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Journal articles on the topic 'Anthropology of the cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Spitz, Markus Oliver. "Cinema: A Visual Anthropology." Journal of Contemporary European Studies 19, no. 2 (2011): 308–9. http://dx.doi.org/10.1080/14782804.2011.580932.

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2

Heider, Karl. "Debate - National Cinema and Anthropology." Society for Visual Anthropology Newsletter 4, no. 1 (1988): 14–15. http://dx.doi.org/10.1525/var.1988.4.1.14.

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3

Gonçalves, Marco Antonio. "Sensorial thought: cinema, perspective and Anthropology." Vibrant: Virtual Brazilian Anthropology 9, no. 2 (2012): 160–83. http://dx.doi.org/10.1590/s1809-43412012000200006.

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The concept of 'sensorial thought' formulated by Eisenstein to explain the logic of film discourse prompted him to engage in a rich dialogue with the Anthropology of his time, in particular with Lévy-Bruhl's formulation of how 'primitive mentality' operates. Eisenstein attempted to draw a parallel between cinematic language and the way in which primitive thought is manifested, arguing that both based on the principle of non-contradiction, on the idea of a simultaneity between 'self' and 'other,' and on metonymization as a way of intensifying sensorial experience. This sensorial thought produce

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4

Wood, Mary P. "L'italiano e il cinema/The voice in Italian cinema." Italianist 31, no. 2 (2011): 329–31. http://dx.doi.org/10.1179/026143411x13051090965090.

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5

MacDougall, David, and Juan Manuel Espinosa. "Cinema transcultural." Antípoda. Revista de Antropología y Arqueología, no. 9 (July 2009): 47–88. http://dx.doi.org/10.7440/antipoda9.2009.02.

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6

Nowell-Smith, Geoffrey. "My Italian Cinema." Italianist 31, no. 2 (2011): 270–75. http://dx.doi.org/10.1179/026143411x13051090964776.

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7

Oganezov, Aleksandr E. "Interdisciplinarity and Collaborative Filmmaking in Anthropological Cinema." Observatory of Culture 15, no. 6 (2018): 682–92. http://dx.doi.org/10.25281/2072-3156-2018-15-6-682-692.

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Anthropological cinema is the most representative form of visual anthropological research, due to which it can be considered a kind of calling card of visual anthropology. It is confirmed by facts from the history of the scientific discipline and by constant, continuous interest in anthropological films both from researchers and from the audience. This is caused by variety of different factors, though the key ones are the “visual turn” in the 20th century culture, the development of cinema and television, mostly in the second half of the 20th century, and the media-oriented socio-cultural dire

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8

Prozhiko, G. S. "Ethnographic Cinema: the Image of the Other." Journal of Flm Arts and Film Studies 9, no. 3 (2017): 8–18. http://dx.doi.org/10.17816/vgik938-18.

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The article explores the domain of cinematographic art which akin to science tends to reveal the meaning and peculiarities of human existence by means of displaying its ethnographic variety. The movement in question has no special designation yet and is referred to as ethnographic cinema, ethnocinema or audiovisual anthropology. The evolution of the ideological motivations of this movement is considered through the lens of the West/East dichotomy as imprinting of the Others image. Special attention is given to the notion of cul tural anthropology and its implementation in the films made by suc

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9

Danilko, Elena. "A Review of Ilya Utekhin, Chto takoe vizualnaya antropologiya: putevoditel po klassike etnograficheskogo kino [What Is Visual Anthropology: А Guidebook on the Classics of Ethnographic Cinema]. St Petersburg: Poryadok slov, 2018, 352 pp." Antropologicheskij forum 16, № 45 (2020): 228–40. http://dx.doi.org/10.31250/1815-8870-2020-16-45-228-240.

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This is a review of anthropologist Ilya Utekhin’s What Is Visual Anthropology: A Guidebook on the Classic of Ethnographic Cinema. On the example of classical ethnographic films of the 20th century, the monograph considers the phenomenon of ethnographic cinema as an important part of visual anthropology. The book’s main intent is to show how outstanding projects that shaped visual anthropology as a discipline posed key questions for anthropology as a whole. These include nonverbal communication, the socialization and association of personality types with the dominant ethos of culture, the form

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10

Litvin, Eugenia. "School on the screen. Book review: Vadim Mikhailin and Galina Belyaeva. Hidden curriculum: Anthropology soviet school cinema of the beginning 1930s-mid-1960s. Moscow: NLO, 2020." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 485–90. http://dx.doi.org/10.31860/2304-5817-2020-2-18-485-490.

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In the review, the author characterizes the content of the book “Hidden Curriculum: anthropology of Soviet school cinema of the early 1930s—mid-1960s”. The ideas of the authors about the main contrast of the school cinema of the Thaw period and films of the Stalin era are evaluated. The place of this monograph in the series of modern studies of Soviet school cinema is discussed.

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11

HAFSTEINSSON, SIGURJON BALDUR. "Transnational Cinema in a Global North: Nordic Cinema in Transition:Transnational Cinema in a Global North: Nordic Cinema in Transition." Visual Anthropology Review 21, no. 1-2 (2005): 189–91. http://dx.doi.org/10.1525/var.2005.21.1-2.189.

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12

Grisà, Mariarita Martino. "Cinemonitor – Osservatorio Cinema (www.Cinemonitor.it)." Italianist 30, no. 2 (2010): 321–23. http://dx.doi.org/10.1179/026143410x12724449730411.

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13

Zoettl, Peter Anton. "Aprender cinema, aprender antropologia." Etnografica, no. 15 (1) (February 1, 2011): 185–98. http://dx.doi.org/10.4000/etnografica.877.

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14

Schmidt, Nancy J., and Victor Bachy. "Le cinema au Gabon." African Studies Review 31, no. 2 (1988): 178. http://dx.doi.org/10.2307/524439.

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15

Vávrová, Daniela. "Cinema in the Bush." Visual Anthropology 27, no. 1-2 (2013): 25–44. http://dx.doi.org/10.1080/08949468.2014.852058.

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16

Coates, Jennifer. "Blurred Boundaries: Ethnofiction and Its Impact on Postwar Japanese Cinema." Arts 8, no. 1 (2019): 20. http://dx.doi.org/10.3390/arts8010020.

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This article explores the use of ethnofiction, a technique emerging from the field of visual anthropology, which blends documentary and fiction filmmaking for ethnographic purposes. From Imamura Shōhei’s A Man Vanishes (Ningen jōhatsu, 1967) to Hou Hsiao Hsien’s Cafe Lumieré (Kōhi jikō, 2003), Japanese cinema, including Japan-set and Japan-associated cinema, has employed ethnofiction filmmaking techniques to alternately exploit and circumvent the structural barriers to filmmaking found in everyday life. Yet the dominant understanding in Japanese visual ethnography positions ethnofiction as an

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17

Bondanella, Peter. "My path to Italian cinema." Italianist 31, no. 2 (2011): 276–80. http://dx.doi.org/10.1179/026143411x13051090964811.

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18

Gonçalves, Marco Antonio. "Blade Runner BR, 2071." Revista de Antropologia 63, no. 1 (2020): 12–34. http://dx.doi.org/10.11606/2179-0892.ra.2020.168432.

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Este artigo analisa o cinema de Adirley Queirós tomando seu primeiro longa metragem, A cidade é uma só? (2013), como fio condutor da interpretação. Seu cinema, situado entre Brasília e Ceilândia, sitia lugares e espaços naturalizados, dessubstancializa conceitos como os de localidade, periferia, identidade, memória, finitude, história, arquitetura, ficção, documentário. Seu cinema evoca diálogos fecundos através de figurações da alteridade, da distopia, da entropia em cenários urbanos posmetropolis, em que se percebe a insurgência das cidades satélites enquanto lócus de contestação e crítica a

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19

Sapir, J. David. "Transcultural Cinema:Transcultural Cinema." Visual Anthropology Review 14, no. 2 (1998): 85–90. http://dx.doi.org/10.1525/var.1998.14.2.85.

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20

Grimshaw, Anna, and Amanda Ravetz. "Rethinking observational cinema." Journal of the Royal Anthropological Institute 15, no. 3 (2009): 538–56. http://dx.doi.org/10.1111/j.1467-9655.2009.01573.x.

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21

Himpele, Jeffrey. "Transcultural Cinema:Transcultural Cinema." American Anthropologist 101, no. 4 (1999): 836–37. http://dx.doi.org/10.1525/aa.1999.101.4.836.

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22

Ibrahim, Musa. "Islam and Visual Culture: Sharia Implementation and Cinema as Visual Management in Nigeria." African Studies Review 63, no. 4 (2020): 719–42. http://dx.doi.org/10.1017/asr.2019.88.

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AbstractHuman experience is more visual and visualized than ever before. This has been obvious in Africa since the 1990s, when democratization, media liberalization, proliferation of small technology, and religious reform movements introduced new ways of meaning-making. Ibrahim’s ethnographic research shows how sharia implementation and cinema as cultural production in northern Nigeria are embedded within the implicit and explicit visual regime of influencing what and how people see, think, and perform. The strategic replacement of cinemas with religious or other “neutral” objects is a visual

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23

Uva, Christian. "Il cinema politico secondo Peter Bondanella: note su Italian Cinema: From Neorealism to the Present." Italianist 38, no. 2 (2018): 280–84. http://dx.doi.org/10.1080/02614340.2018.1475605.

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24

Stepanov, Boris. "“Coming Soon?”: Cinematic Sociology and the Cultural Turn." Sotsiologicheskoe Obozrenie / Russian Sociological Review 19, no. 4 (2020): 152–77. http://dx.doi.org/10.17323/1728-192x-2020-4-152-177.

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Throughout the 20th century, cinema has played, and, to some extent, continues to play a key role in shaping the social imagination and anthropology of modern human. Nevertheless, as a review of English scholarly literature shows, cinema, unlike art and music, remains a marginal subject of analysis for sociologists. The article attempts to consider the state of sociological reflection on cinema in the context of the cultural turn in sociology in both the international and national contexts. By reconstructing the history of the interaction between sociology, film studies, and cultural studies,

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25

Anderson, Kevin Taylor. "An Accented Cinema: Exilic and Diasporic Filmmaking." Journal of the Society for the Anthropology of Europe 2, no. 2 (2002): 60–62. http://dx.doi.org/10.1525/jsae.2002.2.2.60.2.

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26

Glick, Josh. "Observational Cinema: anthropology, film, and the exploration of social life." Historical Journal of Film, Radio and Television 31, no. 3 (2011): 448–50. http://dx.doi.org/10.1080/01439685.2011.598014.

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27

Bayer, Gerd. "Observational Cinema: Anthropology, Film, and the Exploration of Social Life." Journal of Popular Culture 44, no. 1 (2011): 178–80. http://dx.doi.org/10.1111/j.1540-5931.2010.00826.x.

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28

Sawhney, Rashmi. "THE VIRTUAL REALITY OF INDIAN CINEMA." Interventions 14, no. 3 (2012): 395–409. http://dx.doi.org/10.1080/1369801x.2012.704498.

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29

Antolini, Demetrio. "Italian Cinema(s) Abroad - Conference Report." Italianist 40, no. 2 (2020): 310–15. http://dx.doi.org/10.1080/02614340.2020.1727719.

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30

Shope, Bradley. "Hindi Film Songs and the Cinema." Ethnomusicology Forum 20, no. 2 (2011): 271–73. http://dx.doi.org/10.1080/17411912.2011.589505.

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31

Pellegrini, Franca. "Italian Cinema and Immigration Database (ICID)." Italianist 32, no. 2 (2012): 317–20. http://dx.doi.org/10.1179/026143412x13442661824015.

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32

Raffaelli, Sergio. "Quando il cinema era mobile." La Ricerca Folklorica, no. 19 (April 1989): 103. http://dx.doi.org/10.2307/1479138.

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33

Harrow, Kenneth W. "Manthia Diawara’s Waves and the Problem of the “Authentic”." African Studies Review 58, no. 3 (2015): 13–30. http://dx.doi.org/10.1017/asr.2015.74.

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Abstract:This article begins by tracking how the delineation of “New Cinema” in the recent work of Manthia Diawara differs significantly from the approaches that had been dominant when he published his initial study on African cinema in 1992. The changes lead us to position current filmmaking practices vis-à-vis Nollywood film, and to ask how the formation of the cinematic subject functions in contemporary “new waves” of cinema.

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34

Mehta, Monika. "Globalizing Bombay Cinema." Cultural Dynamics 17, no. 2 (2005): 135–54. http://dx.doi.org/10.1177/0921374005058583.

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35

Armbrust, Walter. "Islamists in Egyptian Cinema." American Anthropologist 104, no. 3 (2002): 922–31. http://dx.doi.org/10.1525/aa.2002.104.3.922.

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36

Yau, Ka-Fai. "CINEMA 3: TOWARDS A 'MINOR HONG KONG CINEMA'." Cultural Studies 15, no. 3-4 (2001): 543–63. http://dx.doi.org/10.1080/095023800110046696.

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37

Tan, Ying-Ying, and Irving Goh. "POLITICS OF LANGUAGE IN CONTEMPORARY SINGAPORE CINEMA." Interventions 13, no. 4 (2011): 610–26. http://dx.doi.org/10.1080/1369801x.2011.628144.

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38

O’Leary, Alan. "TOWARDS AN ECOLOGY OF CINEMA AND HISTORY." Italianist 34, no. 2 (2014): 250–55. http://dx.doi.org/10.1179/0261434014z.00000000078.

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39

Renga, Dana. "Pastapocalypse! End times in Italian trash cinema." Italianist 31, no. 2 (2011): 243–57. http://dx.doi.org/10.1179/026143411x13051090964695.

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40

Petty, Sheila, and Nwachukwu Frank Ukadike. "Questioning African Cinema: Conversations with Filmmakers." African Studies Review 46, no. 2 (2003): 157. http://dx.doi.org/10.2307/1514862.

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41

Pike, Andrew. "Photography, Early Cinema and Colonial Modernity." Visual Anthropology 27, no. 1-2 (2013): 210–12. http://dx.doi.org/10.1080/08949468.2014.852947.

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42

KEELER, WARD. "Indonesian Cinema: National Culture on Screen . KARL G. HEIDER." American Ethnologist 21, no. 4 (1994): 1008–9. http://dx.doi.org/10.1525/ae.1994.21.4.02a01220.

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43

Peña, Richard. "The National and the Popular." Studies in World Cinema 1, no. 1 (2021): 92–103. http://dx.doi.org/10.1163/26659891-0000b0001.

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Abstract The national and the popular have been an intertwined and ever-thorny topic of the relationship in cinema. So what is “national cinema?” How can national character be expressed in the cinema? When looking at, for example, the history of Brazilian cinema critics rarely felt the need to the question of what constituted a “Brazilian” film; perhaps, it seemed obvious, not worth discussing. As in so many cultures in Asia, Africa and Latin America, the cinema began as something imported for many decades, something brought to the country by foreigners. Turkey also has its own problematic rel

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44

Rangan, Pooja. "Cinema, Emergence, and the Films of Satyajit Ray." Interventions 14, no. 4 (2012): 632–33. http://dx.doi.org/10.1080/1369801x.2012.730865.

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45

Ramnarine, Tina K. "SONIC IMAGES OF THE SACRED IN SÁMI CINEMA." Interventions 15, no. 2 (2013): 239–54. http://dx.doi.org/10.1080/1369801x.2013.798474.

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46

Rushing, Robert A. "Toxicity: Making the Toxic Visible in Italian Cinema." Italianist 40, no. 2 (2020): 244–55. http://dx.doi.org/10.1080/02614340.2020.1735086.

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47

Uva, Christian. "RECENTI TENDENZE NEGLI STUDI DI CINEMA IN ITALIA." Italianist 34, no. 2 (2014): 272–74. http://dx.doi.org/10.1179/0261434014z.00000000084.

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48

Luciano, Bernadette, and Susanna Scarparo. "Gendering mobility and migration in contemporary Italian cinema." Italianist 30, no. 2 (2010): 165–82. http://dx.doi.org/10.1179/026143410x12724449730051.

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49

Uva, Christian. "Il cinema italiano intorno aGomorratra visibilità, semivisibilità, invisibilità." Italianist 30, no. 2 (2010): 290–308. http://dx.doi.org/10.1179/026143410x12724449730295.

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50

Bayman, Louis, and Sergio Rigoletto. "Conference report Popular Italian Cinema: An International Conference." Italianist 30, no. 2 (2010): 309–14. http://dx.doi.org/10.1179/026143410x12724449730330.

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