British Ethnographic Film: Recent Developments

Henley, Paul

doi:10.2307/3032764

Cited by 12 publications

(3 citation statements)

References 8 publications

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“…In this study we found that certain kinds of technology have the capacity to facilitate an empathetic understanding on the part of the viewer, which is one of the greatest advantages film has over the literary account (Henley, 2007). Early on in the project the team discussed the advantage of using the 'action camera', to position the child so that s/he was not the 'film maker'.…”

Section: R1mentioning

confidence: 93%

Reflexivity and visual technology in research: young children’s perspectives of paternal engagement in the home environment

Chawla-Duggan

Milner²,

Porter

2017

Qualitative Research

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Although existing notions of reflexivity address the positionality of researchers, they rarely consider the processes through which methods and methodologies can come about. This study builds children's reflexivity into the research design. Drawing on footage from a pilot visual ethnography of paternal engagement in home environments, we show first, that at one level, building children's reflexivity into data collection and analysis, allows us to look at the relationship between the child, technology and the subject of their images; thereby establishing a position from which their perspective is produced. We found that their age and the particular visual technology used, shaped how the children positioned themselves and in turn, the kind of representations we gathered. As this was a collaborative study with a film maker and also involving discussions of film findings with teachers; a more general level reflexive analysis allowed us generate different viewpoints from which their perspectives were produced.

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Section: R1mentioning

confidence: 93%

Reflexivity and visual technology in research: young children’s perspectives of paternal engagement in the home environment

Chawla-Duggan

Milner²,

Porter

2017

Qualitative Research

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“…Even with these challenges, reviewers lauded the two final Wuxi films as “a dramatic breakthrough in ethnographic filming for a general audience” that featured “ ‘native’ peoples telling their story direct to camera, rather than the then dominant convention of a western presenter telling their story” (Jenkins :12; see also Henley :8–9, 14). A reviewer in the Observer emphasized the “constant sense of recognition, of common humanity” that the films produced, noting that the film crew “travelled to China and found themselves in Coronation Street … Mrs. Zhu [c]ould be Hilda Ogden” (Banks‐Smith ).…”

Section: A Notional History Of Ethnographic Film In Chinamentioning

confidence: 99%

New Ethnographic Film in the New China

Gillette¹

2014

Visual Anthropology Review

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Over the past two decades, a new ethnographic cinema of China has taken shape, one element of an explosion of documentaries produced about the People's Republic. In this volume, five China ethnographers discuss making ethnographic films in China, thus addressing in part the need, long noted in anthropology, for filmmakers to write about production and postproduction of ethnographic films. In this introduction, I sketch a history of ethnographic films about China and reflect on these five new ethnographic films in light of past practices, the theoretical literature on ethnographic cinema, and the ethnography of China.

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“…The very successful Granada TV series Disappearing worlds eventually disappeared from screens because of disputes between the company and the unions over the size of film crews (the latter wanted at least eight) sent on location. See Henley (1985). 7.…”

Section: In Part One Of This Article Pat Caplan Recounts Her Experiementioning

confidence: 99%

An anthropologist among the filmmakers – A cautionary tale: Part 1. The politics of production (Respond to this article at http://www.therai.org.uk/at/debate)

Caplan

2013

Anthropology Today

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In recent years film has been viewed as the prime vehicle by which anthropologists may engage with the public in an attractive way. But this is not without its pitfalls. In two parts, this article looks back at the making of an anthropological television series, Face Values, in the 1970s, a joint project of BBC TV and the RAI. Some of the reasons for the considerable differences between the author as one of the anthropological consultants, and the production and editing team, are discussed, as are the reactions of the villagers on Mafia Island, who were concerned for their dignity and privacy while being filmed for the series. Part 1 considers the politics of shooting film footage, and the tensions between anthropological and televisual premises. Part 2 is about the politics of circulation and audience, taking account of the views of Mafians as well as UK audiences (both lay and anthropological). While the former liked the film material they saw, some of them later came to find it problematic. In the UK, although the series attracted high viewing figures, it was the object of considerable criticism from both newspaper critics and anthropologists, and soon fell into obscurity. However, some of the issues and problems raised in this case study remain very real today for those who would bring together anthropology and film.

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British Ethnographic Film: Recent Developments

Cited by 12 publications

References 8 publications

Reflexivity and visual technology in research: young children’s perspectives of paternal engagement in the home environment

Reflexivity and visual technology in research: young children’s perspectives of paternal engagement in the home environment

New Ethnographic Film in the New China

An anthropologist among the filmmakers – A cautionary tale: Part 1. The politics of production (Respond to this article at http://www.therai.org.uk/at/debate)

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