Rereading the Gods Must be Crazy Films

Studies of Jamie Uys's Gods Must be Crazy films have tended to focus on his pseudo-ethnographic representation of “Bushmen,” from primarily Western perspectives, both anthropological and anti-apartheid. This study examines critically the wider corpus of Uys's feature films, especially those employing “Bushmen” characters, in terms of intertextual relations. The article offers the comments of many San viewers of the films and also conveys the perspective of Gao, the main Ju/'hoansi actor. Finally, the study examines responses from the anthropological community to the 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.     

‘Being Honest to my Science’: Reo Fortune and J.H.P. Murray, 1927-301

Reo Fortune worked on Tewara Island in the D'Entrecasteaux group in the Australian Territory of Papua from November 1927 to May 1928. His relations with the Lieutenant-Governor J.H.P. Murray and the government anthropologist F.E. Williams were problematic. In this paper I argue that Fortune's actions, along with increasing tension between Murray and Radcliffe-Brown, were sufficient for a change in Murray's attitude towards continued independent anthropological research in Papua. After 1930, despite his early support for colonial officers receiving training in anthropology, Murray sent no cadets or officers for training in the university. With the exceptions of Geza Roheim and Paul Wirz, both in 1930, Williams conducted all anthropological research in Papua until the outbreak of the Pacific War in December 1941.     

Early Ethnographic Film in Britain: A Reflection on the Work of Christoph von Fürer-Haimendorf

A brief history points up the relative scarcity of ethnographic film made by British anthropologists in the 20th century. The reasons for this were the difficulty and expense of filmmaking until recent years, and a theoretical disinterest in filmmaking, leading to a limited opportunity to capture visually the last tribal worlds. The importance of Fürer-Haimendorf's collection of films thus stands out. The conditions which made his work in India, the North-East Frontier and Nepal possible are discussed, with an outline of his filming and written ethnographies. Why was he interested in film? Fürer-Haimendorf's technical ability with film and photography combined with an emotional sensibility are key. Not fully a man of his time, he avoided the abstract and anti-materialist phase in anthropological theory. An interview with Fürer-Haimendorf and his views on film are presented; and we see that the role of Betty Fürer-Haimendorf was crucial. We conclude with a brief consideration of his attitudes and, in his later life, the role of the BBC and the professionalization of anthropological filmmaking.     

Made in China: The Gods Go East

ABSTRACT

Jamie Uys's The Gods Must be Crazy and its sequel films are icons of South African entertainment, perceived both as hilarious comedy and blatant apartheid propaganda. Three further sequels, made from Hong Kong by Chinese directors, are hardly known in South Africa. These films are particularly interesting from a cultural point of view, as they portray Orientals (and white South Africans) from an Oriental perspective and San Bushmen from a position that is neither Western nor set in an apartheid/post-apartheid South African context. The current context of globalization in which cultures are expressed and negotiated creates an interesting space for the analysis of these “multicultural” films. This article examines these films especially, Crazy Safari, and discusses them in terms of responses from focus groups, one of Taiwanese viewers in Durban, and another of Kenyans in Kenya.     

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.     

Views from the periphery: discourses of race and place in French military medicine

Numerous authors have interpreted the history of anthropological and medical conceptions of race in nineteenth century France as following a path mapped out by phrenology, anthropometry, and Paul Broca's version of physical anthropology. On balance, this has resulted in an historical narrative centered on Parisian intellectual life and one leaving the impression that by the 1890s anthropological theories had moved away from ethnological and cultural explanations toward more biological views of race. This article, by contrast, examines the world beyond Paris and the literatures of naval and army medicine from about 1830 to 1920. It describes the contours of a medical and anthropological pluralism in matters of race and ethnicity and argues that cultural and ethnological perspectives remained important to theorists of race through World War I.     

Australian Anthropology,Ideology and Political Repression: The Cold War Experience of Frederick G. G. Rose

It is more than half a century since Frederick G. G. Rose (1915–1991) published his classic text, The classification of kin, age structure and marriage amongst the Groote Eylandt Aborigines: A study in method and a theory of kinship (1960) in the former German Democratic Republic. Although the fieldwork for his thesis had been carried out in Australia on Groote Eylandt in 1938 and 1941, a conservative academic establishment and the political climate of the Cold War postponed its publication until 1960. Why were Rose's fieldwork findings suppressed by the powerful gate-keeper of Australian anthropology, Professor Adolphus Peter Elkin (1891–1979)? Moreover, why was Rose later denied a government permit to revisit Groote Eylandt and Central Australia to further his research? This paper examines the early work of the communist anthropologist, Frederick Rose, within the broad context of Western post-war anthropological developments, an expanding capitalist economy and the political tensions of the Cold War era. As a communist and public servant from 1938 to 1954, Rose was forced, after the Petrov Royal Commission cast him under a cloud of suspicion, to seek institutional support for his academic career in the German Democratic Republic.     

Corsets,Culture and Contingency: Reflections on Joan Lindsay's Picnic at Hanging Rock1

This article turns an anthropological sensitivity onto a literary text from its own society. It takes Joan Lindsay's novel ‘Picnic at Hanging Rock’ and ‘reads’ it in the light of ideas prominent in recent anthropological writings (the ideas of Lévi-Strauss are particularly used): it also articulates an interpretation by using notions current in modern literary and cultural analysis. The article points out that Lindsay's text has most commonly been interpreted as being about mysterious natural forces injurious to man. Whilst the text explores the disjunction between nature and culture, the article interprets the text as exploring the nature of cultural institutions and cultural processes.     

The Anthropologist as Geologist: Howitt in Colonial Gippsland

The paper discusses A.W. Howitt's position as an amateur of science in colonial Gippsland, and explores connections between his geological and anthropological endeavours. Two contexts contributed to the kind of anthropology he did. and the kinds of works he wrote. One is the point on the trajectory of the colonial history of Victoria when Howitt joined it and began his researches. The other is the moment in the development of anthropology when he and his sister Anna Mary Howitt began to read and correspond about the discipline, and he began to correspond with other practitioners. Geology was linked to Howitt's anthropology in two ways: through his working life in Gippsland, and in models that informed the evolutionary paradigm within which his anthropological research and writing were situated.     

Cloth, Gender, Continuity, and Change: Fabricating Unity in Anthropology

In this article, I compare backstrap-loom weaving in three cultural contexts: the ancient Maya, the ancient Aztecs, and 20th-century Mesoamerica. Although continuities are present, important differences exist in the ways that weaving was situated historically. Among the Classic Maya, weaving defined class; in Aztec Mexico, weaving defined gender; and in 20th-century Mesoamerica, weaving defined ethnicity. A comparison of these cases suggests that historical study is a useful tool for both archaeologists and ethnographers. It promotes recognition of the diversity of practice and belief in ancient societies. It helps to define the scope of contemporary ethnographic study. It combats cultural essentialism and injects agency into our accounts. It enables us to acknowledge both the rich heritage of indigenous peoples and the fact of culture change. Comparative historical study provides a strong rationale for the continued association of archaeology and cultural anthropology as parts of a wider anthropological whole.     

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.     

American Anthropology in the Middle Decades: A View from Hollywood

North American anthropology had an earlier interest in studies of the United States and in critical approaches than is often recognized. Such interests were pursued before World War II but were set aside during the war and in anthropology's postwar expansion. This perspective on anthropological history was inspired by the work of Hortense Powdermaker, specifically the disjunction between her 1930s research in segregated Mississippi and her pioneering study of Hollywood in the late 1940s. Reexamining that study highlights the theoretical framework that led to omissions in her account of Hollywood, while her explanation of movie content invites a more diachronic approach. Parallels between the history of the movies and that of cultural anthropology from the 1930s through the 1960s suggest how both were shaped by the Depression, World War II, and the Cold War.     

Holism and Kantian teleology in C.J. Van De Klaauw's structuralization of oecology

The Dutch biologist C J. van der Klaauw (1893–1972) structuralized the epistemology of oecology using concepts which exceeded the limits of a strictly teleological interpretation of nature. This article relates to his theory of holistic oecology which van der Klaauw formulated departing from a critical confrontation with Kant's teleological view on nature. He substituted this extra-scientifically heuristic maxim by the holistic notion of network-like associations between organisms within a community. The analogous similarities between the organization of individual organisms and communities drawn up by van der Klaauw, merely remained propaedeutics for a genuine holistic oecology, which would only employ epistemological principles specifically referring to the organization of supra-individual communities of organisms. This article discusses the process of structuralizing the theory of holistic oecology by van der Klaauw in his dialogue with Kantian philosophy.     

Samoyedic Diary: Early Years of Visual Anthropology in the Soviet Arctic

This article describes Georgii and Ekaterina Prokofiev's expedition to the Bol'shezemel'skie Nenets and their experience in filming documentary chronicles. Their records form a unique part of the visual anthropology of the Samoyedic peoples. From extant archival documents it is assumed that the chronicles were filmed with funding from the cooperation agreement that was signed by Franz Boas and Vladimir Bogoras in New York in 1928. The article offers a reconstruction of Prokofiev's fieldwork experience and his accounts of the early history of collectivization. In this regard the filmed chronicles and a collection of photos taken in the field are treated as a visual conceptualization. Available studies of visual anthropology in the USSR suggest that the documentary chronicles by the Prokofievs, made in 1929–30, are the first cinematic records to be produced by ethnographers in the Soviet Arctic.     

Racializing subversion: The FBI and the depiction of race in early Cold War movies

During the 1940s, as part of its investigation of 'Communist Infiltration Into the Motion Picture Industry', the Federal Bureau of Investigation [FBI] borrowed criteria for determining if a motion picture contained communist propaganda from the Motion Picture Alliance for the Preservation of American Ideals [MPAPAI], a private, anti-communist organization located in Hollywood. An analysis of the FBI's interpretation of movies that featured black characters or explored racial themes reveals how the agency racialized its investigation of subversiveness in the early Cold War period. In the FBI's application of the MPAPAI criteria, blackness became synonymous with subversiveness and whiteness with Americanism. The FBI's racial project, as revealed in these reviews, is linked to its framing of the Communist threat and contrasted to the Truman administration's racial project and framing of the Communist threat     

Lévy-Bruhl and Modes of Thought: A Re-Appraisal

In this paper I examine the relevance of Lévy Bruhl's work for contemporary anthropological theory. Starting with a brief summary of his writings, I go on to explore his concept of primitive thought, showing how his ideas were influenced by Durkheim and depended mainly on the notion of collective representations. However, Lévy-Bruhl's use of this concept, while Durkheimian in its sources, differed from Durkheim's original usage. It is this difference which I explore following suggestions by Waismann and other logicians interested in non-standard logics. I assess the response to Lévy-Bruhl's ideas both by his contemporaries and by more recent anthropologists, pointing out that much of their criticism is based on a misunderstanding of his position, combined with a lack of awareness on the part of most anthropologists of non-standard, alternative logics. Finally I argue the importance of Lévy-Bruhl's questions (but not his answers) for anthropologists interested in exploring modes of thought found in social structures which legitimate marked ambiguities in discourse and practice, and whose formal logical models do not conform to the aristotelian naradigm.     

From Documentation to Representation: Recovering the Films of Margaret Mead and Gregory Bateson

Although the seven films made by Margaret Mead and Gregory Bateson, based on footage shot in Bali and New Guinea during 1936–39, are identified as a landmark in various histories of ethnographic film, these films have been the subject of remarkably little analysis in the anthropological literature. In contrast, their photographic work has received much more extended commentary. Making a close reading of the films in their final edited form, this article aims to recover this aspect of Mead and Bateson's work from its relative neglect. We consider the circumstances under which the films were made, the theoretical ideas that informed them, and the methods employed in shooting and editing. Notwithstanding recent skepticism about both the theoretical ideas and the quality of the research on which Mead and Bateson's work in Bali was based, as well as the naiveté of some of the filmmaking ideas found in the films themselves, when considered as a group, they continue to be interesting examples of a particular transitional phase in the history of ethnographic film.     

Sows' Ears and Silver Linings. A Backward Look at Ethnography

Globalization, changing views of science, and alterations in the culture concept have gradually modified the way fieldwork is perceived within anthropology. This paper briefly examines the contributions of four ethnographers in order to argue that ethnography based on fieldwork remains essential to our definition as a profession. The claim is made here that unless anthropologists continue to make fieldwork central, anthropological theory will be cut off from its grounding in data. Other observers, less skilled than anthropologists but more daring, will increasingly supplant ethnographers in gathering new information that they then interpret and in claiming the public readership that anthropologists were once able successfully to address.     

Bühler revisited in times of war--Peter R. Hofstätter's The Crisis of Psychology (1941)

During World War II in 1941, the psychologist P. R. Hofstätter added an article to the debate on the crisis of psychology in a distinctly Nazi academic journal. After introducing Hofstätter and the journal, the core elements of his diagnosis and therapy recommendation beneath the National-Socialist-verbiage will be expounded. Hofstätter, a student of Karl Bühler’s, ties on to his teacher’s crisis well-known publication, but perceives the crisis in a broader perspective and connects it to the decline of theology and of pastoral guidance. Hofstätter’s central, new aspect is the practice of psychology without which he sees it doomed. A central feature of psychological practice should be secular, non-therapeutic guidance of individuals. Various contextual facets are illuminated, Hofstätter’s thwarted attempts to get a university position, the recent establishment of psychology in Germany as a discipline teaching professionals, the abolition of German military psychology, the battle for the Berlin university chair of Wolfgang Köhler.