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The hard-working Mexican | A diary of the visual anthropologistA diary of the visual anthropologist
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The hard-working Mexican | A diary of the visual anthropologist | hardworkingmexican.wordpress.com Reviews
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A diary of the visual anthropologist
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settings may vary | The hard-working Mexican
https://hardworkingmexican.wordpress.com/2013/01/25/settings-may-vary
A diary of the visual anthropologist. How do you use video camera and what do you use it for? Narratives and objectivity: a case of Werner Herzog →. January 25, 2013. What is the aim of the picture? I am still not sure. This entry was posted in Uncategorized. How do you use video camera and what do you use it for? Narratives and objectivity: a case of Werner Herzog →. January 25, 2013 at 7:00 pm. Reblogged this on Visual Anthro@CEU Blog. Write your comments directly on Daniel’s blog! You are commenting u...
“I hoped that they would be as much interested in me as I am in them.” | The hard-working Mexican
https://hardworkingmexican.wordpress.com/2013/04/21/i-hoped-that-they-would-be-as-much-interested-in-me-as-i-am-in-them
A diary of the visual anthropologist. Me and dogme →. 8220;I hoped that they would be as much interested in me as I am in them.”. April 21, 2013. Them and Me (Eux et mois),. Stéphane Breton, 2001, 63 min . Going through all the movies we have seen during the course made me realize that it is the hardest task to be simultaneously both, a good anthropologist and filmmaker. One of the few authors, whose films we discussed, who managed to find the juste milieu is Stéphane Breton. Me and dogme →.
How do you use video camera and what do you use it for? | The hard-working Mexican
https://hardworkingmexican.wordpress.com/2013/01/21/how-do-you-use-video-camera-and-what-do-you-use-it-for
A diary of the visual anthropologist. Settings may vary →. How do you use video camera and what do you use it for? January 21, 2013. Armchair anthropology is long gone. Since Malinowski we, anthropologists go into the field in order to capture the essence of culture and provide proper description. And what about shooting movies? Picturing tribesmen in a studio is also passe. Films has to be shoot at the location, in the natural environment. The capture of performance is in this way contextualized.
The arrival | The hard-working Mexican
https://hardworkingmexican.wordpress.com/2013/01/13/the-arrival
A diary of the visual anthropologist. How do you use video camera and what do you use it for? January 13, 2013. I mean, My Dear Diary,. How an anthropologist can engage in creation of something else than text, a film for example? We, visual anthropologists wannabes need to acquire new set of skills, that we still do not poses. We have been learning how to write and I guess none of us feels still professional enough in it. And now we are about to play with new tools. Just where is the manual? You are comm...
me and dogme | The hard-working Mexican
https://hardworkingmexican.wordpress.com/2013/04/22/me-and-dogme
A diary of the visual anthropologist. 8220;I hoped that they would be as much interested in me as I am in them.”. April 22, 2013. Some time ago we discussed rules for the documentary movies. Here I’d like to refer my personal experience in sticking to and breaking the rules of dogme 95. The rules were as follow. Filming must be done on location. Props and sets must not be brought in. If a particular prop is necessary for the story, a location must be chosen where this prop is to be found. The film must n...
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Week 4: The Language of Photography – Whose Language? | serendipityscraps
https://serendipityscraps.wordpress.com/2013/02/19/week-4-the-language-of-photography-whose-language
A Visual Anthropology Blog. Week 4: The Language of Photography Whose Language? I have always tended to envision photography (the visual) and language (the verbal) in terms of a relationship, rather as an exchange in the sense given by Victor Burgin, in which photography is a complex of exchanges between the verbal and the visual (in Mitchell, 1994: 282-3 [1]. While browsing through the POYi (Pictures of the Year International) the 70th Winners list [2]. Which is not accompanied by language? And if you m...
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Week 6: The Fiction of Reality. Through Vertov’s ‘Kino-Eye’ | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/12/week-6-the-fiction-of-reality-through-vertovs-kino-eye
A Visual Anthropology Blog. Week 6: The Fiction of Reality. Through Vertov’s ‘Kino-Eye’. Watching Vertov’ Man with a Movie Camera. For the second time, I found it strangely ethnographic in the sense used by Vaughan (1992) [i]. Namely, Vertov in the position of a cine-anthropologist , but paradoxically not because of his neutrality in documenting ( Documentary and its obsession with realism ) but more because of his structure of reality through editing and montage. Extract from Vertov’s Manisfesto –.
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Week 9 Play and Revelation: Rouch’s Chronique d’un été and Mads Brügger’s Ambassador | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/14/week-9-play-and-revelation-rouchs-chronique-dun-ete-and-mads-bruggers-ambassador
A Visual Anthropology Blog. Week 9 Play and Revelation: Rouch’s Chronique d’un été and Mads Brügger’s Ambassador. In this film, the anthropologist, Jean Rouch, and the sociologist, Edgar Morin, explore the ground of cin. Specifically it can be claimed that the movie is an etno-fiction because of the open script that explores this central motive of acting naturally or challenging the naturalness in front of the camera. This leads to a second point of view, which is the revelation. Although, this veils the...
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Week 5: Ways of seeing. Photo Wallahs | serendipityscraps
https://serendipityscraps.wordpress.com/2013/03/10/week-5-ways-of-seeing-photo-wallahs
A Visual Anthropology Blog. Week 5: Ways of seeing. Photo Wallahs. MacDougall’s text opened up many viewpoints on photography’s ‘play’ with the ways of seeing. Specifically, imagined as a mirror that doubles us, photography is considered a form of representation that lacks mediation but still, it becomes hard to tell if the represented self is the real lasting one or just temporary that re-identify us. Within these lines, MacDougall mentions two types of photographies. On the ‘cemetery culture’ in Ukrain...
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Week 8 Observational Cinema: Tim Ash, Maysles Brothers, Frederick Wiseman | serendipityscraps
https://serendipityscraps.wordpress.com/2013/04/14/week-8-observational-cinema-tim-ash-maysles-brothers-frederick-wiseman
A Visual Anthropology Blog. Week 8 Observational Cinema: Tim Ash, Maysles Brothers, Frederick Wiseman. This was by far my favorite session in the Visual Anthropology class because of the screenings’ ‘marathon’ that began from the same start line: the debate around cinéma verité. Or the observational cinema, understood mainly as direct cinema or being without a narrator’ voice. After the Ax Fight , we watched some extracts from Salesman. 2003) and The Yes Men Fix the World. Leave a Reply Cancel reply.
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Photographs of the Soviet Union in WWII | serendipityscraps
https://serendipityscraps.wordpress.com/2013/01/23/photographs-of-the-soviet-union-in-wwii
A Visual Anthropology Blog. Photographs of the Soviet Union in WWII. One thought on “ Photographs of the Soviet Union in WWII. June 21, 2013 at 3:28 pm. Thanks for your personal marvelous posting! I quite enjoyed reading it, you’re a great author.I will always bookmark your blog and will come back at some point. I want to encourage you continue your great job, have a nice day! Leave a Reply Cancel reply. Enter your comment here. Fill in your details below or click an icon to log in:. Follow Blog via Email.
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Week 3: Between exoticizing and documenting: photography as ethnography? | serendipityscraps
https://serendipityscraps.wordpress.com/2013/01/26/week-3-between-exoticizing-and-documenting-photography-as-ethnography
A Visual Anthropology Blog. Week 3: Between exoticizing and documenting: photography as ethnography? To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder – a soft murder, appropriate to a sad, frightened time. Susan Sontag, On Photography. 3 thoughts on “ Week...
iuliafvacaroiu | ethnisual
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A critical lens on visual anthropology. What stillness cannot evoke. January 25, 2013. My post on Leni Riefenstahl’s photos of the Nuba can be found at the following link. WordPress keeps erasing it when I try to post it here. Posted in Weekly entries. January 20, 2013. Coming from a University with an important background in social aid or, rather, teaching about social aid, you only ever get one perspective of the homeless. It’s always. Are the ones who are hungry,. Nanook meets North Korea. His acclaim...
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dysgraphic squirrel | visual anthro diary | Page 2
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The supremacy of film over photography…. 8230;or perhaps not? The title of this entry was inspired by Daniel. 8216;s comment on excerpt from James Faris’ documentary. After the class discussion of stylized Nuba photographs. The possibility of embracing these approach Edward finds in going beyond the boundary of anthropology and accepting the photographic practices and modes of representation from fields of postmodern documentary and art photography (. I find this idea of absence of the wider context, eit...
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Add your site to. Friday, October 28, 2005. Curbing the Public Nuisance (Part 1). Build Rapport by Mirroring. He's been around since the dawn of humanity. His profession is even older than the world's oldest profession. He's been loathed and reviled by politicians, bureaucrats and hot dog vendors. I am speaking, of course, of the public nuisance. Ooh Ooh. Yowwww. That hot! No-o Did he build the Coliseum on the west side of town? Sothat's why the lions are drooling on the other side of that door? It's too...
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The hard-working Mexican | A diary of the visual anthropologist
A diary of the visual anthropologist. April 22, 2013. Some time ago we discussed rules for the documentary movies. Here I’d like to refer my personal experience in sticking to and breaking the rules of dogme 95. The rules were as follow. Filming must be done on location. Props and sets must not be brought in. If a particular prop is necessary for the story, a location must be chosen where this prop is to be found. The sound must never be produced apart from the images or vice versa. Temporal and geograph...
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