Race and place at the city limits: imaginative geographies of South Central Los Angeles

In the early 1990s, a new cycle of films emerged that depicted complex portrayals of the lives of African-Americans in the neighbourhoods in which they lived. This so-called ‘hood genre was quite radical in its foregrounding of structural racism and police violence. But Hollywood's marketing of these films muted this radical content by directly contradicting explicit signifiers in the films’ story worlds. While many of the ‘hood films take place on the urban fringe and in suburbs, their promotional materials worked to confine the action, to a mythic ‘inner city'.

This essay studies the two most popular films of the genre, Boyz n the Hood and Menace II Society, to illustrate how ‘paratexts' redistricted 'hood films. Through a comparative analysis of the films and their promotional materials, this essay argues Hollywood marketed a racialized ‘imaginative geography' for this important genre of African-American cinema.     

From Representation to Evocation: Tracing a Progression in Jean Rouch's Les magiciens de Wanzerbé, Les maîtres fous,and Jaguar

In this article, I describe and analyze the ways in which the Other is represented in three of Jean Rouch's earlier films. After briefly outlining Rouch's relationship to the cinema of Robert Flaherty, I look closely at Les magiciens de Wanzerbé [1948], Les maîtres fous [], and Jaguar [], and argue that these films exhibit a progression from a conventional, colonialist mode of documentary practice to a more open, polyvocal, collaborative form. I conclude by suggesting that this transition constitutes a shift from the attempt to represent that which can never be adequately represented to the evocation of it.     

Powering popular conceptions: The !Kung in the Marshall family expedition films of the 1950s

The paper develops a theoretical framework for the study of ethnographic film out‐takes in relation to material that is included in released ethnographic film, in this case, the films by John Marshall on the Kalahari San. The significance of what is included in relation to that which is excluded is called the theory of structured absences. This theory is then applied to the study of the 700,000 feet of 16 mm out‐takes not used by Marshall in his released films on the Ju/'hoansi.

The difficulties of analysing archival film are discussed, and issues of representation in relation to exposed footage, released films, and the director's own theory of documentary, are critically examined. The anthropological significance of Marshall's filmic contribution on the Kalahari San is assessed.     

Out of words: The æsthesodic cine‐eye of Robert Gardner: An Exegesis and Interview

Anthropological evaluations of the film work of Robert Gardner have been compromised by their reluctance to engage with it as art, and more broadly, to celebrate rather than vilify the aesthetic possibilities of the genre of ethnographic film. Even recent experiments with reflexivity have done little to challenge the realism that undergirds anthropological reception of non‐fiction film. By contrast, this article and interview considers Gardner's work as both anthropology and art. In particular, it addresses the evolving dialectic of the verbal and the visual in his films, from Bhinden Harbour (1951) to Passenger (1998). It also argues that recent efforts by anthropologists to rethink the concept of culture from a post‐semiotic perspective, foregrounding corporeal embodiment in the constitution of culture as much as the self, expand the theoretical boundaries of visual anthropology. In turn, it suggests that this reorientation towards sensation and perception should allow for a more approbatory understanding of Gardner's films.     

Knowledge as the source of progress: The Marshall family testament to the “Bushmen”

There can be no doubt that the Marshalls’ testament to the “Bushmen,” particularly Elizabeth's The Harmless People and John's The Hunters, played a major role in shaping a public image of humankind's ancient ancestors, especially in the United States. John has said, correctly I believe, that simply by being made known through his family's efforts, Khoisan‐speaking “Bushmen” were brought into the surviving ethnographic record that intrigued a growing number of anthropologists as well as the general public at the beginning of the 1960s. I offer here a preliminary account, based on archival materials, personal letters, etc., of the paradigms and politics that underlay their efforts. I begin with an examination of the extent to which Laurence Marshall must be seen as the inspiration for and the driving force behind the family project, then turn to a consideration of J. O. Brew's role in it. Although this was an ethnoarchaeological project from its beginning, Brew's role has been wholly unappreciated, but cannot be exaggerated; he was, in terminology appropriate to the business nature of the case, Chief Executive Officer to Laurence's Chairman of the Board.

I then turn to the political arena of prehistory—of the living and the dead—that became as important as the arena of its field sites in the 1960s. The Marshalls were thrust into dormancy by academically more powerful rivals who publicly and privately contested their work, but there can be little doubt that their record critically influenced reawakening anthropological interest in hunting societies. Indeed, struggles to be the proprietary heirs to the Marshalls’ “Bushman” legacy ricochetted off the walls of academia from Cambridge (US) to Berkeley to Johannesburg to London to Cambridge (UK).

Finally, I consider the mythic underpinnings of the Marshalls’ work, and conclude that while Elizabeth, in The Harmless People, presents the least occluded view of the Marshalls’ Kalahari, seen as a whole John's “Bushmen” films reveal the expanding of a sensitive consciousness not only to a gestalt of life but to the complexity of filmic (re)presentation and to the limitations of audiences to comprehend what is presented. Collectively, his films constitute important ethnographic documents. They are not, however, dependable documents of the objectified peoples made subjects in the films, but faithful documents of the filmmaker/ethnographer situated in the discourse of a distorted modernity at the time they were made. They permit us to draw inferences about the species of colonial ideology that was pervasive at that time.     

Hollywood and the Travelogue

Although documentary films, in formats such as the travelogue-expedition film, are rarely considered as a basis for insight into the Hollywood cinema, the early 1930s provide one historical period during which travelogues produced by independent filmmakers achieved such public popularity that the Hollywood studios were forced to respond. Studios produced some feature-length documentaries themselves, began distributing others, and generated "hybrid" films, such as M-G-M's Trader Horn [1931], that demonstrate a surprising willingness to give up the priority of narrative for the advantage of providing audiences with digressive documentary interludes devoted to the spectacle of exotic cultures, landscapes and wildlife.     

Chronicle of a summer and the editing of cinema‐verite

Jean Rouch and Edgar Morin's Chronicle of a Summer is held up as an innovative, seminal “work in the formation of cinéma‐vérité, and has a central position in the development of documentary and ethnographic filmmaking. Although much has been written about fthis film, little attention has been paid to the film's construction. This paper examines ‘elements of the editing structure of Chronicle of a Summer both to consider how this “work was shaped given the constraints of its production and intended reception and to ¦ analyze a relatively neglected aspect of documentary film practice.     

A Novel Approach to Tradition: Torres Strait Islanders and Ion Idriess

This paper considers the significance of the novel Drums of Mer (1941) in contemporary Torres Strait Islanders' lives. Its use as narrative by many Islanders today constitutes one means by which men especially have come to know themselves, white others, and their past. In particular, I explore the ways in which this story appeals to and is appealed to by Yam Island people. Contrary to literary deconstructions of Idriess's representations of Aboriginal and Torres Strait Islander people, my paper argues that in seriously attending to Torres Strait readings of Drums of Mer we can see that for contemporary Islander readers, it is not themselves who are other but rather the white protagonists. I employ Said's (1994) notion of ‘cultural overlap’ and de Certeau's (1988) understandings of reading and writing as ‘everyday practices’ to frame my analysis of the differing impacts of the historical novel, Drums of Mer, and the Reports of the Cambridge Anthropological Expedition to Torres Straits. It is through story telling that Yam Island selves are placed in the past and the present, and in Idriess's memorable story a similar effect is achieved. In his novel approach, the past becomes his-story, a romanticised refraction of the Reports. Unlike the Reports, this novel is a sensual rendering of a Torres Strait past, and at this level it operates as a mnemonic device for Yam Island people, triggering memories and the imagination through the senses. This Torres Strait Islander detour by way of a past via a story, can be understood as a means by which Yam Island people continue to actively produce powerful images of themselves, for both themselves and for others.     

Language,culture, and mind: trends and standards in the latest pendulum swing. Daniel Everett,Language: the cultural tool. London: Profile, 2012.

The study of language in relation to anthropological questions has deep and varied roots, from Humboldt and Boas, Malinowski and Vygotsky, Sapir and Whorf, Wittgenstein and Austin, through to the linguistic anthropologists of now. A recent book by the linguist Daniel Everett, Language: the cultural tool (2012), aims to bring some of the issues to a popular audience, with a focus on the idea that language is a tool for social action. I argue in this essay that the book does not represent the state of the art in this field, falling short on three central desiderata of a good account for the social functions of language and its relation to culture. I frame these desiderata in terms of three questions, here termed the cognition question, the causality question, and the culture question. I look at the relevance of this work for socio‐cultural anthropology, in the context of a major interdisciplinary pendulum swing that is incipient in the study of language today, a swing away from formalist, innatist perspectives, and towards functionalist, empiricist perspectives. The role of human diversity and culture is foregrounded in all of this work. To that extent, Everett's book is representative, but the quality of his argument is neither strong in itself nor representative of a movement that ought to be of special interest to socio‐cultural anthropologists.     

Visual Anthropology and Language

This essay addresses three questions: (1) What happens to information that cannot be recorded on film or videotape? (2) Is the “visual image” conceived to be an autonomous, universalized object of study, as if it exists prior to and independent of conventional human languages? (3) Who are the much-talked-about viewers of ethnographic films, and what is their relationship to visual anthropologists' investigations? The essay's focus is on Grimshaw's statement about visual anthropologists who “seek legitimation by turning away from the mainstream textual tradition” [Grimshaw 2001 Grimshaw , Anna 2001 The Ethnographer's Eye: Ways of Seeing in Modern Anthropology . Cambridge : Cambridge University Press .[Crossref] , [Google Scholar]: 172]. I have attempted to submit evidence that such a move weakens visual anthropologists' capacity to provide “mainstream anthropology” with a vital, growing and legitimate contribution.     

The Reprise of Malinowski

ABSTRACT

Ways of Baloma is a deliberate attempt to move Anthropology as a discipline by means of a new account of a classic locale for the practice. How does it manage this purpose? This essay evaluates Mosko’s attempt from the perspective of another ethnographer with long-term ethnographic research in the Kula Ring. Paradoxes abound in the book and are featured in this review. For while Malinowski’s theoretical pronouncements quickly lost their significance for most anthropologists, his Trobriand ethnography became a model in its own right. And it is this model Mosko attempts to hold up for review and revision based on his view of the contemporary theoretical state of the art. This review outlines some of the strategies and ideas, as well as the regional locale, Mosko deploys in an attempt to make a new Trobriand ethnography a model for anthropological analysis.     

Maori hapuu and their History

Current research by historians and lawyers in Maori land and fisheries claims is broaching issues of Maori kinship calling for renewed social anthropological research. In this essay I review the history of social anthropological research in Maori kinship through 1975, a lapse in this research until the late 1980s, and a recent revival. A central problem of this research has been the conceptualisation of Maori hapuu (‘subtribes’) or cognatic descent groups. A critique of the recent analyses suggests that the early failure of social anthropologists to understand hapuu in historical context continues, although in different theoretical forms. The burgeoning research by historians and lawyers, while lacking fundamental anthropological insights, suggests that hapuu cannot be separated from their specific history.     

Touring the Dream Factory: The Dream-Film Connection in The Wizard of Oz and A Nightmare on Elm Street

This essay explores the complex interplay of dreams and film, using an analysis of The Wizard of Oz (1939) and A Nightmare on Elm Street (1984) to illustrate how an interdisciplinary approach can provide fruitful insights into how dreams influence films, and films influence dreams. The essay suggests that reflecting on the dreams-film connection can deepen our understanding of the cultural dimensions of human development, particularly in the context of modern American culture. By using the methodological resources of psychology, sociology, history, film criticism, and theology, the essay argues more generally that the interdisciplinary analysis of films offers significant new possibilities for the development of dream studies. Kelly Bulkeley, Ph.D.     

Slashing the Complacent Eye: Luis Buñuel and the Surrealist Documentary

Land Without Bread [1932] has always been misunderstood. The film incorporates both documentary and Surrealist traditions and has been considered highly problematic as an ethnographic film. Viewers are still perplexed and even outraged by the insensitivity of the portrayal of the residents of Las Hurdes, a remote region in the western interior of Spain where living conditions in the 1930s resembled those in the Third World. In this article I examine the history of the film's creation in the contexts of both documentary/ethnographic film and Surrealism. I argue that the point of the film is to mock both the complacent viewer and filmmakers who construct colonialist documents; and also that ethnographic filmmaking today still has not fully rid itself of an inherent colonialism that has always characterized the genre.     

The Last of the Great (Foot-Slogging) Explorers: Lewis Cotlow and the Ethnographic Imaginary in Popular Travel Film

This essay focuses on the popular travel films and books of Lewis Cotlow (1898-1987), an American explorer, author, filmmaker, insurance broker and amateur ethnographer who made photographic expeditions to Africa, South America, New Guinea, and the Arctic from the 1930s to the 1950s. This essay aims to uncover the shared historical practices and narratives in travel film and ethnographic film, examining scientific films in light of popular forms of anthropological cinema. In particular, the author examines the construction of an ethnographic imaginary and modes of ethnographic realism in the feature-length color film Jungle Headhunters [1950], shot during Cotlow's various expeditions to the Amazon during the 1940s.     

Tooth use and the physical properties of food

For decades, natural historians and comparative anatomists have acknowledged the form/function relationship between an animal's dentition and its food. Historically, anthropologists have cited this relationship to explain adaptations observed in modern species as well as to infer the diets of extinct animals found in the fossil record. Anthropologists have described morphological differences between species that permit dietary niche partitioning which allows closely related primates to co-exist within a single ecosystem. For example, Robinson¹ postulated that the anatomical differences between Australopithecus and Paranthropus are the result of their adaptations to different diets. Jolly's² seed-eating hypothesis suggested that early hominids' morphological divergence from apes resulted from their specialized feeding on small and hard grass seeds. Early work by Kay³ suggested that Sivapithecus' thick molar enamel was an adaptation to habitually eating resistant food items such as hard nuts or seeds enclosed in tough pods.     

A failing anthropology of colonial failure: following a driver's uniform found at Amani research station,Tanzania

The remains of Amani, a century-old scientific laboratory in Tanzania, are quintessential modern relics. When anthropologists turn to such infrastructures of, originally colonial, knowledge-making, their own implication with the object of their study – and with its epistemological and political-economic origins and order – becomes part of the ethnographic pursuit. This entanglement between researcher and research material should challenge familiar realist modes of ethnographic writing ‘about’ such places that elude the anthropologists’ own, compromised position within them. Matters are complicated further when the studied knowledge-making sites already are broken, having failed their purpose – as in the case of the vestiges of an abandoned colonial institution. In this essay, I wonder how such ruins of knowledge-making might transform the knowledge made by anthropologists working within them. Instead of just adding ‘reflexive’ confessions to realist accounts, could writing take part in the defeat that the scientific station's remains seem to embody – writing not ‘after/beyond’ but ‘going along with’ failure? Drawing on non-representational ethnography, and poet-anthropologist Hubert Fichte's embrace of epistemic defeat as anticolonial method, I trace my engagements with just one fragment of the scientific station – a driver's uniform. In doing so, I experiment with an object ethnography that ‘fails’ to detach author and object, or settle the question of failure, and instead foregrounds performativity, ambiguity, and mirth as starting points for an ethnography of, and in, our modern ruins.     

Veiled cinema: A conversation with Yousry Nasrallah

This interview with Yousry Nasrallah introduces an increasingly important Egyptian director to American audiences through his latest film, On Boys, Girls, and the Veil. The film is a documentary about a phenomenon sometimes misleadingly called “the veil” by Westerners. Nasrallah's film discusses relations between men and women through their own conversations about the wearing of clothes designed to restrict vision. The interview relates Nasrallah's work to the larger tradition of Egyptian filmmaking.     

The Moving Image as Incident of Disappearance

The essay probes the context of an aesthetic of disappearance in recent practice in the moving image in the Philippines. This aesthetic is not one of absence but of a marked incidence of loss, in fact, an index of brutal abduction. It focuses on how both the full-length film and the installative video work mediate the idiom of the long take and the documentary respectively, to flesh out the said aesthetic. Furthermore, the latter form references a political situation in which the state is alleged to organize the scheme to dispose of certain bodies. Such disposition of expendable bodies has been called “extrajudicial,” and it is rendered cinematically in Brillante Mendoza’s Kinatay [2009] and Kiri Dalena’s Time and Place of Incidence [2011] as a passage to a murder as well as to an investigation, thus complicating the feelings of abjection and melancholy and the material condition of disappearance.