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.     

Jean Rouch's ethnographic path

This article considers the multiple influences that have shaped Jean Rouch's ethnographic gaze upon the Songhay people of Niger. Marcel Griaule, Rouch's mentor, undoubtedly influenced his student's ethnographic approach to Songhay. But Rouch was equally influenced, I am convinced, by his direct and unforgettable confrontation with the mysteries of the Songhay world. After a discussion of the methodological and theoretical orientations of the Griaule school, I analyze Rouch's major ethnographic work, La Religion et la magie Songhay, focusing upon how Griaulian epistemology and Songhay realities molded the textual presentation. I then discuss several of Rouch's major films—Les Magiciens de Wanzerbé, The Lion Hunters, Les Maîtres Fous, and Tourou et Bitti, placing them within an ethnographic and epistemological context. This analysis leads to a consideration of Rouch's unrecognized contribution to anthropology.     

Beyond the Taboo: Imagining Incest

This article provides an overview of anthropology's 150-year discussion of the incest taboo in light of the last 30 years of feminist and psychoanalytic discoveries about the incestuous abuse of children, it invites anthropologists to explore incest ethnographically and offers three suggested ways: one biosocial, a second social relational, and a third psychoanalytic, focusing on a connection between what psychologists call dissociation and what anthropologists call trance or possession. [Key words: incest taboo, childhood sexual abuse, dissociation, trance/possession, innate avoidance mechanism]     

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.     

The Reliable Beauty of Aroma: Staples of Food and Cultural Production among Italian‐Australians1

This paper takes an ethnographic journey into Italian‐Australian cultural production through an examination of the Italian term for both the flavour and taste of herbs, aroma. Here, I explore the ways in which staple foods and their commensalities engender staple cultural production without necessarily overdetermining the culture produced. Taking the material indeterminacy of culture as a theoretical starting point, I argue that this is the reliable beauty of aroma as well as is its capacity to capture the realities of culture as lived experience. When culture is approached from this direction, stature is returned to ethnographic subjects as people living lives rather than as automatons of cultural form. From this vantage, a theoretical preoccupation with order and structure may be seen to hinder rather than enhance an apprehension of ethnographic fact.     

Becoming a Spirit Medium: Initiatory Learning and the Self in the Vale do Amanhecer

Drawing on ethnographic data from the Brazilian mediumistic religion known as Vale do Amanhecer (Valley of the Dawn), this article addresses the learning process at the core of mediumistic development. The process of learning is here approached as a multi-layered experience, which is embodied, intuitive, performative, conceptual and inter-subjective. I will illustrate how the relationship between mediums and spirits is established in trance states through what Thomas Csordas calls a ‘multi-sensory imagery’. The discussion examines the concurrence of emotions, feelings, somatosensory experience and doctrinal discourses in developing mediumistic skills, which simultaneously engenders the attributes of extendability and multi-dimensionality that ground the notion of the self, informing the conceptualisation of trance.     

Listening after the animals: sound and pastoral care in the zoo

In anthropology and across the humanities and social sciences, zoos have tended to be theorized as places of spectacle. Scholars often focus on the ways in which these institutions enable the viewing of other-than-human animals by human publics. This article, however, uses sound-focused ethnographic fieldwork to engage with two UK zoos and to describe a particular mode of cross-species listening which is enacted by zookeepers. The concepts of pastoral care and control discussed by Foucault and applied to the zoo context by Braverman are productively reworked and reorientated in order to understand this form of listening. The article also demonstrates the interconnectedness of keeper, visitor, and animal sound worlds, in the process generating an original perspective that complements and enriches conventional zoo studies.     

The Ethnographic Use of Facebook in Everyday Life

New social media have become indispensable to people all over the world as platforms for communication, with Facebook being the most popular. Hence, platforms such as Facebook are also becoming crucial tools for ethnographers because much social life now exists ‘online’. What types of field relations stem from such social media-driven ethnography? And what kinds of data do these relations present to the ethnographer? These questions must be considered in order to understand the challenges Facebook and other social media pose to ethnographic methodology. This article focuses on how Facebook may play an important role even in ethnographic work concerned with questions other than how Facebook works as a social medium. Most importantly it allows the ethnographer to keep up-to-date with the field. I argue that ethnography is already in possession of the methodological tools critically to assess the validity and value of data gathered or produced via Facebook including issues such as authenticity which are also pertinent to digital ethnography.     

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.     

Anthropology and the social factory

Since its birth in the early 1960s, Italian operaismo (workerism) has provided an optimistic reading of working-class militancy, a theoretically stimulating account of capitalist transformation, and a set of highly productive conceptual categories. Despite a shared provenance, however, operaista-influenced movements and theorists have since taken these categories in quite varied directions. Given this conceptual heterogeneity, I consider herein one such category—the “social factory”—and its conceptual reworking by Antonio Negri, as he elaborates in his 2017 book, Marx and Foucault. I employ, as means to pursue this inquiry, an anthropological lens—drawing, to do so, on anthropological theory and ethnographic research. My aim is to build toward to a reconception of the social factory analytic for use in a contemporary anthropology of state formation.     

The anthropologist as photographer: The visual construction of ethnographic authority

“The Anthropologist as Author"—Clifford Geertz's formulation is emblematic of a theme of anthropology in the 1980s, ethnographic writing. Ethnographic photography, however, was barely a subject of consideration. Reviewing Evans‐Pritchard's The Nuer, a book widely re‐read in the writing culture debate, this article investigates not only the author's visual construction of ethnographic authority. It also reveals ethnographic photography as a medium, which can undermine this authority in a subtle yet compelling manner. Thus concentrating on the medium itself this paper investigates the uneasy relationship between photography and anthropology, and proposes an approach to ethnographic photography that goes beyond the questions of representation.¹     

Pikisi kwaiyai! (pictures tonight!): The screening and reception of ethnographic film in the Trobriand Islands,Papua New Guinea

Ethnographic films hold great historical value for the communities in which they were filmed, yet people in source communities often lack access to them. Visitors engaging in ‘visual repatriation’ of ethnographic film can enrich both sides of the ethnographic exchange. I review my experiences screening ethnographic films with Trobriand Islanders, their reactions, and the various ways in which local communities regain ownership of these films, including re‐narration and renaming. My findings reiterate how source communities' reception of, and uses for, ethnographic film can sharply differ from the filmmakers' original agenda.     

Art education under development in Palestine: de- and repoliticization via universal values,institutional critique,and reflexive practice

This article studies ways in which art education is mobilized to modify subjective and aesthetic performances of Palestinian students, considering debates surrounding depoliticization and development funding in Palestine. It explores the subject matter and critical stance deemed appropriate for self-directed art projects within a Ramallah art school. Moving beyond arguments put forward within existing literature on the depoliticizing impact of aid funding by drawing on ethnographic detail, the article explores how students experience and respond to this education. Despite being shaped by structures of control that arguably encourage depoliticization, many students understood this education as also opening a space for unpicking and critical examination of such structures. The article locates instances in which this repoliticization was invoked by students, in balance with their awareness of the complexity and contingency of this process.     

The Law of the Land: A Review Article

This is a review article of the book Native Title Corporations: A Legal and Anthropological Analysis from the point of view of anthropology. I begin by highlighting the development of Anglo‐Australian social anthropology from such figures as Radcliffe‐Brown and Fortes, who were heavily influenced by regulatory and normative models from the domain of legal and judicial scholarship and speculate on the contemporary conditions by which this original social anthropological metaphor has apparently achieved a new literalisation. I criticise the legalistic appropriation of anthropological and ethnographic methodology that this book makes explicit, and finally, I express scepticism for the future success of the prescribed body corporate, as described in the Native Title Act (1993), as a model for the possession, transmission and elaboration of indigenous rights to country.     

Firewalking: Explanation and the Mind-Body Relationship1

With specific reference to the Anastenaria, a firewalking ritual performed in the North of Greece, this paper discusses the problem which phenomena such as firewalking poses for anthropological discussion. The relationship between the mind and the body and their existence in the social world is addressed, as I search for a way in which anthropological discourse can approach an explanation of an individual's ability to walk on burning coals unharmed. A brief look at the various explanations provided by different disciplines follows a more detailed review of scientific inquiry into this phenomenon. A critical discussion of the notions of trance, possession and altered states of consciousness introduces the subjective/objective dichotomy. The question is asked: How does the body exist in the world and to what extent does there remain a distinction between body, mind and object?     

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.     

Not You: Addiction,Relapse, and Release in Uganda

In recent years, alcohol abuse and dependence have become topics of increasing concern in Uganda, but the chronic relapsing brain disease model of addiction remains only one of many ways of understanding and addressing alcohol-related problems there. For many Ugandan Pentecostals and spirit mediums to be addicted is to be under the control of a being that comes from outside the self. Where these two groups differ, and here they differ strongly, is in regard to the moral valence of these external spirits and what ought to be done about them. This article draws on four years of collaborative ethnographic fieldwork to explore the affordances of these ways of viewing and experiencing addiction and recovery for Ugandans attempting to leave alcohol behind. While the idioms of bondage, dedication, and possession are at times severe, this article argues that they contain within them concepts and practices that point away from models of addiction as a chronic relapsing brain disease and towards the possibility of release.

     

Audiovisual Delay as a Novel Cue to Visual Distance

For audiovisual sensory events, sound arrives with a delay relative to light that increases with event distance. It is unknown, however, whether humans can use these ubiquitous sound delays as an information source for distance computation. Here, we tested the hypothesis that audiovisual delays can both bias and improve human perceptual distance discrimination, such that visual stimuli paired with auditory delays are perceived as more distant and are thereby an ordinal distance cue. In two experiments, participants judged the relative distance of two repetitively displayed three-dimensional dot clusters, both presented with sounds of varying delays. In the first experiment, dot clusters presented with a sound delay were judged to be more distant than dot clusters paired with equivalent sound leads. In the second experiment, we confirmed that the presence of a sound delay was sufficient to cause stimuli to appear as more distant. Additionally, we found that ecologically congruent pairing of more distant events with a sound delay resulted in an increase in the precision of distance judgments. A control experiment determined that the sound delay duration influencing these distance judgments was not detectable, thereby eliminating decision-level influence. In sum, we present evidence that audiovisual delays can be an ordinal cue to visual distance.