Making Forest of Bliss: Intention, Circumstance, and Chance in Nonflction Film

Making Forest of Bliss: Intention, Circumstance, and Chance in Nonflction Film. Robert Gardner and Ákos Östör. Cambridge, MA: Harvard University Press, 2002. 135 pp., DVD.     

Filmmaker to Filmmaker: Robert Gardner and the Cinematic Process

Choices made in the reissue of many of Robert Gardner's groundbreaking films—including Dead Birds (1964), Rivers of Sand (1973), and Forest of Bliss (1986)—on DVD demonstrate how new media tools can reinvigorate questions generated by the original works and how they can provide new insight into a filmmaker's praxis. The juxtaposition of differing media and the integration of commentary track conversations in many of these works with media makers and scholars such as Stan Brakhage, Robert Fenz, Ross McElwee, Akos Ostor, and Lucien Taylor provide unique vantage points from which to view the original documentaries and reconsider the lessons they yield. Gardner's concurrent publication of his diary and production notes in the book Impulse to Preserve (2006) contextualizes and personalizes these works, showing how they fit together in a career of innovative ethnographic production that has spanned over 50 years.     

Khalfan and Zanzibar

Khalfan and Zanzibar. 2000. 25 minutes, color. film by Lina Fruzzetti. Alfred Guzzetti. and Akos Östör. For more information, contact Filmakers Library, 124 East 40th St., New York, NY 10016; (212) 808-4980.     

Dead Birds Migrating: DVD Reinvigorates Classic Ethnographic Film

The DVD release of Robert Gardner's Dead Birds exemplifies the added value of extra features and the improvement in viewing quality when existing ethnographic films are distributed in this new medium. Whereas in the past, ethnographic films have been experienced as transitory performances, a nonlinear medium like DVD makes it possible to read a film the way one reads a book, stopping, reflecting, and reviewing. The inclusion of multiple soundtracks, additional sequences, and associated texts affords a density of content that has not previously been possible in either films or books.     

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.     

Globularia anatolica sp. nov. (Globulariaceae) from the Honaz Mountain National Park, southwest Turkey

A new species, Globularia anatolica A. Duran, Ö. Çetin & M. Öztürk (Globulariaceae) is described and illustrated from southwest Turkey. The species grows on eroded gypsum slopes and in open Pinus brutia Ten. forest in the Honaz Mountain National Park (C2 Denizli province). It is closely related to G. sintenisii Hausskn. & Wettst., an endemic species confined to southwest Anatolia. Diagnostic morphological characters of Globularia anatolica are discussed and presented as a key to Turkish Globularia . It is suggested that the new species should be regarded as 'Critically Endangered' (CR) according to the IUCN criteria. In addition, the biogeography of the Honaz Mountain is briefly outlined.     

A Review of Hu Tai-li's Documentary Educational Resources Series

ABSTRACT  This review addresses six films made by Taiwan's most well respected ethnographic filmmaker, Hu Tai-li. The films were recently released as part of the Documentary Educational Resources series and cover Hu's most well-known works. The films in the series span two decades, beginning with her first film in 1985. Hu's films capture the everyday lives of the disenfranchised in Taiwan, ranging from aboriginal groups to working-class Taiwanese who have been displaced by shifting economic structures. Her films are especially important for Taiwan Studies, for they capture fading traditions as well as continued ethnic and class tensions within Taiwan. As such, the films are important for anyone who wants to come to a better understanding of Taiwan's past and present.     

Assessment of Threat Status and Management Effectiveness in Kakamega Forest, Kenya

To counteract an increasing biodiversity decline, parks and protected areas have been established worldwide. However, many parks lack adequate management to address environmental degradation. To improve management strategies simple tools are needed for an assessment of human impact and management effectiveness of protected areas. This study quantifies the current threats in the heavily fragmented and degraded tropical rainforest of Kakamega, western Kenya. We recorded seven disturbance parameters at 22 sites in differently managed and protected areas of Kakamega Forest. Our data indicate a high level of human impact throughout the forest with illegal logging being most widespread. Furthermore, logging levels appear to reflect management history and effectiveness. From 1933 to 1986, Kakamega Forest was under management by the Forest Department and the number of trees logged more than 20 years ago was equally high at all sites. Since 1986, management of Kakamega Forest has been under two different organizations, i.e. Forest Department and Kenya Wildlife Service. The number of trees logged illegally in the last 20 years was significantly lower at sites managed by the Kenya Wildlife Service. Finally, logging was lower within highly protected National and Nature Reserves as compared to high logging within the less protected Forest Reserves. Reflecting management effectiveness as well as protection status in Kakamega Forest, logging might therefore provide a valuable quantitative indicator for human disturbance and thus an important tool for conservation managers. Logging might be a valuable indicator for other protected areas, too, however, other human impact such as e.g. hunting might also prove to be a potential indicator.     

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.     

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.     

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.     

Visualization in simulation tools: requirements and a tool specification to support the teaching of dynamic biological processes

Simulation tools are playing an increasingly important role behind advances in the field of systems biology. However, the current generation of biological science students has either little or no experience with such tools. As such, this educational glitch is limiting both the potential use of such tools as well as the potential for tighter cooperation between the designers and users. Although some simulation tool producers encourage their use in teaching, little attempt has hitherto been made to analyze and discuss their suitability as an educational tool for noncomputing science students. In general, today's simulation tools assume that the user has a stronger mathematical and computing background than that which is found in most biological science curricula, thus making the introduction of such tools a considerable pedagogical challenge. This paper provides an evaluation of the pedagogical attributes of existing simulation tools for cell signal transduction based on Cognitive Load theory. Further, design recommendations for an improved educational simulation tool are provided. The study is based on simulation tools for cell signal transduction. However, the discussions are relevant to a broader biological simulation tool set.     

Forest floor accumulation,nutrition and productivity of Pinus patula in the Usutu Forest,Swaziland

Forest floor mass was determined at 22 sites under 11- to 15-year-old 2R and 3R P. patula that had been reestablished without prior burning of harvesting slash. Forest floor mass increased with site elevation (r=0.593) or with decreasing topsoil exchangeable Ca in particular (r=0.699). The forest floor was found to be greater than reported values for either 1R stands or 2R stands re-established following slash burning at similar age and elevations in the forest. Responses to N fertilizer applied at age 10–12 years, at 9 sites, was closely correlated with forest floor mass (r=0.911). The data suggests that continued accumulation of forest floor under successive rotations in the Usutu Forest, particularly at higher elevations, results in N deficiencies that limit growth in 2R stands. This hypothesis is supported by an analysis of data from sample plots monitoring relative 1R and 2R growth in the forest.     

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.     

John Marshall's Kalahari Family

Throughout his career and through his films, John Marshall has embodied many representational debates in anthropology and ethnographic media production. With A Kalahari Family, Marshall has provided his most reflexive film to date as well as a comprehensive visual record of 50 years of transition among the Ju'hoansi, from lingering, hunter-gatherer subsistence to problematic and often tragic contemporary living conditions. A Kalahari Family bears witness to the negative effects a racist ideology and varied development agendas have had on an indigenous group of people, and the transformative effects they continue to have. In the film, the audience also witnesses the evolution of John Marshall himself, from naïve, inexperienced teenager engaging an exotic other, with all the inherent cultural baggage of a Western perspective, to his eventual emergence as a filmmaker and a dedicated advocate for the people with whom he has become so involved.     

Morphology of the male reproductive system and spermatophore formation in the freshwater 'red claw' crayfish Cherax quadricarinatus (Von Martens, 1898) (Decapoda, Parastacidae)

The morphology of the male reproductive system was studied in Cherax quadricarinatus. The testes and vasa deferentia were dissected, fixed, cut and stained. Testes appear as two parallel and opalescent strands; they present many testicular lobes, each lobe containing cells in the same stage of the spermatogenic cycle. A vas deferens arises from the external side of each testis and three parts were clearly distinguished: proximal vas deferens (PVD), middle vas deferens (MVD) and distal vas deferens (DVD). The PVD is opalescent and highly convoluted, the MVD is pale white in colour and convoluted, but wider in diameter than the PVD, while the DVD shows the widest diameter, is straight and is white in colour. A single‐layered epithelium is recognized in the vas deferens; with cylindrical cells in the PVD and cuboid cells in the MVD and DVD. The formation of the spermatophore starts at the PVD, while the secondary layer of the spermatophore seems to be added at the MVD. At the DVD, the highly coiled spermatophore is surrounded by the periodic acid Schiff‐positive sticky components of the secondary layer. Many aspects of spermatophore formation in C. quadricarinatus differ from those of other Astacida. The applied aspects of this study for aquaculture purposes are discussed.