While Indigenous media have gained increasing prominence around the world, the vibrant Aboriginal media world on the Canadian West Coast has received little scholarly attention. As the first ...ethnography of the Aboriginal media community in Vancouver,Sovereign Screensreveals the various social forces shaping Aboriginal media production including community media organizations and avant-garde art centers, as well as the national spaces of cultural policy and media institutions.
Kristin L. Dowell uses the concept of visual sovereignty to examine the practices, forms, and meanings through which Aboriginal filmmakers tell their individual stories and those of their Aboriginal nations and the intertribal urban communities in which they work. She explores the ongoing debates within the community about what constitutes Aboriginal media, how this work intervenes in the national Canadian mediascape, and how filmmakers use technology in a wide range of genres-including experimental media-to recuperate cultural traditions and reimagine Aboriginal kinship and sociality. Analyzing the interactive relations between this social community and the media forms it produces,Sovereign Screensoffers new insights into the on-screen and off-screen impacts of Aboriginal media.
This essay examines the interweaving of the notions of "civilization" and "evangelization", intersecting them with those of "civility" and "profanation" in the long history of modern colonization and ...contemporary anthropology. His project, to be pursued, is to lift both the taboo of the anthropology underlying modern ethnography and that of the underground exchanges between missionary churches and the activity of anthropologists in the contemporary era. For this exploration, he calls on figures who are rarely brought together, such as Guillermo Furlong and Maurice Leenhardt.
Routier is the self-designation employed by Senegalese men driving decades-old vehicles overloaded with mostly second-hand items from Southern Europe to be sold in West Africa. This activity involves ...navigating a constellation of overlapping politico-administrative, socio-economic, cultural and geographical borders. Building on the concept of borderscapes, whose plasticity and aesthetic qualities allows us to interrogate diverse border universes, this essay visually explores routiers border(ing) enactments and contingent meanings. By seeing like a routier, the piece seeks to feed an on-going debate not only on how to depict borders writ large but also on how certain groups of people embody, see and are seen by contemporary borders.
This substantial essay depicts urban collapse in an exceptionally difficult period of the Serbian capital. The author has marshalled facts, reflections, photographs and other imagesto demonstrate the ...transformation of Belgrade during the Milošević years. With the theoretical grounding of cultural anthropology, history studies, culture of memory, history of art, and urbanism, Mileta Prodanović considers changes to the built environment and urban landscape in the city in the 1990s. He covers many visual aspects of life with great ingenuity: shopping centers, unregulated construction and “wild” modifications of buildings, new buildings (broadcasting studios, shops, homes) that do not fit the surroundings, bad taste in home furnishings (camp, kitsch), boondoggles such as the international art center, problematic historical markers like the obelisk of the eternal flame, billboards, store displays, electoral propaganda, graffiti, grave-markers and cemetery memorials, coins and paper money, calendars, beer labels, and even religious icons (and more). All this information is provided with some critique and much implied comparison to past standards.
This dialogue is part of a cross‐platform collaboration with Visible Language, the oldest peer‐reviewed design journal. Animated by questions about visual methods, genre, form, and analysis—how they ...differ or converge between design and anthropology, what each field has to offer the other—it contextualizes current issues in academic journal publishing from the perspective of visual studies, social science, and design, fields that do not drive contemporary transformations in journal publishing. It considers the academic journal as a form, editorial labor and politics, reaching audiences beyond the paywall, and measuring the value of scholarship, journals, and visual research.
This index covers the Volumes 21–30 of Visual Anthropology, which were issued over the years 2008–2017. The layout of the various sections follows that of our previous two cumulative indexes, which ...were published at the end of Volumes 10 and 20, but with one useful addition: the current index contains a listing of Ethnic and National Entities. As this topic was not covered previously, we here list all the relevant references from Volume 1 onward (1987–2017).
As photography becomes more prevalent in ethnographic research, scholars should more seriously consider the photo essay as a medium for sharing their work. In this Position Piece, we present ...guidelines for the creation of ethnographic photo essays for medical anthropology that do not simply combine image and text, but create a balance that allows words to provide context for the image(s) and images to reinforce or challenge the text. We feel there are three basic elements every photo essay must consider that are informed by the theory and practice of visual anthropology. While a solid background in visual anthropology is not necessary to produce a successful photo essay, being mindful of these three elements in relation to your work will help you develop a photo essay that combines the best of what both media offer your audience.
Kamera-Ethnographie ist ein filmischer Ansatz zur Gestaltung der Wahrnehmungs- und Wissensprozesse beim ethnographischen Forschen. Dabei wird im Unterschied zur Logik der Aufzeichnung angenommen, ...dass Forschungsgegenstände zunächst noch gar nicht sichtbar sind. Kameraführung, Schnitt und Montage tragen als experimentelle Praktiken zur Beobachtbarkeit und Sichtbarkeit epistemischer Dinge bei. Bina Elisabeth Mohns repräsentationskritische Programmschrift zeigt, wie die Methode der Kamera-Ethnographie auch nonverbale Praktiken in ihren Choreographien und bildhaften Figuren in den Blick rückt. Eine situierte Methodologie und reflexive Pragmatik leiten zum positionierten Hinschauen und Sehenlernen an und binden selbst das Publikum in eine forschende Rezeption ein.
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