6. A black box for participatory cinema: movie-making with ''neighbours'' in Saladillo, Argentina A cinema with ''neighbours,'' and the new democratic potentials of digital film production Cinematic gift economies New forms of sociality Cinematic archaeologies and futures: the social agency of CCV Our Own Dream Space to Share and Grow With Everybody's Help Straight to the Point Conclusion: participation, sociality and future projections in Argentine community cinema Acknowledgement Notes 7. An anthropology of abandon: art—ethnography in the films of Cyrill Lachauer The narrative landscape A separate reality Amerika Entrancing visions A third avenue: art-ethnography and the moving image Acknowledgement Notes 8. Can film restitute? Expanded moving image visions for museum objects in the times of decolony Preamble Statues Also Die: anticolonialism and the multiplicity of gazes The contemporary relevance of Statues Expanded visions of restitution Perspectives on the white colonizers Acknowledgement Notes Filmography BIBLIOGRAPHY Index