17th ANNUAL VISUAL RESEARCH CONFERENCE
of the American Anthropological Association
Chaired by Thomas D. Blakely and Peter Biella
Marriott Wardman Park Hotel
November 26-28, 2001
Link to maps:
Roads
and
DC Metro
Nov. 26: Monday Evening - 7 pm
Meet at the Registration Desk, Marriott Wardman Park Hotel,
for dinner
About the Hotel
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Everyone is invited to a 7:30 dinner at the
Lebanese Taverna
2641 Connecticut Ave, NW.
It is very near the Marriott.
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Nov. 27: Tuesday - 9 am to 6 pm
The Marriott's Maryland Suite A, Lobby Level
Lobby Map
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9:05
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Thomas D. Blakely and Peter Biella
Opening Remarks
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9:30-10:15
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Allison Jablonko
A Record: Purposes and Cross-Purposes
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10:30-11:15
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Joanna Scherer
The Red Cloud Manikin
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Break 11:15-11:30
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11:30 - 12:15
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Clara Banderali
The Sorwe in Benin
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Lunch Break 12:30 to 2
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2:00 - 2:45
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Lynn Selby Critical Consciousness as a Goal of Applied Ethnographic Film
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2:45 to 3:30
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Marc Gonzalez and Seth Babb
Explicating Graffiti
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Break 3:30 - 3:40
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3:40 to 4:00
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Paul Hockings
Visual Anthropology in Yunnan, China
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4:00 to 4:45
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Anne Zeller
Object Use and Tool Use in Primates
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5:00 to 5:20
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Thomas D. Blakely
Gardner's and Östör's Interactive Making Forest of Bliss |
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5:20 to 6:00
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Free Play with the Interactive Programs |
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Dinner 6:00
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Informal dinner with Conference participants |
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Nov. 28: Wednesday - 9 am to 2:00 pm
The Marriott's Balcony C, Mezzanine Level Mezzanine Map
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9:00-9:15
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Peter Biella and Thomas D. Blakely
Introduction
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9:15 to 10:00
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Paul Henley
Ethnographic Documentary-Making at the University of Manchester
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10:00 to 10:45
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Rolf Husmann
Visualizing the History of Anthropology
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Break 10:45 to 11:00
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11:00 to 12:30
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John Bishop and Harald Prins Oh, What a Blow That Phantom Gave Me!
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12:30 to 1:30
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John P. Homiak
Eye-in-I: Politics of Representation in Rastafari
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1:30
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Peter Biella and Thomas D. Blakely Closing Remarks
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Allison Jablonko
A Record: Purposes and Cross-Purposes
I will discuss how my (heightened) awareness as a "visual anthropologist" of "non-verbal
communication" (proxemics, etc.) led me into a complex interaction with
Paul Byers, his friend, Yannick, and the cameras. Each of the people present
had a different interest in the memories of the past which would be relevant
for the purpose of "Putting the Pieces Together" - the task which the then-up-coming
Goettingen Conference on the Origins of Visual Anthropology was
setting out to do. I was interested in making a record of Paul's memories
which could be one of the "pieces". Paul presented his memories in an ambiguous
relationship to "visual anthropology". Yannick and I tried to recreate
our customary mode of conversations with Paul (which we had had many times
down through the years) for the purpose of the record and shared with two
young colleagues whom Paul had not met before. Paul was interested in explaining
his current research. Each of the two camerapeople had different understandings
of the goal. Altogether, this experience, which is quite well recorded
on the original tapes, provides much food for thought about the strengths
and short-comings of visual records. Simultaneously, the content of the
conversations which did take place throw some interesting lights on one
of the original strands of what came to be known as "visual anthropology".
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Joanna Cohan Scherer with Vicki Simon
Smithsonian Institution
The Red Cloud Manikin: An Early Representation of a Plains
Indian in a Museum
The discovery of an unidentified stereograph depicting a manikin dressed
in Plains Indian clothing
exhibited at the Smithsonian Institution in Washington, D.C. initiated
this research project. The image was selected for use in the Plains
volume of the Handbook of North American Indians, published by the Smithsonian,
as one of the earliest surviving museum representations of a Plains Indian.
Study of the stereograph led us to identify objects in the Smithsonian's
collections that had lost their provenance. The manikin itself
probably represented Oglala Sioux Red Cloud, whose 1872 visit to Washington
likely provided the impetus for making the manikin.
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Clara Banderali
State University of New York
Towards the Circumcision ... With Humor
The purpose of my video screening is to present some
aspects of the Sanwaís life during a one and a half year long preparation
for the circumcision. The Sanwa are an age-group of 20 to 25 year-old men
who belong to the Soruwe of the Taneka villages (North Benin). Their circumcision
is a rite of passage to adulthood, where they prove courage and pain endurance
to their relatives, co-villagers, and to themselves.
The method I used to shoot my footage was to follow
the Sanwa wherever they went and whatever they did during their liminal
period. Some of the shooting was connected to a specific event, some, on
the contrary, was just ìrandom shooting.î I shot
the Sanwaís spontaneous dialogues while they were attending their
daily routine. The results were surprising: through the dialogues, I had
answers without asking any questions. Also, I could capture the Sanwaís
sense of humor, something that accompanies them throughout their path towards
the circumcision.
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Anne Zeller
University of Waterloo
Object Use and Tool Use in Primates
Current definitions concerning the use of external
materials by animals specify certain conditions under which tool use can
be claimed to occur. The objects used must be detached from the substrate,
must be manipulated
by the animal and a goal must be attained (or at
least the attempt made). To me this seems to be the far end of a
continuum of possible manipulations. Objects may be used when not detached,
the manipulations can be subtle and the gaol may be evanescent rather than
of high functional value. At what point is an animal's manipulation of
the external world such a commonality that it is no longer worthy of comment,
and in what directions and stages can the increase of manipulation occur
before reaching the breakover point at which tool use can be claimed? For
many
years we humans laid claim to being the tool makers
and users of the world. In a sense this parallels our human claim
to be the only language users which is also being challenged by the abilities
of the higher primates. This paper is a discussion of the background
of this controversy and an investigation of whether there is a fundamental
difference between object use and tool use in primates.
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Lynn Selby
San Francisco State University
Critical Consciousness as a Goal of Applied Ethnographic Film
Martinez' (1991) work on film reception calls attention to the need for ethnographic
based audience analysis, particularly when films are used in
applied contexts. A fifteen minute documentary, Surviving the Streets, a life-history
video of two adults who were once involved in drug dealing and gang life,
was field tested as a tool for applied critical consciousness with four different youth
audiences. Five screenings were conducted: a compulsory class at a group
home for pregnant teens, a boys' support group at an alternative high school, a girls'
support group at a street-youth case management and night outreach
program, and two high school senior peer-education classes at a private high school.
Group discussions followed each screening, and three audiences also
provided anonymous feedback written for the filmmaker. This paper will first discuss
those themes in the video that most strongly resonated with youth at risk.
Its secondary focus is to describe how privileged high schoolers responded to a documentary
about street youth. Finally, the paper will address problems of
conducting field research among teenage film audiences. It will show the importance of
pre-screening work with adult agency staff members in charge of the
young viewers, and will describe probes that yielded the greatest youth participation.
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Marc Tizoc Gonzalez & Seth Robert Babb
San Francisco State University
and the San Francisco Art Institute
Explicating Graffiti
In a short ethnographic film, Up & Over:
San Francisco 2000, we used the voices of six contemporary graffiti
writers to present emic interpretations of images of graffiti that we made
last year in San Francisco. While the medium of digital video facilitated
the introduction of certain aspects of our subject, it also constrained
what we were able to explain. Therefore we are currently designing
a CD-ROM to complement the information in the film. Our presentation at
the Visual Research Conference will provide a guided tour of the CD-ROM
and demonstrate a way in which multimedia may amplify an existing filmic
description and explanation of a cultural phenomenon.
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Paul Hockings
University of Illinois-Chicago Circle)
Visual Anthropology in Yunnan, China
About four years ago the Institute for Scientific Film in
Goettingen, with funding from the Volkswagen Foundation, began a training program at what
immediately became known as the East Asia Institute of Visual Anthropology. This is a part
of the newly formed Anthropology Department at Yunnan University, Kunming. The Institute
has close ties with documentarists at Yunnan Television, based in the same city. I was one
of the first to give lectures in this Institute, and returned again last May to make some
further presentations. The main work, however, has been hands-on training in ethnographic
film production, under the guidance of Andrea Seltzner, Barbara Keifenheim, Rolf Hussman
and others. Some excellent films have already been produced by the students, and the
program is set to continue till 2004.
Now I am about to move to the other end of that Province, to Lijiang Television,
where I will co-ordinate a wide range of literature in Chinese and several European
languages, as well as examine locally made TV documentaries about ethnic groups,
pulling this all together into a series of books, articles, and CD-ROMs. As a consequence,
I am leaving the University of Illinois.
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Thomas D. Blakely
Pennsylvania State University
Gardner's and Östör's Interactive Making
Forest of Bliss: Intention, Circumstance, and Chance in Nonfiction Film
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Rolf Husmann
IWF - Knowledge and Media, AB 3: Culture and Society
Visualizing the History of Anthropology
To a large extent, visual anthropology focuses on
the making of ethnographic films dealing with many different anthropological
topics from all cultures of the earth. Although the history of anthropology
is a subject studied by virtually all students and anthropologists at one
time or another, only few films have been produced, which treat anthropology
and its own history as a topic. The BBC series "Strangers Abroad" has made
an attempt at doing so (e.g. with films on Margaret Mead and Malinowski),
as have films on Raymond Firth and Fredrik Barth produced by the Göttingen
IWF. This paper tries to describe and analyse these films with respect
to their academic usefulness in teaching and their value as historical
documents. It further presents excerpts from footage of a talk between
Isaac Schapera and Adam Kuper in which they discuss ways of making the
material accessible to the discipline.
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Paul Henley
Director, The Granada Centre
for Visual Anthropology
Ethnographic Documentary-Making at U Manchester
Despite its general name, the
MA in Visual Anthropology at the University of Manchester concentrates
almost exclusively on ethnographic documentary-making. It has been going
since 198 and to date has graduated more than 100 students. It recently
doubled its numbers and trains an average of fifteen students a year on
the 13-15 month program. Increasingly, a number of these students
(currently 2-3 per year) then go on to study for the so-called Ph.D. with
Visual Media. For this degree, the University Senate recognizes that
although a written text will be of ëparamount importance,í
film, video or other visual media may be substituted as a ënecessary
and integralí aspect of the thesis. So far, three students have
been awarded doctorates, two more are about to complete, and a further
six are at earlier stages of the process.
With the aid of extracts from
student work, this presentation will outline the general approach to ethnographic
documentary making promoted by the Granada Centre (that is a particular
form of going ëbeyond observational cinemaí) in the context
of discussing the pedagogical strategies underlying the MA program and
describing the variety of ways in which ethnographic documentary has been
used by students working toward doctoral degrees.
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John Bishop and Harald Prins
University of California, Los Angeles and Kansas State University
Oh, What a Blow That Phantom Gave Me! Edmund Carpenter on the Culture of Illusion
As a pioneer in media anthropology, Edmund Carpenter is perhaps best known
for his quixotic book Oh, What a Blow that Phantom Gave Me! (1972). A romantic idealist like
Cervantes' chivalrous hero, Carpenter has been intrigued by the illusionary in human cultures.
Fascinated by the fakes and phonies, he has become a world-famous specialist on the transporting
significance of tribal art and modern media. His explorations of visual media began in the late
1940s. After a decade at the University of Toronto, where he collaborated with Marshall McLuhan,
he joined a new campus in Northridge, California. There, Carpenter directed an experimental program
in visual anthropology from 1958 to 1967. He then rejoined with McLuhan at Fordham for a year,
writing They Became What They Beheld. In 1969, after another year of teaching at UC-Santa Cruz,
Carpenter went off to Papua New Guinea, having been hired by the Australian government to study
the effects of electronic media on tribal peoples. Experimenting with visuality and cultural feedback,
he became disillusioned by modern media's dramatic impact on tribal peoples, feelings he articulated
in an essay titled "Misanthropology," published in his 1972 book. Since then, Carpenter has taught
anthropology at various institutions, including Harvard University and The New School for Social Research,
and continued publishing on tribal art. In his terse eloquence, he resembles the Arctic barrens where he
has done so much of his fieldwork. An observer of humanity, Carpenter reveals little about himself. An
expert in the anthropology of visual media, he avoids the spotlights. A specialist in communication, he
does not like to advertise his many professional accomplishments. And although he has many admirers who
have read his articles and books, or heard him speak, little has been written about him. Indeed, in spite
of his fame, he remains an elusive figure in the professional corridors of the discipline.
With this joint project, which began in 1997, we are documenting Carpenter's contributions to visual
anthropology. We began interviewing and videotaping him at various places in New York and California.
In addition to ample footage of the raconteur himself, the video includes interviews with Adelaide de
Menil, Robert Gardner and a host of other visual anthropologists convening in East Hampton, 2000.
Footage filmed at the IWF Conference in Goettingen, Germany, June 2001, has been included in the video
project in progress.
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John P. Homiak
Human Studies Film Archives,
Smithsonian Institution
Eye-in-I: Globalization, Imaging Practices, and the Politics of
Representation in Rastafari
Rastafari is a decentralized movement of black social and religious protest
that originated in Jamaica in the early 1930s. Over the course of its development,
the movement has built upon a principle of "unity within diversity." In particular,
the faith has appealed to universal principles of inclusion for peoples of all races
and nationalities while at the same time remaining highly African-oriented in politics
and cultural symbolism. As it has spread throughout the Black Atlantic world and beyond,
this seeming contradiction has given rise to contestations over identity, the policing of
boundaries, and representation. These concerns have been amplified in recent decades by
the emergence of Rastafari as a "traveling culture" whose peripatetic members link communities
in the Caribbean, Europe, North America, and Africa. As a white, middle-class ethnographer who
has been engaged in long-term research on Rastafari (and collaborated with Rastafari on various
projects of public representation), I discuss the my own research and imaging practices
(including videography and photography) among Rastafari communities in the Caribbean, North America,
and South Africa. Discussion of these issues includes my collaboration with Dr. Carole Yawney
(another long-term Rastafari researcher), and our joint project to prepare an exhibit on the
globalization of Rastafari in the Africa Hall of the Smithsonian's National Museum of Natural
History.