Moral Publics: Human Trafficking,Video Films and the Responsibility of the Postcolonial Subject

This article analyzes the ways in which a Nigerian video film about human trafficking is received by Nigerian women who have themselves experienced trafficking in their migration to Italy. This contextualized case study is used as a methodological “lockpick” to open up new lines of enquiry into the relationship that southern Nigerian video films create with their audiences. The essay argues that, by virtue of their specific “addressivity,” the genre of Nigerian video films that focus on female migration and prostitution participates in the creation of moral publics that are concerned with the definition of the postcolonial subject’s responsibility in shaping his/her own destiny.     

Cowboys and Aliens: Body Techniques and Audience Reception in Malaita,Solomon Islands

Based on ethnographic fieldwork among the Lau of Malaita Province, Solomon Islands, this article revisits the “imperial cowboy problem” through an anthropology of technology approach. It examines audience preference for Westerns, or “cowboy movies,” and their rejection of science fiction, or “new technology movies.” Non-verbal, visual communication, material cultures and body techniques are shown to be particularly significant for how unintended audiences engage with foreign visual media, given their own sociocultural context.     

Bangladeshi migrant associations in Italy: transnational engagement,community formation and regional unity

Referring to the case studies of two cities in Northern Italy, this article seeks to understand how Bangladeshi migrants use associations to seek transnational “ways of belonging” and “ways of being”. It analyses how this transnational attachment to their home country has played an important role in building their own “community”. The findings reveal that Bangladeshi migrant organizations work to maintain “transnational ways of belonging” by enabling migrants to retain their cultural roots; this is reflected in their observation of festivals, national days, and other practices and rituals. Although, as a relatively new migrant community, they do not share as many economic links through these associations as many other “diasporic” organizations, migrants widely express a sense that these economic connections are with their country of origin. However, there is competition within the community based on regional origin, as well as have many ambivalences and contradictions.     

Breaking Through Disciplinary Barriers: Human–Wildlife Interactions and Multispecies Ethnography

One of the main challenges when integrating biological and social perspectives in primatology is overcoming interdisciplinary barriers. Unfamiliarity with subject-specific theory and language, distinct disciplinary-bound approaches to research, and academic boundaries aimed at “preserving the integrity” of subject disciplines can hinder developments in interdisciplinary research. With growing interest in how humans and other primates share landscapes, and recognition of the importance of combining biological and social information to do this effectively, the disparate use of terminology is becoming more evident. To tackle this problem, we dissect the meaning of what the biological sciences term studies in “human–wildlife conflict” or more recently “human–wildlife interactions” and compare it to what anthropology terms “multispecies ethnography.” In the biological sciences, human–wildlife interactions are the actions resulting from people and wild animals sharing landscapes and resources, with outcomes ranging from being beneficial or harmful to one or both species. In the social sciences, human–nonhuman relationships have been explored on a philosophical, analytical, and empirical level. Building on previous work, we advocate viewing landscapes through an interdisciplinary “multispecies lens” in which humans are observed as one of multiple organisms that interact with other species to shape and create environments. To illustrate these interconnections we use the case study of coexistence between people of the Nalu ethnic group and Critically Endangered western chimpanzees (Pan troglodytes verus) at Cantanhez National Park in Guinea-Bissau, to demonstrate how biological and social research approaches can be complementary and can inform conservation initiatives at the human–primate interface. Finally, we discuss how combining perspectives from ethnoprimatology with those from multispecies ethnography can advance the study of ethnoprimatology to aid productive discourse and enhance future interdisciplinary research.     

Consuming “the unfortunate”: the violence of philanthropy in a contemporary Chinese state-run orphanage

Following the Tocquevillian tradition and driven by a neoliberal concern, many China scholars interpret the rise of philanthropy in contemporary China as a sign of the growing “civil society” that will help to democratize the country and improve its citizens’ social well-being. However, this paper shows that philanthropy in the Chinese context works to reproduce social inequalities between philanthropists and the subjects they claim to help. My ethnography focuses on philanthropic activities in a state-run orphanage in southeastern China. In these activities, characterized primarily by donations and volunteer work, middle- and upper-class philanthropists label orphans as “the unfortunate” or even “the abnormal unfortunate” to create a clear-cut “they/unfortunate–we/fortunate” dichotomy that stigmatizes these children. Furthermore, they utilize this dichotomy as a tool to transmit class consciousness to their own children, “touristify” the orphanage, and even exploit the orphans for marketing or commercial purposes. The pragmatic rationale reflected in these representations and practices also provides an alternative to the current anthropological studies on humanitarianism, which have mostly focused on religious, ethical and moral motivations among philanthropic agencies.     

Comic woman,victim woman: Pushing gender and genre boundaries in popular Hindi Cinema

“Women's film” in Hollywood is associated both with the genre of melodrama, the “weepie”, and with female spectatorship. In the Indian context of popular Hindi cinema, first, genre analysis itself is a questionable line of inquiry since several genres, the melodrama, musical, gangster, or mystery, combine in a single film, known locally as the masala (spicy) film; and second, films are scarcely divided by a gendered viewership. Yet I identify “women's films” as a distinct category in Hindi cinema, emerging around the ‘70s. These women's films typically center on female protagonists, dramatize their victimization and vindication; by the ‘80s under a range of influences these films mutated into rape‐revenge narratives.

However, another strain emerged within the ‘70s’ “women's film,” which drew on cinema's rich visual iconographic tradition of the sight gag, promulgating the comedic/tomboy heroine figure. It favored laughing and mocking patriarchal structures rather than surrendering to them in tears. Focusing on Ramesh Sippy's Sita aur Gita [1972] emblematic of this trend I explore theoretical concerns about associating genres with gender. In keeping with recent poststructuralist theories about gender and media ‘consumption I show how the film destabilized clear‐cut gender identification and stood for a promising trend that was sadly undercut. Thus, while genre might still be a useful analytical tool for Hindi cinema, defining women's film as female‐centered narratives is a viable category as long as we appreciate the instability in gendered viewer identification.     

Psychospiritual ecoscience: The Ju/'hoansi and cultural tourism

The relation between knowledge and the visual, on the one hand, and knowledge about peoples on the other, is a prime concern in visual anthropology. The impact of the visual on the everyday life of the Ju/'hoansi is my concern here. This paper is offered in two parts: this article and the one which follows.

The results of a field‐trip in July 1996 to Otjozondjupa (previously known as Bush‐manland) in Namibia are discussed in terms of the question: How do subjects make sense of the anthropological?¹ Our “subject community” was the Ju/'hoansi of Nyae Nyae. The “texts” we interrogated through Ju/'hoansi popular memory were those made of them by the documentary filmmaker John Marshall, a South African feature‐film director, Jamie Uys, and one by the Discovery Channel.     

The Ethnographer Who Never Was: Eulalia de Abaitua as a Lens on Fin-de-Siècle Basque Society

Nineteenth-century Basque culture became a kind of ethnographic museum for anthropology, yet the nativism of its discourse ignored the industrial dimension of Basque society. This duality was captured, however, by the amateur photographer Eulalia Abaitua. She has been ignored by the canon due to her “amateur” status, her gender, and perhaps even her own transnational identity. However, her work fits into a long photographic tradition of “vernacular” ethnographers and her contribution is to be found in her “performance” or production. She should, then, be reclaimed as a significant actor in the history of Basque ethnography.     

Orientalism in the Documentary Representation of Culture

Structured around the idea that there is a non-linguistic and cross-cultural, possibly biological, basis on which the understanding of pictures rests, this essay looks at the ways whereby images in documentary films challenge the notion of cultural difference. Drawing on Said's Orientalism [1978] and its impact on the basic assumptions of anthropologists, the essay stresses Said's relevance to documentary film theorists, and discusses the work of visual anthropologists and filmmakers influenced by Merleau-Ponty's ideas about the phenomenology of perception. Discussion suggests that the kind of knowledge disclosed by revelatory films represents an important answer to one of the fundamental epistemological issues that Said does not take up in Orientalism, namely the question of the materialization of an “authentic human encounter” not subjugated to the dead book. The essay implies that we should have no objection in principle to the self/other dichotomy when it is used intelligently.     

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.     

Video for Development

This paper breaches the traditional frontiers of visual anthropology and argues for a greater advocacy role within the research-based community. Arguing that visual anthropology should now move “beyond theory” to the more pragmatic science of “development communication,” the paper examines techniques commonly used in ethnographic film, and analyzes media case studies from development projects in Egypt and Pakistan. It demonstrates that video can capture voices and communicate ideas to planners and policy makers better than any other communication tool, and achieve a greater impact in transforming, for example, the image of rural women and the hierarchies of power that constrain their participation in development. It concludes that visual anthropologists, as media producers, are uniquely well equipped to use their expertise and knowledge of the field and of local languages to act as mediators, spurring interactions and building consensus between different developmental “actors.” In this way they could work to instigate public health reforms in poor communities and contribute to wealth creation by engaging in the process of development communications.     

Going with the flow: a brief history of the study of the honeybee’s navigational ‘odometer’

Honeybees navigate to a food source using a sky-based compass to determine their travel direction, and an odometer to register how far they have travelled. The past 20 years have seen a renewed interest in understanding the nature of the odometer. Early work, pioneered by von Frisch and colleagues, hypothesized that travel distance is measured in terms of the energy that is consumed during the journey. More recent studies suggest that visual cues play a role as well. Specifically, bees appear to gauge travel distance by sensing the extent to which the image of the environment moves in the eye during the journey from the hive to the food source. Most of the evidence indicates that travel distance is measured during the outbound journey. Accumulation of odometric errors is restricted by resetting the odometer every time a prominent landmark is passed. When making detours around large obstacles, the odometer registers the total distance of the path that is flown to the destination, and not the “bee-line” distance. Finally, recent studies are revealing that bees can perform odometry in three dimensions.     

Laser‐Generated Nanocrystals in Perovskite: Universal Embedding of Ligand‐Free and Sub‐10 nm Nanocrystals in Solution‐Processed Metal Halide Perovskite Films for Effectively Modulated Optoelectronic Performance

Regulating the chemical/physical features of solution processed metal halide perovskite films by integrating sub‐10 nm nanocrystals is a highly promising strategy to advance their outstanding optoelectronic performance. However, significant challenges remain for the universal embedding of the well‐defined nanocrystals in the film matrix. By generating nanocrystals in desired solvents via pulsed laser irradiation in liquid, the authors demonstrate the effective decoration of sub‐10 nm nanocrystals in perovskite films for enhanced optoelectronic performance. It is believed that this improved performance is due to the modification of the widely adopted “antisolvent” to a novel “anti‐colloidal‐solution” (ACS). Exemplified by a typical ACS; carbon dots in chlorobenzene, its encouraging superiority in regulating, not only the films morphology, but also the electronic structure, is demonstrated. This results in perovskite solar cells with a champion efficiency of 21.41% as well as a pronounced stability over 5000 h in relative humidity of 40%. The capability of nanocrystal embedding for boosted photovoltaic performance is further exploited by employing other laser generated ACSs. Such a strategy may open up a route to regulating hybrid perovskite film performance via nanocrystal embedding for photovoltaics or even beyond optoelectronic applications.     

The epistemic logic of asylum screening: (dis)embodiment and the production of asylum knowledge in Brazil

The current era demands our thoughtful attention to how states process asylum seeker claims for safe haven, yet we know little about the practices through which asylum officials carry out that work. Building from literature on the body and knowledge production, this paper illuminates the workings of (dis)embodiment in the asylum process. I use the term (dis)embodiment to refer to an arrangement of separate yet interdependent practices of disembodying and embodying knowledge. These practices of knowledge production together form an integral part of what I call the “epistemic logic” of asylum – the techniques and processes of reasoning used to produce and analyse information to determine if an asylum seeker qualifies for refugee status. Through an ethnography of the asylum process in Brazil, I document how officials produce and privilege disembodied knowledge, while they contrastingly constrain the knowledge of asylum seekers to their bodies and lived experiences.     

The Lens of Science: Anthropometric Photography and the Chippewa, 1890–1920

ABSTRACT

Nineteenth-century anthropologists struggled to establish themselves as scientists in a cultural milieu of enthusiasm for “curiosities.” Because commercial photographers appropriated the “authenticity” of photographic realism, the need increased for ethnographic photographers to distinguish between such realism and the “scientific authority” of their own visual productions. Through a case study of anthropometric photography of the Chippewa, this article examines the tension between, on the one hand, ethnographers' exploitation of the technological and symbolic attributes of photography to promote the scientific and political goals of the discipline, and on the other hand, the influence and function of visual genres and visual allegories in conditioning and framing what viewers accepted as “real” and “true.”     

Plan evaluation indices: A journey of evolution

AimA systemic review and analysis of evolution journey of indices, such as conformity index (CI), homogeneity index (HI) and gradient index (GI), described in the literature.BackgroundModern radiotherapy techniques like VMAT, SRS and SBRT produce highly conformal plans and provide better critical structure and normal tissue sparing. These treatment techniques can generate a number of competitive plans for the same patients with different dose distributions. Therefore, indices like CI, HI and GI serve as complementary tools in addition to visual slice by slice isodose verification while plan evaluation. Reliability and accuracy of these indices have been tested in the past and found shortcomings and benefits when compared to one another.Material and methodsPotentially relevant studies published after 1993 were identified through a pubmed and web of science search using words “conformity index”, “Homogeneity index”, “Gradient index”,” Stereotactic radiosurgery”,” stereotactic Body radiotherapy” “complexity metrics” and “plan evaluation index”. Combinations of words “plan evaluation index conformity index” were also searched as were bibliographies of downloaded papers.Results and conclusionsMathematical definitions of plan evaluation indices modified with time. CI definitions presented by various authors tested at their own and could not be generalized. Those mathematical definitions of CI which take into account OAR sparing grant more confidence in plan evaluation. Gradient index emerged as a significant plan evaluation index in addition to CI whereas homogeneity index losing its credibility. Biological index base plan evaluation is becoming popular and may replace or alter the role of dosimetrical indices.     

Civilization,wilderness and secrecy: Making two Nigerian films

This paper draws on fieldwork and filmmaking experiences and explores the interpretive process shared between the object, filmmaker, and audience. Mammy Water: In Search of the Water Spirits in Nigeria [1989] is the result of extensive field research and close collaboration between the local community, the researcher/filmmaker and team. Mammy Water priviledges local views on the subject over the academic discourse taking place elsewhere. This has evoked diverse reactions. Some miss the (Western) analytical level, others engage in the discourse itself, or assume the film's own position. The issue of cultural perspective is carried even further in cinematography. Both films discussed here were made not only in close collaboration with African communities but also photographed by an African cinematographer, Alhaji Yusufu Mohammed. His camera evokes diametrically opposed reactions from African and Western viewers. Where Westerners perceive “distance”, African audiences perceive “closeness”, where Westerners perceive a scene as “staged”, African audiences perceive it as “natural”. This contrast of perception is further highlighted in Owu: Chidi Joins the Okoroshi Secret Society [1991], mostly filmed by Alhaji, but complemented by two video inserts by my daughter, Saskia Jell, who produced additional behind‐the‐scenes footage in Coming to Nigeria.

Reviewers have raised another important topic. Owu points to three different levels of secrecy surrounding the masquerade and initiation into Oguta's Okoroshi society. This in turn raises questions on if and how to represent secrecy and the dichotomy between civilization and wilderness on film.

A discussion of post‐production at the IWF introduces a negative dimension and questions the undue impact of politics, German rigidity, and other impediments.

In conclusion, my films are strongly grounded in long‐term field research, and indebted to the people whose cultures I have researched, as well as to Alhaji Yusufu Mohammed's cinematic representation. Situated between Africa and the Western world, my films contain elements of both African and Western cultures, as they attempt to mediate between them. 1 am looking to the genre of ethnographic film primarily for its effort to create meaning in interpreting and representing cultures, for its position between the cultural worlds, and for its possibilities for transcultural communication. This goal could be served by a plurality of methods, different film styles, and varied authors within the same genre.     

How to Use the Two Sample t-Test

This work discusses how two sample t-tests behave when applied to data that may violate the classical statistical assumptions of independence, heteroscedasticity and Gaussianity. The usual two sample t-statistic based on a pooled variance estimate and the Welch-Aspin statistic are treated in detail. Practical “rules-of-thumb” are given along with their applications to various examples so that readers will easily be able to use such tests on their own data sets.     

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.