Reflections of an Ethnographic Filmmaker-Maker: An Interview with Paul Henley, Director of the Granada Centre for Visual Anthropology, University of Manchester

ABSTRACT  Two decades ago the Granada Centre for Visual Anthropology (GCVA) at the University of Manchester, U.K., was created. Since then it has become one of the most acclaimed postgraduate visual anthropology schools in the world, providing a space for theoretical debate and training in ethnographic filmmaking techniques. Conceived originally as a master's program under the sponsorship of Granada Television and the University of Manchester, it has now extended training to the Ph.D. level to students from around the world. In this interview, Professor Paul Henley, GCVA's director since its inception, reflects on the last 20 years of the Granada Centre, ethnographic filmmaking, the state of the art in theory and practice in visual anthropology, and new possibilities and challenges for the future. [Keywords: visual anthropology, ethnographic filmmaking, documentary, Granada Centre for Visual Anthropology]     

An Ethnographic Filmflam: Giving Gifts, Doing Research, and Videotaping the Native Subject/Object

Using the discussion of self-reflexivity as an organizing principle, this article examines how mobilizing digital video technology during fieldwork opens up empirical and theoretical space for reconceptualizing the relationship between anthropologists and informants. Placing the field of visual anthropology into critical conversation with long-standing theoretical arguments about the objectivist limitations of native anthropologists, I argue that the slipperiness of nativity as an anthropological designation helps to provide analytical tools for examining filmmaking as a kind of gift-giving process between native ethnographic filmmakers and the subjects of their films. This article highlights some of the ways in which my own filmic and videographic exploits in Harlem, New York, mark integral connections between seeing and being the proverbial other, probing social exchanges predicated on the usefulness of low-budget digital technology as a means of fostering politically and epistemologically valuable ethnographic collaborations.     

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.     

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.     

The Authoring of Observational Cinema: Conversations with Colin Young

Based on a series of conversations with Colin Young that have taken place over more than thirty years, this article explores how a certain set of practical and institutional circumstances, in combination with a series of philosophical and aesthetic ideas about the nature of cinema, first led to the emergence over the late 1960s and early 1970s of the approach to ethnographic filmmaking that would become known as “Observational Cinema.” Although it was those whom Colin Young trained, inspired or simply influenced who worked out the practical filmmaking applications of his ideas, it was he who initially formulated the foundational concepts underpinning this approach to ethnographic filmmaking. As such, although he has been a “filmmaker-maker” rather than a filmmaker himself, Colin Young has a rightful claim to be considered, in the sense defined by Roland Barthes, as the original “author” of Observational Cinema.     

Ethical issues in ethnomusicological filmmaking

This paper investigates ethical issues which the author had to face in making a series of four ethnomusicological films in central Switzerland. Specifically related as well to an experience in filming music, the subjects considered raise questions of general concern in ethnographic filmmaking. Three main matters are discussed: revealing editing devices, which is rarely done in the film itself; the risk of the musicians becoming the laughing stock of the village if they appear to have weaknesses in their performance; and the return of research to those being studied, for their own benefit.     

Dreaming a Narrative and Conjuring an Image: Collaborative Filmmaking with People and Spirits in Melanesia

This article explores long-term creative engagement, through filmmaking, with a community in Papua New Guinea. It examines the process and results of three feature film projects done in collaboration with Melanesian communities. The films discussed here have employed diverse methods to engage with people creatively. All three of these ethnographic films seek to privilege local epistemologies through their construction, narrative approaches and subjects. The article details the methodologies employed for promoting indigenous ways of knowing. It is suggested that filmmaking and creative engagement have helped generate a meaningful site for Lak communities to explore their traditional practices and identity.     

From Vues to Ethnofiction: French Ethnographic Filmmaking in Africa before Jean Rouch

This article offers an overview of the very substantial body of films of ethnographic interest produced by French filmmakers working in Africa before Jean Rouch arrived on the scene. It identifies a number of genres. For the first two decades this work largely took the form of short films of reportage, mostly shot in North and West Africa by anonymous operators working for newsreel agencies. Then, in the 1920s, longer and technically more complex films based on transregional and even transcontinental expeditions began to appear. Films offering an inventory of cultural traditions in particular French colonies also emerged in this decade. Also to be considered are films based on extended field research, from the 1930s onwards. We conclude with a brief analysis of the originality of Jean Rouch as he developed a new form of ethnographic filmmaking in the late 1940s.     

Filmic encounters: Multispecies care and sacrifice on island Timor

This is a story about the ‘arts of noticing’ more‐than‐human noticing. In it I reflect on the ways in which my own practice of ethnographic filmmaking is itself an agent of multisensory participation. As artifice and artificial eye, there is something both liberating and sensuous about filmmaking practice. It heightens the performativity of participants and their embodied rituals and allows me to enter intimate spaces I would otherwise not encounter. In these encounters a deep multispecies noticing takes place, although in the first instance this is usually only by the camera. The intimacy enabled in these artificial but sensorial encounters can be both revealing and confronting, especially in cases of animal sacrifice. Re‐encountering footage filmed across years of research‐led endeavour, in this paper I explore the power of film to convey these multisensory and multispecies stories, as well as to evoke understanding and engage the multisensory memory of the filmmaker.     

Dans le bain avec Rouch: A Reminiscence

This issue's Visual Anthropology Section is a tribute to anthropologist and ethnographic filmmaker Jean Rouch (1917–2004). In nine brief articles, authors discuss the impact of Rouch's pathbreaking career on ethnographic and documentary filmmaking and his contributions to our knowledge of postcolonial Africa. The authors demonstrate the significance of his work for the larger discipline of anthropology, and commemorate Rouch with personal reflections of their time working with and learning from him.     

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.     

Ecstasy,Choreography and Re-Enactment: Aesthetic and Political Dimensions of Filming States of Trance and Spirit Possession in Postwar Southern Italy

States of trance and spirit possession have inspired the modernist imagination perhaps more than anything else, as they typically exceed the limits of visual representation. This article investigates different approaches to coping with these challenges, focusing on the works of a group of Italian documentary filmmakers, including Luigi di Gianni, Cecilia Mangini, and Gianfranco Mingozzi, who used a novel set of audiovisual techniques to explore ecstatic religious expressions in southern Italy in the postwar years. I look into the processes through which trance and possession rituals (e.g. Apulian tarantism) themselves have inspired and initiated innovations in audiovisual documentation by means of combining—or blurring the boundaries between—ethnographic and experimental modes of cinematic practice. Through highly stylized image/sound compositions including high-contrast lighting, wood-cut like silhouettes, montage, abstract sound effects and poetic, partly fictionalized commentary, as well as by consciously making use of re-enactments and staged encounters, these films contest both the realist-observational narrative and the focus on individuals otherwise prevalent in ethnographic filmmaking. Reading the Italian films against the backdrop of the earlier and contemporaneous, yet much better-known trance films of Maya Deren and Jean Rouch, the article argues that their antirealist audiovisual aesthetic fabricates a social aesthetic that raises sensitivity to human experience and fosters a radically humanist stance.     

Beyond authenticity: The discourse of tourism in ethnographic and experimental film

This paper explores the relationship between postmodern ethnographic and experimental filmmaking. Recent shifts in both modes of film praxis away from modernist paradigms of anthropology and aesthetics have disclosed a rich field of nonscientific, non‐visionary common ground. Theoretical issues that help to define this inter‐penetration of film modes include allegory, tourism and intertextuality. Films by Jonas Mekas, Trinh Minh‐ha, David Byrne and Paula Gaitan are discussed with the aim of indicating the scope, the potential and the problems of postmodern ethnography.     

Beyond Malinowski and After Writing Culture: On the Future of Cultural Anthropology and the Predicament of Ethnography

Following out certain implications of the 1980s Writing Culture critique, this paper envisions a future for anthropology that remains focused on innovations in the ethnographic research process. A sense of change in the world, conceived in the 1980s as postmodernity and now widely discussed as globalisation, suggests the need for an alternative paradigm of ethnographic practice, different in significant ways from that which shaped social‐cultural anthropology over the previous eighty years. Based on working through the implications for the norms and forms of both fieldwork and ethnographic writing of the multi‐sited design of many current research projects, this paper outlines such an alternative paradigm. Further, the paper argues that the explicit disciplinary dynamic driving such innovation in ethnography is, in contrast to the so‐called crisis of representation of the 1980s, a more urgent crisis of reception for anthropology.     

Discursive Formation,Ethnographic Encounter,Photographic Evidence: The Centenary of Durkheim's Basic Forms of Religious Life and the Anthropological Study of Australian Aboriginal Religion in His Time

Historical research on the work of Émile Durkheim has often been confined to textual analysis aiming to reconstruct his research in the context of anthropological discourses at the turn of the 20th century. As radical changes in the visual culture of the late 19th century shaped the formation of anthropology as an academic discipline, the ambition of this article is to elaborate the ways Durkheim's use of ethnographic data and visual material formed the foundation of the theoretical and methodological design of his approach to religion. By tracing features in his Basic Forms that emphasize visual material and prioritize religious practice, I submit that the photographic evidence given in Spencer and Gillen's account of Aboriginal religion allowed Durkheim to theorize religion primarily through ritual. Photography, as a visual means of representation, enhanced the study of religion by focusing on ritual without necessarily demanding consideration of its mythical narratives and cosmological accounts. Based on a thorough analysis of his Basic Forms, this article argues that Durkheim used the photographs of the Aborigines of Central Australia systematically and that this use of photographs consequently guided his ethnographic depiction and his selection of theoretical concepts and methodological procedures.     

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.     

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.     

Within a Range of Possibilities: Morality and Ethics in Social Life

Despite its now common currency the anthropological concept of morality remains underdeveloped. One anthropologist who has made several important attempts to work out a more precise theoretical concept of morality is Joel Robbins. In his most recent contribution to this endeavor Robbins addresses the tension in anthropology between what he calls the morality of reproduction and the morality of freedom. In this article, I suggest an alternative solution to the problem of conceiving the distinction between a nonconsciously enacted morality and the conscious awareness of ethical dilemmas and moral questioning. I will support this distinction with ethnographic and life-historical material from my research on the moral lives of some Muscovites.     

Navajo Filmmakers

This paper is a report of research in visual (film) communication investigating questions in anthropology and communication. Six Navajos, aged 17–25, and one monolingual, aged 55, living on the reservation were taught only the technology of a 16mm movie camera and splicer and were asked to make films about "anything you want to." We review the theoretical questions underlying the research, describe our method of teaching, and analyze the films they made and their verbalizations about them, relating their cultural, verbal grammar, and narrative style to their methods and social organization of learning filmmaking, choice of subjects and actors for their films, and their methods, both syntactic and semantic, of structuring the image events they photographed.