| Abstract: | 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. |
