Portfolio on Ethnographic Films - Literature review Example

Portfolio Presented by Name Presented To Lecturer Institution Topic Date Table of Contents Table of Contents 2 Portfolio on Ethnographic Films 3 Ethnographic films: 3 Critical Response to a Disappearing World Film: 4 The Last of the Cuiva: 4 Critical response to an ethnographic film by an Australian filmmaker: 5 Manyu-Wana (just for Fun) by Australian filmmaker, David Batty: 5 Critical response to a film of choice: 7 The Mursi: 7 Jean Rouch: 8 Grimshaw and Ravetz: 10 Dai Vaughan: 11 Viewing Journal 13 Bibliography 14 Portfolio Portfolio on Ethnographic Films Ethnographic films: Luizos (1993) defines ethnographic film as “a documentary film related to the methods of ethnology.” This definition brings in another term, ethnology, which deals with the comparison and analysis of the various divisions and aspects of humanity (Garrfield et al., 2008). Such aspects include the origin and distribution of humanity; language, religion, and social structure of humanity; race, ethnicity, and nationality of human beings; and technology. Ruby (2000) indicates that there are two different types of ethnographic films. First, there are those ethnographic films that ethnographers create during the course of their academics or professionalism. Secondly, there are the ethnographic films that other film makers develop, but people use them in studying culture. According to MacDougall (2000), ethnographic films have several objectives or goals. First, ethnographic films help in reconstructing human history. In other words, ethnographic films help artists to express the history of human beings, a race, culture, or religion among others. Secondly, ethnographic films help in formulating invariants, in various cultures. These invariants include taboo, incest, and culture. Finally, Maybury-Lewis (1967) indicates that ethnographic films help in “formulating generalizations about the nature of humanity.” Dowd (1999: 324- 325) indicate that some cultures consider films as a way of expressing themselves individually and collectively. Specifically are the Europeans and the North Americans. Therefore, film analysis helps to gain an insight into the various cultural phenomena. In particular, documentary films explicitly portray social conditions for various societies. Critical Response to a Disappearing World Film: The Last of the Cuiva: This ethnographic film looks into recent cultural and societal changes that have taken place in the Cuiva society after their integration with Columbian settlers. The Cuiva society is composed of gatherers and hunters, occupying the South Eastern region of Columbia. The film presents two distinct groups of Cuiva community. The first group is relatively isolated while the other group has widely integrated with the Columbian settlers. While the first group lives a nomadic life characterized with frequent moves, the second group has taken up the settlers’ way of life. This group of Cuiva has abandoned gathering and hunting, and has adopted a working life. They work for the settlers to earn money for buying goods and services. However, the first group has maintained its hunting culture, where men hunt for fish and women gather. This film also involves extensive interviews with white ranchers. These interviews help in revealing the extent of the settlers’ attitude to the Indians, racism. At the beginning, the settlers used to fear the Indians but now, they have transformed them and are continually encroaching (Indians) their land. This Disappearing world film brings in a sharp contrast between the economic system and the way of living of the Cuiva and the settlers’ communities. It thus reveals the incompatibility between the two societies and cultures. While the Cuiva society (the first group) upholds the culture of communalism in distributing food, giving and receiving. On the contrary, the settlers strive to live in a world of capitalism. The last episode of the film focuses on the future of the traditional Cuiva society. Benard Arcand, a French- Canadian anthropologist stresses that the integration with the Columbian settles risks the future of the traditional Cuiva society and way of living (Arcand 1972). Actually, Maybury-Lewis (1974) points out that the traditional way of life of the Cuiva society will seriously be damaged by the by the contacts with the whites. However, Arcand does not give a more conventional anthropological description on the episode. His commentary is rather a humanitarian plea, concerned about the survival of the of the traditional Cuiva society, the hunting and gathering group in the film. In addition, this film presents a sharp criticism of the western community and lifestyle. The question here lies on the cause of change and alienation. The film contradicts itself in that at one point, it represents a conservative Cuiva group. On the other hand, it presents a dynamic cuiva group. This means that the film has no capacity to criticize the western lifestyle as being the factor and cause of change for the Cuiva Society. At least, we have one group that still maintains its culture. In fact, criticism should be directed to the dynamic section of the cuiva society for leaving their culture and adopting western culture. Critical response to an ethnographic film by an Australian filmmaker: Manyu-Wana (just for Fun) by Australian filmmaker, David Batty: This is actually a community-based program designed for Aboriginal program, which was made at Yuendemu (belonging to Warlpiri people). Traditional Warlpiri language and numerical skills were essential in acquiring English Literacy. These two elements were drastically disappearing, which led to elders of Warlpiri community, in association with school teachers to initiate the program (or rather the series of films). This program was developed for and in association with children. Actually, the program is composed of a number of ethnographic video programs, which aimed at teaching children literacy in Warlpiri. Decision to make video came after observing that children like watching televisions. David Batty, an Australian filmmaker, helped in the development of the ethnographic films for airing in television programs. The films comprising the program look like home movies or street movies since they contain some amount of humor and special effects. For example, you may find a scene where a cardboard this has made the program to diffuse outside its intended territory and become an element of entertainment in other parts such as in the United States. In addition, the program engages and teaches Aboriginal skills through ceremonial and narrative performance, which are simultaneously intercultural and indigenous. For example, Coniston Story (1984) is one of the films contained in the program. This film involves an elder narrating about the killings that occurred in the year 1929, killing a hundred men, women and children of the Warlpiri community who had gathered for a ritual ceremony. This came as a result of revenge for a white trapper who had been killed in the place. According to Michaels, this particular scene “has turned out to act like an origin myth, which explains the presence and nature of Europeans, and articulating the relations that arose between the two cultures.” (Michaels 1986: 40-41). During the production process of the film, social organization was in line with religious rituals and cultural structures, striving to observe the two. It is also worth noting that the entire program and the films within had the intention of conveying a message about culture (collective and social identity). The entire program has one common objective in that it aims at representing culture through films and videos. The program still upholds this objective despite the fact that it often changes the observer’s position. Critical response to a film of choice: The Mursi: This is a 52 minutes long film released in 1974 in the United Kingdom. It describes the Mursi, which is a tribe living in the South-West parts of Ethiopia. It is an un-administered tribe whose main activities are cattle keeping and other forms of agriculture. Being un-administered implies that the tribe has no position of leaders such as chiefs. Therefore, the film focuses mainly on how this tribe make decisions at times of crisis, such as when there is draught and there is a shortage of grazing land and water. For instance, much of the film concentrates or focuses on debate over proposals on Bodi peace programs. To reach to an agreement, the Mursi community initiates a debate, where every warrior stands up to express his views. People listen to every warrior who speaks patiently until all important issues have been raised and a final conclusion and agreement has been arrived at. This is an important film that focuses on establishing political systems. The filmmakers in a way acknowledge the importance of collaboration in making crucial decisions regarding a society. According to Abbink (1992: 1028), the film helps in establishing the importance of actual dialogue existing between the people being interviewed and the interviewers. In addition, the film helps in bringing into awareness on how individuals experience rituals in different ways yet acknowledge that it (ritual) has a communized dimension. In addition, they acknowledge that ritual provides some authentic feeling to the viewers. It is exceedingly necessary to point out that editing and narration has a profound impact on the viewers and their perception. When editing and narration is poorly done, viewers often crave to have silent footage. Jean Rouch: Jean Rouch was a French anthropologist and filmmaker; he lived from 1971 to 2004. Rouch’s approach in filmmaking is characterized with shared anthropology. His sixty years experience in the film making industry in Africa creates an impression from the move from documentary realism to participatory cinema and shared anthropology. Having discovered surrealism during his early twenties, Rouch was able to create the distinction between documentary and fiction; this is what anthropologists have referred to the style of ethnofiction (Henley 2010, p.54). As mentioned, Rouch’s films were made during the surrealism era which occurred during early 1920s. Surrealists are the filmmakers who produced moves during this time. Surrealism is known to have developed during the time of World War. The impacts of trauma and tensions as a result of the war had an influence on people’s cultures and habit thus affecting the film making industry as well (Rothman 2007, p.76). As such their films and works are associated with unexpected juxtapositions and surprise. One such film by Rouch is Me a Black had a unique style of jump cut. Rouch also employed ethnofiction which is the art of combining ethnographic docufiction in order to come up with a mixture of a film and a documentary in the field of visual ethnography. Rouch has been referred to as the father of ethnographic films due to the role he played in their making. Rouch once considered the camera as a participant in the production of any film since it always interact with all the characters covered in a film (Rouch & Feld 2003, p.43). The camera is considered as a character since without it film can never be completed since it plays a crucial role. From a theoretical perspective, visual anthropology may consider that culture is symbolized by some physical activities and symbols like ceremonies, rituals and gestures that are performed within a protected environment. Actors and actresses are usually used to portray culture by the way the dress their costumes and the venue that they use (Henley 2010, p.118). A research with the potential to understand culture can thus have an opportunity to record the audio section that may be emphasizing culture. Visual anthropology is traced from many years ago and is strengthened by the fact that the reality of any culture can be observed. On the contrary, contemporary theorists argue that understanding people’s culture in a film starts with understanding the culture of the people first and later connecting the knowledge with the visual reality (Rothman 2007, p.34). Rouch’s involvement in visual anthropology began when he arrived in Niamey, Niger as a hydrology engineer working for his country. His first interest in filmmaking came after he got an opportunity to intermingle with Zarma and Songhai. The enthnology of these two ethinic groups got his attention that he started recording films of their rituals. His desire in visual anthropology intensified when he met Zika a son of traditional doctor and a fisherman called Songahai. It happened that ten men working for Songhai and in a depot where Rouch worked died. Zika’s grandmother was believed to be in possession of strong spirits; this called on her to preside the rituals. This culture sparked his interest in the production of ethnographic culture. His first three films produced from 1947-1949 are based along river Niger. The main focus in the three films is spirit possession rituals that he witnessed in Songhai and Zama communities that live along river Niger. All these three films were produced with an aim of differentiating fiction and documentary. Rouch spent a lot of time with Zika in order to interact with the fishermen during which he would record parts of the incidences to be featured in his films. Such incidences are parts of a documentary that can easily be differentiated with fiction. Grimshaw and Ravetz: This paper supports Grimshaw and Ravetz (2009, p.161) argument on the shift word-and sentence”to “image-and-sequence” modes of anthropological inquiry involves not just a change of medium, but a “... profound epistemological and aesthetic move.” Word to sentence method of conveying a message to an audience may seem appropriate since it does not consume a lot of time and it also reduces the resources needed. Things would rather become even clearer when such words and sentences are converted into images and in sequence especially in the field of anthropology. There is an aesthetic value associated with images that are organized in a sequence to the audience. This is important as it helps to make things appear real as happen. However, word and sentences application requires the audience to clear comprehend what the words mean in order to be in a position to visualize what has been said (Grimshaw and Ravetz 2009, p. 107). Visual ethnography is also linked to profound epistemology since the audience is in a position to both see and hear what is being said in the film. Filmmakers ensure that the images and the words said by an actor or an actress take place simultaneously; as such the audience does not need to consult on what is happening since he or she has the opportunity to use both the ears and the eyes. Another advantage of visual ethnography is that it caters for the needs of all persons including the disabled (Grimshaw and Ravetz 2009, p.121). If films anthropologists present their works in just audio format, then the deaf will be disadvantaged since this group of the disabled does not have the capacity to hear. On the other hand, if presentations are made visual, then the blind may fail to benefit. As such, a combination of audio and visual film can be very effective in ethnography. Ethnography is not about fiction; documentaries produced reflect the reality of what the characters do in the film. As such, the audience interested in understanding the culture of another community will be interested to see also the physical presentation of the culture. Anthropology deals with understanding cultures, a lot need to seen for one to consider himself or herself familiar with another culture. Such things include: clothing, eating habits, area of residence and the general physical appearance. Thus, with the use of visual anthropology, the audience will be in a position to find out what it means by watching. Such an opportunity ensures that the audience does not need to ask more since he or she will be satisfied mentally. On the other hand, word-sentence presentation of culture can only be used by those people who understand audio messages easily. Grimshaw & Ravwtz (2009, p.174) further argue that observational cinema in anthropology can help to determine the gaps left in research. The audience watching an ethnographic film becomes attentive and may easily notice some parts that have been omitted or uncovered. This gives a challenge to the anthropologist to go back to the community and find out more. Dai Vaughan: Vaughan is of the opinion that the truth revealed in a documentary is as a result of mind organization. Viewers get used to understanding the reality in a documentary by understanding how to read the text and watch the images. Filmmakers get to understand the needs of the audience in order to stratify their audience. They require to make film aesthetic in order to attract the audience. The aesthetic attribute arises from the quality of the scenes that the filmmaker introduces in the film. If the filmmaker produces an audio text and images that depict the reality, such a documentary may lack aesthetic. As supported by Vaughan (1992, p.123), experience makes filmmakers to produces good quality films that embrace the aesthetic character. As such, the area where a film is produced need to reflect the subject or theme of the film. For example, if a film is dealing with a community living in the forest, then the environment should be green in order to portray the reality. As the audience move away from the truth in a film, a relationship with the image and the subject of the film is created. There exists a gap between perception and the truth of the film, this gap ensures that the audience wishes to explore the meaning of the film further in order to satisfy his or her mind. Filmmakers have learnt how to get the attention of the audience by creating suspense in the films (Vaughan 1992, p.56). Once the audience understands the subject he or she wishes to pursue watching the film further in order to satisfy the wishes of the mind. Filmmakers utilize this opportunity by hiding some of the truth that may satisfy the audience at an early stage. In the process, the audience is forced to have the desire to watch each an every part of the documentary or the film. Another factor that introduces aesthetics in the film industry is the gap between fiction and truth. Usually, what a film presents seem to be either truth and some extent it seem to exaggerate some aspects. This exaggeration creates a dilemma for the audience in determining the reality and the truth. In so doing, the audience is forced to think harder so as to get rid of any dilemma. In the contemporary society, people tend to believe on what they see and witness in order to satisfy their desires to know more (Corner & Rosenthal 2005, p.78). Films provide such an opportunity thus ensuring that the demand for films can never reduce. Filmmakers on the other hand feel that it is their duty to provide top quality films to their audience. Good quality films are products of understanding the demands of the audience and thus incorporating these demands in filmmaking. The end product in filmmaking comprises of what the audience think that the film should contain. Viewing Journal Title: The Age of Reason Description: The film, by David MacDougall, is an 87 min film produced in 2004. The film is a story of a boy the film maker encountered with. The boy, 12 years old, invites the filmmaker to share with him his actual moments of becoming self-aware as a boy and growing to become a responsible adult. I personally liked the film because it was elegantly short, was understated, and it nudged the boundaries between authorial engagement and observation. This film excellently demonstrated MacDougall’s respects for young subjects in his films. Title: A Wife among Wives Description: This film was produced by Judith MacDougall and David MacDougall in 1982. It is a 72 minutes film that investigated on how Turkana Women view marriage and polygamy. The film tries to explore why women in the Turkana community would want her husband to take another woman as his second or even third wife. In addition, the film seeks to explore whether polygamy in the community brings solidarity in the family or disregards individual feelings among the Turkana women. I perceived the film as excellently appealing to wide range of audience, and can be used in varied teaching situations. Title: Under the Men’s Tree Description: This was a fifteen minutes long film that captured a discussion among men at the Jie cattle camps, in Uganda. At this place, men often gather under a special tree, where they engage in discussions as they make various products of leather and wood. The authors, David MacDougall, and Judith MacDougall, capture one afternoon’s talk, where they talk of the motor vehicle, indicating that this is the most noticeable European possession. I perceive the film as an excellent one in teaching social science, language arts, and special classes especially for an African setup. In addition, the film is full of humor, although too short. Bibliography Abbink, J., 1992. The Mursi: The Land Is Bad and The Mursi: Nitha. American Anthropologist, Volume 94 (4), p 1027–1028. Arcand, B., 1972. The Urgent Situation of the Cuiva Indians of Colombia, Document No. 7, International Work Group for Indigenous Affairs, Copenhagen. Corner, J. & Rosenthal, A. 2005. New challenges for documentary. London: Manchester University Press. Dowd, J., 1999. Waiting for Louis Prima: On the Possibility of a Sociology of Film. Teaching Sociology, Volume 27 (4): p 324–342. Grimshaw, A. & Ravwtz, A. 2005. Visualizing anthropology. Sydney: Intellect Books. Grimshaw, A. & Ravwtz, A. 2009. Observational cinema: anthropology, film, and the exploration of social life. New York: Indiana University Press. Henley, P. 2010. The adventure of the real: Jean Rouch and the craft of ethnographic cinema. Chicago: University of Chicago Press. Loizos, P., 1993. Innovation in Ethnographic Film: From Innocence to Self-Consciousness, Second Edition. University of Chicago Press. MacDougall, D., 1998. Transcultural Cinema. Princeton University Press. Maybury-Lewis, D., 1974. Review of the Film. American Anthropologist, Volume 76, p 487–489. Maybury-Lewis, D., 2003. The Politics of Ethnicity: Indigenous Peoples in Latin American States. Michaels, E., 1986. The Aboriginal Invention of Television in Central Australia: 1982-1986. Canberra: Australian Institute of Aboriginal Studies. Rouch, J. & Feld, S. 2003. Ciné-ethnography. New York: University of Minnesota Press. Rothman, W. 2007. Jean Rouch: a celebration of life and film. New York: Schena Press. Ruby, J., 2000. Picturing Cultur:. Explorations of Film and Anthropology. University of Chicago Press. Vaughan, D. 1992. For documentary: twelve essays. New York: University of California Press. Read More

Critical response to an ethnographic film by an Australian filmmaker: Manyu-Wana (just for Fun) by Australian filmmaker, David Batty: This is actually a community-based program designed for Aboriginal program, which was made at Yuendemu (belonging to Warlpiri people). Traditional Warlpiri language and numerical skills were essential in acquiring English Literacy. These two elements were drastically disappearing, which led to elders of Warlpiri community, in association with school teachers to initiate the program (or rather the series of films).

This program was developed for and in association with children. Actually, the program is composed of a number of ethnographic video programs, which aimed at teaching children literacy in Warlpiri. Decision to make video came after observing that children like watching televisions. David Batty, an Australian filmmaker, helped in the development of the ethnographic films for airing in television programs. The films comprising the program look like home movies or street movies since they contain some amount of humor and special effects.

For example, you may find a scene where a cardboard this has made the program to diffuse outside its intended territory and become an element of entertainment in other parts such as in the United States. In addition, the program engages and teaches Aboriginal skills through ceremonial and narrative performance, which are simultaneously intercultural and indigenous. For example, Coniston Story (1984) is one of the films contained in the program. This film involves an elder narrating about the killings that occurred in the year 1929, killing a hundred men, women and children of the Warlpiri community who had gathered for a ritual ceremony.

This came as a result of revenge for a white trapper who had been killed in the place. According to Michaels, this particular scene “has turned out to act like an origin myth, which explains the presence and nature of Europeans, and articulating the relations that arose between the two cultures.” (Michaels 1986: 40-41). During the production process of the film, social organization was in line with religious rituals and cultural structures, striving to observe the two. It is also worth noting that the entire program and the films within had the intention of conveying a message about culture (collective and social identity).

The entire program has one common objective in that it aims at representing culture through films and videos. The program still upholds this objective despite the fact that it often changes the observer’s position. Critical response to a film of choice: The Mursi: This is a 52 minutes long film released in 1974 in the United Kingdom. It describes the Mursi, which is a tribe living in the South-West parts of Ethiopia. It is an un-administered tribe whose main activities are cattle keeping and other forms of agriculture.

Being un-administered implies that the tribe has no position of leaders such as chiefs. Therefore, the film focuses mainly on how this tribe make decisions at times of crisis, such as when there is draught and there is a shortage of grazing land and water. For instance, much of the film concentrates or focuses on debate over proposals on Bodi peace programs. To reach to an agreement, the Mursi community initiates a debate, where every warrior stands up to express his views. People listen to every warrior who speaks patiently until all important issues have been raised and a final conclusion and agreement has been arrived at.

This is an important film that focuses on establishing political systems. The filmmakers in a way acknowledge the importance of collaboration in making crucial decisions regarding a society. According to Abbink (1992: 1028), the film helps in establishing the importance of actual dialogue existing between the people being interviewed and the interviewers. In addition, the film helps in bringing into awareness on how individuals experience rituals in different ways yet acknowledge that it (ritual) has a communized dimension.

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