Anthropological Film: Practice and Method 2015
Harvard Extension School Course, Anth E 1727
Fall 2015 Aug to Dec 2015.
Professor Jayasinhji Jhala
Lectures, Screenings and Discussions – am Saturday 9 -12 noon
Class Location 53 Church Street, Cambridge MA Room: L01
Office Hours – TBD and by appointment
Telephone: 617 306 7269
Email: jayasinhji@gmail.com
Anthropological Film: Practice and Method 2015
INTRODUCTION
COURSE DESCRIPTION:
This course offers a deep immersion into anthropological film with
particular focus on the practice and method of engagement and
authorship. It is a recommended seminar for all students interested in
visual anthropology, documentary film and performance. Its objective
is to provide a substantial understanding of the nature of
anthropological film as a whole, and to enable students to take part in
a specific discourse that is related to social relationships that are
articulated in filmic texts. This discourse includes developing the skills
for the making, evaluating and deploying of visual and audio texts by
the participants.
The course has a topical approach in a historical context; the
theoretical overview is grounded in a perspective that applies
concepts of culture to processes of visual communication. It
recognizes the resurgence of orality and visuality alongside literacy
as key concepts to comprehend the emerging worlds of the 21st
century marked by a vital hybridity engendered by a growing
globalization, where languages are the only barriers between peoples.
Examples of anthropological film will be taken from the tradition of
ethnographic filmmaking, indigenous film, dramatic fiction film,
minority film and emerging genres. Classical works and the
contribution of major ethnographic filmmakers will be studied,
alongside the work of other constituencies of filmmakers. Discussion
and course work will review and utilize theories, practices, methods,
and topics presented in the films shown. This is the primary stimulant
for this course and from it is expected that students will express
themselves by making visual texts that grow out of the stimulus
received within the discourse.
A comparative focus of engaging with constituencies of authors will
be pursued. Does the work of indigenous authors differ from that of
male, or female filmmakers, from dominant societies? How might
material received from the internet or other archive be incorporated
into ethnographic utterance by the participants. What is the role and
place of fiction, of abstract expression, surreal experience and
fantasy in ethnographic films?
Throughout the semester, we will explore how trends in anthropology
have changed with the introduction of new technologies of
documentation and new understanding of the concepts of authorship,
reflexivity, ethical conduct that shape the way people and cultures are
represented through images. We will look at and emulate how
ethnographic filmmakers have used technical and aesthetic
innovations in image-making and in our own filmic work.
In short, we will examine what qualities and content are appropriate
and valuable in films used as a means of presenting anthropological
information and insight. In that light, we will also discuss the dynamic
relationships between the subject of an image, the producer of that
image, and the image’s audience. Finally, we will consider the ethical
issues surrounding the representation of people’s lives through film.
The typical class will be conducted by a leading statement, followed
by the film presentation by the instructor, followed by a discussion. In
addition, on certain occasions the class will engage in documentation
exercises within the classroom or in designated locations. In each
weekly session students will be expected to carry the discussion and
participate in demonstration to ideas in chosen formats. The class
will be divided into 2 or more sections. Students will be asked to
articulate a certain key topic of discussion that arises from the film
shown. Students are also expected to grow their own authorship skills
and demonstrate in class the reasons why they have adopted to use
the cameras they have chosen to use and the methodology they have
adopted to document the process or engagement they have recorded.
It is imperative that students come to each seminar with a
commitment to engage in discussion. Collaboration is encouraged at
all levels between students, from the conception, execution and
dissemination of approved projects.
It is expected that all students are able to write in a clear manner.
Learn the format of the American Anthropologist and use it in all of
your work. Take the admonitions of the “Style Sheet” seriously.
Students must turn in their assignments in time. No late paper will be
accepted. Should extra ordinary circumstances prevail, please
contact the instructor as soon as you are able.
While students are not expected to have advanced filmmaking skills,
familiarity with the use of recording devices such as cameras, video
cameras and cell phones will greatly asset in their enquiry of
selected projects.
Persons who have taken Course # S1725 Anthropology and Film are
encouraged to apply, as these courses compliment each other.
Required Student Work
1. Critiques of presented films - During each meeting of the course,
two students will present a critique last week’s discussion. Assume
that everyone has attended the class and has done a review. Assess
the films, discussing their weaknesses and strengths. Try to
articulate the relationship of the films with other films in the course
and to the field of anthropological films in general. These critiques will
begin with the films from the second session and continue throughout
the course.
2. Screenings are a mandatory part of the seminar. As
discussions will follow screenings it is important that students
do not miss these presentations as there is no way to provide
for additional venues for screenings.
3. An Annotated Bibliography should be prepared after students
have had their term project approved. Annotations need only be a
few sentences that summarize, critiques, and contextualizes the film.
The purpose of the bibliography is to prepare the student for the
research paper. Select an area of exploration that is sufficiently
narrow as to make it possible to comprehensively cover the published
materials. Please consult with the instructor to assist in the selection
of the topic. Please submit a 100 word description that can be
circulated to other students no later than end of the 5th session. Once
approved, the student should begin immediately to gather information.
4. A Research Film or Paper is required that builds upon the
annotated bibliography. It is to be a critical evaluation of one specific
and well defined area of anthropological film within the topics covered
during the seminar. This is a “state of the art” film or paper that
critiques contemporary understanding and suggests future research.
The suggested length of these film is variable while the length of
written papers is around least 15 double spaced pages. Please
follow the seminar style sheet. The date the film or paper
presentation is due will be announced. It ordinarily comes at the last
2 sessions of the semester. Two copies are required. Instructor’s
approval of final project is required. Projects for this course are film
and media texts and in most cases are preferred by the instructor as
the pursuit of visuality and orality as forms of expression and
interpretation. They are valued over the submission of written texts.
5. Examination. There will be a final presentation that takes the
form of a film presentation with an oral critique unless otherwise
decided by the instructor. If some students opt for written
papers, they too will present their thoughts in an oral
presentation.
6. Grades are determined as follows: Bibliography & Written Paper or
Film - 40%, Seminar Participation and Critiques - 60%.
Required Reading
The following books are required reading for the course:
David MacDougall: The Corporeal Image: Film, Ethnography, and the
Senses, Princeton University Press
Ilisa Barbash and Lucien Taylor: Cross-Cultural Filmmaking: a
Handbook for Making Documentary and Ethnographic Films and
Videos.
Additional reading material will be provided during the course.
COURSE PROTOCOL
1…Students are advised not to miss class. Regular on-time
class attendance is expected. Presentations that include films and
videotapes cannot be repeated.
2…Assignments must be turned in on time, when required.
3. Field trips and participation at designated local events are
part of the learning experience and students are required to attend.
4. Assistance for acquiring technical skills are offered to
students who request it. Certain facilities are available at 53 Church
Street.
3. Class participation at all locations is a key component for
this course.
Films
Note: All films listed below will be the corpus from which
particular films will be selected for screening during the course.
The films selected will seek to reflect the interests of the student
body. Films not screened will be available for students to view
on their own time. It is expected that students pursuing
independent projects will have specific needs to view certain
films based on the subject selected and documentation styles
preferred.
Films for Jhala's Spring course at Harvard Extension School
Sheetal Agarwal : ordinary lives: mins 38 mumbai slum
T. Asch: Ax Fight
Balickci : fishing at stone weir
Anya Burnstein: In Pursuit of the Siberian Shaman
Vicent Carelli:
Video in the Villages
Xavante Initiation
Power of the Dream
presents itself
Nina Davenport: Parallel Lines.
Rehad Desai: Bushman's secret
Devisheva : A life without Words.
Sarah Elder: Drums of winter
R. Gardner: Forest of Bliss
Ines HofmannKana : [Unveiled]: Muslim Women talk about Hijab
Hannu Hyvonen : Last Volk in the Saami Forrests
Lisa jackson Sucker Fish 8 minutes Canadian native
Janet Hoskins: The left eye of God
Jayasinhji Jhala: Drums on the red river,
Morning with Asch,
Close encounters of no Kind,
Bharvard Predicament Hannu Hyvonen : Last Volk in the Saami Forests
Last rites of the honorable Mr Rai
Jie le: Al hadji and his wives africa: Harvard
Hu Tai Li -- Taiwan
Melissa Lleven-Davies: Women's Olamal
John Marshall: Kalahari Family
!Nai:Portrait of a !Kung Woman
Joking Relations
Catherine Mullins: Being Innu
Ana Maria Pavez: Popul Vuh
Adel Peeva: Whose is this song
Nina Sabnani: stitches in time
iJeff daniel Silva: Balkan Rhapsodies8 minutes
Yashuhior Omori: Japan A shamanistic medium of Tesuguru
Film by Title
Pujari's daughter
Poojari's daughter
Secrets of the Tribe
Other Films
Lorang's way
Wandering warrior
cannibal Tours
Milking the Rhino
J. Rouch : Lion Hunters Rouch
Les Maîtres Fous
Fast Runner
Paris is burning
Sam Pack: Semanta Santa
The Lumière Brothers
The Man with a Movie Camera
Song of Ceylon
Nanook of the North
Man of Aran/How the Myth was Made.
The Navajo Film Project
The Hunters
Dead Birds
Jaguar
Chronique d’Eté
Paris is Burning
The Feast
A Man called Bee
Masaai Women
At the Time of Whaling
Couple in a Cage
First Contact
Babakueria
Cannibal Tours
Trobriand Cricket
Photowallah
Imagining Indians
First Runner
Wandering Warrior
Seeking the Spirits
Krypendorf’s Tribe.
Fast Runner.
Note:
Reading assignments will be given weekly from the two
assigned books as well as from other sources. You should
complete each week’s reading before class, unless alternate
assignments are set.
Instructor’s writing [selected]
1989. “Videography as indigenous text and local commodity: the
ethical dilemma in representing my People”, Anthropologia Visualis,
Montreal, Canada.
1993. Power and the Portrait : the Influence of the Ruling Elite on the
Visual text in Western India. Visual Anthropology Vol. 6 . 171-188.
Harwood Academic Publishers.
1996.
'The Unintended Audience: An Assessment of Yanamami
Culture through the viewing of Ethnographic Films by the Multi-caste
Dhrangadhra Audience of Western India', for the volume: The
Construction of the Viewer: Media and the Anthropology of the
Audience. Forlaget Intervention Press. pp 207-228
1996. 'Avatar, Technicolor and the "Lucky" : Aesthetic Choice and
Innovation in western India' in the Journal of Popular Culture. Vol. 29.
1. pp 71-93.
1997. "Some speculations on the Concept of Indic Frontality
prompted by questions on Portraiture," in Visual Anthropology . Vol.
9 No 2.
1998. "Shaping Gujarati Cinema: Recognizing the New in Traditional
Cultures," in Visual Anthropology . Vol. 11 . pp 373 -385.
2000. “ Picture Postcards as Complex Texts: The View from Within
an Indian Esthetic and Historical Tradition,” Visual Anthropology . Vol.
13 . pp 257-277.
2000. “ Puja, Pujari and Prabhu: Religious worship in the Hindu
Home,” Visual Anthropology . Vol. 13 . pp 103-128.
2004. In a time of Fear and Terror: Seeing, Assessing, Assisting,
Understanding and Living the Reality and Consequences of Disaster.
In Sarah Pink edited Applied Visual Anthropology Special Volume in
Visual Anthropology Review. VAR, vol. 20, no. 1, pp 60-71
2006. "Celebrating the Spectacle of the 50th Birthday of the Maharaja
of Jodhpur: The Making and Marketing of Symbols and Visual
Capital to Diverse Tourist Constituencies. In Carol Henderson and
Maxine Weisgrau edited "Tourism and Cultural Politics in India:
Rajasthan, India's "Heritage" State. Delhi: Oxford University Press.
Forthcoming
2006. Journey with Ganesh: telling stories of objects acting in the world
and as being acted upon in the world. In South Asian Popular Culture
Journal. London: Routledge. Vol 4, no 1, pp 35-49