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Mediated Anthropology > Visual Anthropology > Flashcards

Visual Anthropology Flashcards

1
Q

What does Allison Griffiths (2002) argue in ‘Wondrous Difference’?

A
  • The encounter with the “Other” is a source of “both amazement and unease”
  • Iconography of savagery: e.g., nudity, spears, decorative feathers, animated dancing
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2
Q

What does the Torres Straits Expedition of 1898 show?

A

Power dynamic where researchers impose their act of documenting

  • Zwaardemaker’s olfactometer
  • anthropometry and photography: people as specimen for scrutiny
  • Nicolas Peterson and film crew documenting restricted men’s ceremonies
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3
Q

What does the Enlightenment’s “truth-to-nature” consist of?

A

Combination of scholar’s multiple observations and artist’ skillful drawing

  • four-eyed sight

-> visual materialisation of an objective taxonomy

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4
Q

What does the 1830s “mechanical objectivity” consist of?

A

Technological ideal of depicting individual “facts of nature” (specimen) without interference

  • blind sight
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5
Q

What does the 1880s structural objectivity consist of?

A

Mathematics favoured over “trained judgement”

  • mistrust in the capacity of judgment to visually distinguish members of “races” on the basis of “physiognomic sight”
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6
Q

What are the three key anthropological approaches of seeing according to Anna Grimshaw (2001)?

A
  1. Enlightenment
  2. Modernist
  3. Romantic
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7
Q

What does the Enlightenment anthropological way of seeing consist of (Anna Grimshaw, 2001)?

A

Classificatory method:
- accumulation of data organised into comparative schema

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8
Q

What does the Modernist anthropological way of seeing consist of (Anna Grimshaw, 2001)?

A

Genealogical approach:
- progress, science, knowability of the world, interrogation of traditional understanding

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9
Q

What does the Romantic anthropological way of seeing consist of (Anna Grimshaw, 2001)?

A

Experimental techniques:
- visionary experience, intense emotions

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10
Q

What characterises Visualism and the observational gaze?

A
  • Ocularcentristic
  • Epistemological bias
  • Eurocentric
  • Reductive
  • Surface-level appearances
  • Epistemic violence
  • Gaze
  • Binary
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11
Q

What makes Visualism and the observational gaze ocularcentristic?

A

Vision as privileged sensory register

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12
Q

What is the epistemological bias in Visualism?

A

Equates vision with understanding

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13
Q

What makes Visualism eurocentric?

A

Ignores other forms of perception than vision

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14
Q

What makes Visualism reductive?

A

It is static, unchanging and timeless

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15
Q

In what way does Visualism focus on surface-level appearances?

A

It ignores in-depth meanings

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16
Q

What is the epistemic violence present in Visualism?

A

It erases the cultural context

17
Q

What characterises the observational gaze in Visualism?

A
  • Voyeuristic
  • Panoptic (panoramic view)
  • Male
  • Colonial
18
Q

What makes Visualism binary?

A

Reifies the duality of observer and observed, ignoring their interconnections and entanglements

19
Q

What is the process of Robert Flaherty in Nanook of the North (1922)?

A
  • Flaherty and Nyla Allakariallak (“Nanook”) fully collaborated in the filmmaking process, though her contribution was not noted
  • Several scenes were based on a mise en scène and performance
  • Flaherty brought an aesthetic engagement
20
Q

What does Eliot Weinberger (1992) argue in ‘The Camera People’?

A
  • Ethnographic filmmakers as a “tribe” that thinks “they are invisible”, “hunting and gathering information”
  • they “worship a terrifying deity named Reality”

-> science and art dichotomy in ethnographic films

21
Q

What does Peter Fuchs (1988) argue about scientific films?

A

Whatever the film produces, it has to respect the spatio-temporal dimensions of reality

22
Q

What are the rules of Filmic Ethnography according to Jay Ruby (1975)?

A
  1. Major focus must be on a whole culture or some unit of culture
  2. Must be informed by an implicit or explicit theory of culture which orders the statements in the ethnography
  3. Must contain statements that reveal the methodology of the author
  4. Must employ a distinctive lexicon, an anthropological argot
23
Q

What makes films ethnographic according to Marcus Banks (1992)?

A
  • Intention (to make a film)
  • Event (film process)
  • Reaction (audience response)
24
Q

What are the seven categories of ethnographic film according to Peter Ian Crawford (1992)?

A
  1. Ethnographic footage (unedited)
  2. Research films (highly specialised)
  3. Ethnographic documentary (public audiences, cinema)
  4. Ethnographic television documentary (public audiences, TV)
  5. Education and information films (classroom and/or public audiences)
  6. Other non-fiction films (journalistic repost, newsreels, travelogs, …)
  7. Fiction films and drama documentaries (dealing with ‘typical’ anthropological topics)
25
Q

How can we discern the ‘ethnographicness’ of films according to Karl Heider (1971)?

A

Explicit qualities of all ethnography:
- whole bodies
- whole people (subjectivity)
- whole acts

-> detailed description/analysis of human behaviour from in location long-term observational study

-> relates observed behaviour to cultural norms

-> social and cultural contexts are provided

-> accuracy and truth

26
Q

What is the impact of cinematic qualities in ethnographic films according to Karl Heider (1971)?

A

Cinematic qualities distract from the “ethnographicness”
- well-composed shots
- stimulating editing
- strong narrative content
- engaging personalities

27
Q

What does Peter Loizos (1993) argue about criteria in ethnographic films?

A

Formal criteria bring further decision problems

-> better used as guidelines rather than rules to follow

28
Q

What does Harjant Gill (2021) argue by decolonising the canon in Visual Anthropology?

A
  • Concerns around translation, representation, authorship, and accountability
  • “women, queers, and ethnographers of color” for ethnographic films that account for the history and drawbacks of ethnographic cinema

-> “use reflexive/autoethnographic strategies” to subvert the duality of observer-observed

-> compel audiences to engage in “ethical, responsible, and compassionate storytelling practices that […] give voice and agency to those who are routinely silenced by patriarchal white supremacy”

29
Q

What is the inspiration and innovation of Jean Rouch?

A
  • Dziga Vertov’s camera as cine-eye
  • Flaherty’s collaborative method
  • Hand-held, cine-trance, soundtrack, montage
30
Q

What does ‘Vérité Technology’ refer to?

A

1950s advent of lightweight, sync-sound cameras

31
Q

How is ‘Vérité Technology’ represented in the US?

A

‘Direct cinema’
- observational, non-interventionist, “fly-on-the-wall”

32
Q

How is ‘Vérité Technology’ present in Edgar Morin’s “cinéma vérité” and Vertov’s “kiné-pravda”?

A

Camera as an active agent

33
Q

What are the components of radical empiricism in ethnographic films?

A
  • Sensory Ethnography
  • Art x Ethnography
34
Q

What is central to ‘Shared Anthropology’ (“Anthropologie Partagée”)?

A

Informants as friends/colleagues

35
Q

What does African film scholar Nwachukwu Frank Ukadike argue about ethnographic film?

A
  • There’s a propensity to seek out the idealised primitive body
  • A symbol of a perceived past
  • Ignores African urban life

Mediated Anthropology (10 decks)

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