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TAVE 2008

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TAVE 2008

  1. 1. Visual Ethnography Fall 2008 9 13 2008
  2. 2. p. kerim friedman kerim.oxus.net
  3. 3. ci.ndhu.edu.tw
  4. 4. savageminds.org
  5. 5. fournineandahalf.com
  6. 6. Visual Ethnography Fall Theory Spring Production
  7. 7. Visual Ethnography (Fall 2008)
  8. 8. Visual Literacy
  9. 9. The Gaze
  10. 10. The Documentary Tradition (in Anthropology)
  11. 11. Indigenous Films
  12. 12. New Media
  13. 13. Visual Literacy • Narrative • Mise en Scene • Editing • Alternative Forms
  14. 14. Narrative
  15. 15. Three-Act Structure
  16. 16. When Harry Met Sally
  17. 17. Boys Don't Cry
  18. 18. Mise en Scene
  19. 19. Interpreting the Frame
  20. 20. Citizen Kane
  21. 21. Goodfellas
  22. 22. Editing
  23. 23. Structure
  24. 24. Battleship Potemkin
  25. 25. Breathless
  26. 26. Alternative Forms
  27. 27. Avant Garde
  28. 28. Run Lola Run
  29. 29. Flowers of Shanghai
  30. 30. Meshes in the Afternoon
  31. 31. The Gaze • The Gendered Gaze • The Western Gaze
  32. 32. The Gendered Gaze
  33. 33. • Berger, J. 1977. Ways of seeing. • hooks, bell. 1993. The oppositional gaze. • Metz, Christian. 1986. The imaginary signifier. • Mulvey, Laura. 1975. Visual Pleasure and Narrative Cinema.
  34. 34. Rear Window
  35. 35. Red Road
  36. 36. The Western Gaze
  37. 37. • Cohn, B. 1996. Colonialism and its forms of knowledge. • Fabian, J. 1983. Time and the other. • Said, E. 1979. Orientalism. • Williamson, J. 1986. Woman is an Island.
  38. 38. Black Narcissus
  39. 39. The Lover
  40. 40. The Documentary Tradition • Kino-Pravda • Changing Rules • Transcultural Cinema • Jean Rouch
  41. 41. Kino Pravda
  42. 42. • Barnouw, E. 1993. Documentary. • MacDougall, D. 1998. Transcultural cinema. (Chapters 1 & 2) • Ruby, J. 1995. Out of Sync:The Cinema of Tim Asch. • ———. 2000. The Aggie Must Come First: Robert Flaherty's Place in Ethnographic Film History.
  43. 43. Nanook of the North
  44. 44. Man with a Movie Camera
  45. 45. Changing Rules
  46. 46. • MacDougall, D. 1998. Transcultural cinema. (Chapters 3-6) • Nichols, B. 1991. The Ethnographer's Tale. • Ruby, J. 1991. Speaking For, Speaking About, Speaking With, or Speaking Alongside.
  47. 47. The Ax Fight
  48. 48. Lorang's Way
  49. 49. Dead Birds
  50. 50. Transcultural Cinema
  51. 51. • MacDougall, D. 1998. Transcultural cinema. (Chapters 7-13)
  52. 52. Cannibal Tours
  53. 53. N!ai : The Story of a !Kung Woman
  54. 54. Jean Rouch
  55. 55. • Loizos, P. 1993. Innovation in ethnographic film: From innocence to self-consciousness. • Stoller, P. 1992. The cinematic griot:The ethnography of jean rouch.
  56. 56. Les Maitres Fous
  57. 57. Moi un Noir
  58. 58. Jaguar
  59. 59. Indigenous Films
  60. 60. • Ginsburg, F. 1991. Indigenous Media: Faustian Contract or Global Village? • Michaels, E. 1994a. Aboriginal Content:Who's Got It - Who Needs It? • ———. 1994b. For a Cultural Future: Francis Jupurrurla Makes TV at Yuendumu. • Turner, T. 1992. Defiant Images:The Kayapo Appropriation of Video.
  61. 61. Video in the Villages Presents Itself
  62. 62. Marangmotxingmo Mirang
  63. 63. The Fast Runner
  64. 64. New Media
  65. 65. • Friedman, P. 2008. Massively Multiplayer Online Anthropology. • Shirky, C. 2008. Here comes everybody:The power of organizing without organizations.
  66. 66. The Machine is Us/Ing Us
  67. 67. Steal This Film II
  68. 68. Student Presentations Taiwanese Documentary Films
  69. 69. ! slideshare.com/kerim
  70. 70. Note: The following Creative Commons license only refers to the original work I have contributed to this slide show. It does not cover the images used for each of the films mentioned in my syllabus, as they are copyrighted works and are reproduced here under fair use. This work is licensed under the Creative Commons Attribution-Noncommercial- Share Alike 3.0 United States License. To view a copy of this license, visit http:// creativecommons.org/licenses/by-nc-sa/3.0/us/ or send a letter to Creative Commons, 171 Second Street, Suite 300, San Francisco, California, 94105, USA.

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