Digital Sutures: Experimental Stop-Motion Animation as Future Horizon of Indigenous Cinema

Dowell, Kristin L.

doi:10.14506/ca33.2.03

Cited by 7 publications

(5 citation statements)

References 3 publications

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“…), or plants (Chao ; Chapman ). Some renarrated the history of anthropological theory in an effort to “ integrat [ e ] dark and light anthropologies” (Rodseth , 398; emphasis in original), while others identified specific sites that illuminate unlikely transformative growth or world‐making, such as compost in Tanzania (Langwick ), toxic waste in Brazil (Willis ), urban rubble in Germany (Stoetzer ), “experiments in the ecology of everyday life” in the deserts of Southern California (Vine , 405), or Indigenous media futures (Dowell ; D. Fisher ; Ginsburg ; Hennessy, Smith, and Hogue ; Lempert ). Ethnographers took seriously the variety of ways people (and their oddkin) aimed to hold creativity and devastation together in their own lives as well as imagined transformation, reminding us to “pay thoughtful attention to those who have already lived through an apocalypse and are articulating generative hope in its aftermath” (Lempert , 203).…”

mentioning

confidence: 99%

Cultural Anthropology in 2018: Captivity and Its Unruly Failures

Doughty

2019

American Anthropologist

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This essay reviews articles produced in the four key American Anthropological Association cultural anthropology journals throughout 2018, and identifies the ways cultural anthropologists took up Haraway's invitation to "stay with the trouble" through implicit and explicit engagement with logics of captivity and its failures. This work suggests ongoing attention to long-standing themes in cultural anthropology-tensions between capture and escape, constraint and resistance, structure and agency-even as it suggests that captivity and its unruly failures can productively draw our attention to new ways of thinking about governance, temporality, scale, affect, political economy, posthumanism, ontology, care, and infrastructure. In this review, I ask: What can and cannot be contained in the contemporary moment, and what is at stake in that containment, or in the seepage that exceeds its borders?The review focuses on key ways anthropologists analyzed these long-standing questions anew in 2018: captivity and the nature of the human, dependency and exile, and violence and borders, and, by contrast, runaway change and uncertainty, unruly people and affects, and seeping waste and toxicity. Overall, I suggest that captivity and seepage provide productive provocations for further study. [year in review, sociocultural anthropology, captivity, escape, uncertainty, waste] RESUMEN Este ensayo revisa artículos producidos en las cuatro revistas científicas claves de la Asociación Americana de Antropología a lo largo de 2018, e identifica las formas como los antropólogos culturales aceptaron la invitación de Haraway para "quedarse con el problema" a través de un envolvimiento con las lógicas de la captividad y sus fallas. Este trabajo sugiere atención continua a temas de larga data en antropología cultural -tensiones entre captura y escape, restricción y resistencia, estructura y agencia-aun cuando sugiere que esa captividad y sus fallas ingobernables pueden productivamente llamar nuestra atención a nuevas formas de pensar sobre gobernanza, temporalidad, escala, afecto, economía política, posthumanismo, ontología, cuidado e infraestructura.En esta revisión, pregunto: ¿Qué puede y qué no puede ser contenido en el momento contemporáneo, y qué está en juego en esa contención o en la filtración que supera sus fronteras? La revisión se enfoca en las formas claves en que los antropólogos analizaron estas cuestiones de larga data de nuevo en 2018: captividad y la naturaleza de lo humano, dependencia y exilio, y violencia y fronteras y, por contraste, cambio desenfrenado e incertidumbre, personas rebeldes y afectos, y residuos filtrantes y toxicidad. En general, sugiero que la captividad y la filtración proveen provocaciones productivas para estudio posterior. [año en revisión, antropología sociocultural, captividad, escape, incertidumbre, residuos]

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confidence: 99%

Cultural Anthropology in 2018: Captivity and Its Unruly Failures

Doughty

2019

American Anthropologist

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“…As an illustration‐based medium, animation allowed us to produce digital films while using Guillermo’s art and doing justice to this aesthetic, which would not be achievable through other techniques such as live‐action filming. Indeed, a growing number of Indigenous filmmakers are using animation to portray Indigenous stories (Biddle and Lea 2018, 7; Dowell 2018), and academic researchers have been co‐producing animated films with Huichol children in Mexico (Davenport and Gunn 2009) and video games with Huni Kuin people in Amazonia, inspired by their mythology (Meneses 2017). All of these projects—like the present collaborative research—are seeking ways of bringing together digital illustration techniques and Indigenous narratives, art, and aesthetics, combining emerging media with traditional Indigenous heritage.…”

Section: Ethnographic Animation and Indigenous Aestheticsmentioning

confidence: 99%

The Right to Change Co‐Producing Ethnographic Animation with Indigenous Youth in Amazonia

Morelli¹

2021

Visual Anthropology Review

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This article explores the use of ethnographic animation as a method to engage Indigenous youth actively in the production and representation of knowledge, producing research that not only examines social change, but also establishes pathways for change driven by participants themselves. Drawing on a recent collaboration with a professional animator, an Indigenous artist, and young Matses migrants in Amazonian Peru, I discuss how ethnographic animation can open up a space for Indigenous youth who feel radically unheard and unseen by wider society to discuss key challenges they face, while producing tangible outputs (animated films) to gain a sense of wider recognition through forms of self‐representation.

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“…The relational nature of a documentary like Strong’s Four Faces of the Moon expresses in part by introducing the animator as a character who can inhabit her family’s present and the past. Dowell (2018: 194–195) notes that Strong’s darkroom functions as a kind of ‘time portal’ that ‘utilizes film’s inherent capacity to manipulate time and space to digitally suture four generations of her family into the frames of the work’. Skawennati’s TimeTraveller TM articulates these same elements in the digitally-modelled characters and assets created by her team for the project.…”

Section: Indigenous Hybrid Documents In Motionmentioning

confidence: 99%

Experiments in Hybrid Documentary and Indigenous Model Animation

Miner

2021

Animation

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Nonfiction has proved to be a long-term strategy of Native/First Nations filmmakers and, as this documentary tradition moves across contemporary mediums, one corner of its experimental aesthetics has focalized around animation. This article explores hybrid documentary approaches in Indigenous model animation across techniques and styles, namely digitally-supplemented stop-motion and game-based machinima. It begins by examining three principal characteristics of Indigenous animated documentaries: (1) they engage with the politics of documentary in the context of Indigenous and settler-colonial history; (2) they use animation to record stories and express ideas not authorized by the settler archive; and (3) they communicate via embedded Indigenous aesthetics and cultural protocols. A material analysis of Indigenous animation then accounts for how three Native artists centre re-mediation and re-embodiment in their work. These artists adapt new techniques in animation to documentary as a process of decolonization, precipitating a distinct hybrid aesthetics that travels across forms to question the veracity of settler documentary. Each reconstructs histories of settler colonialism – which has always chosen to record and authorize as ‘history’ some images and narratives and not others – with model animation practices and new media platforms. Indigenous animation expresses slippages between nonfiction and fiction by creating imagined documents, which strike at the legitimacy of settler institutions.

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Digital Sutures: Experimental Stop-Motion Animation as Future Horizon of Indigenous Cinema

Cited by 7 publications

References 3 publications

Cultural Anthropology in 2018: Captivity and Its Unruly Failures

Cultural Anthropology in 2018: Captivity and Its Unruly Failures

The Right to Change Co‐Producing Ethnographic Animation with Indigenous Youth in Amazonia

Experiments in Hybrid Documentary and Indigenous Model Animation

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