The Parallax Effect: The Impact of Aboriginal Media on Ethnographic Film

Ginsburg, Faye

doi:10.1525/var.1995.11.2.64

Cited by 209 publications

(61 citation statements)

References 13 publications

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“…As we critically engaged with this concern, we relied upon the longstanding literature on reflexive ethnography, attempting to construct a process founded upon the precepts of ethnographic sincerity (Jackson 2004). The camera was one means to think through these concepts, as students were forced to determine when and how each of them would be in front of and behind the camera, creating multiple reverse gazes-what Ginsburg (1995) termed the "parallax effect"-that drove many students to think through their positions in this particular school context with these particular high school students.…”

Section: University Of Pennsylvaniamentioning

confidence: 99%

Multimodality: An Invitation

Collins

Durington

Gill

2017

American Anthropologist

156

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This section used to be called Visual Anthropology. Its new name-Multimodal Anthropologies-reflects changes in the media ecologies we engage as anthropologists, changes that have broadened our perspective to include other forms of media practice, while remaining inclusive of visual anthropology. Many of these changes can be linked to three developments: (1) the (relative) democratization and integration of media production; (2) the shift toward engagement and collaboration in anthropological research; and (3) the dynamic roles of anthropologists vis-à-vis both the profession and the communities in which they work. Together, these changes suggest a new framework, multimodal anthropology, by which we mean not only an anthropology that works across multiple media but one that also engages in public anthropology and collaborative anthropology through a field of differentially linked media platforms. This is not, however, a decisive "break" with the past. Many of us already practice multimodal anthropology (Collins and Durington 2014;Cool 2014;Edwards 1997;Pink 2011;Postill 2011;Stewart 2013). When we consider the different opportunities and possibilities for engaging with ethnographically intended media in the age of diverse tools and platforms, we see multimodal anthropology. When we look at the transmedia installations of Ethnographic Terminalia, we see articulations of multimodal anthropology. Multimodal anthropology is also encapsulated within the numerous visual, aural, and tactile media that anthropologists produce, post, and share-the growing decoupage of social media that is one symptom of a changing anthropological practice. Multimodal practice is not limited to self-identification as a visual anthropologist. Rather, it encompasses this subdiscipline and also invites practitioners from within and outside anthropology. Finally, we see multimodality in the ways communities of nonanthropologists interact with us, from para-anthropological productions to critique and commentary. In what follows, we lay out our vision and ever-expanding areas of interest for this section as we explore the transformative potentialities of the multimodal. It is meant less as a provocation than an invitation to submit works that engage multimodal possibilities.

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Section: University Of Pennsylvaniamentioning

confidence: 99%

Multimodality: An Invitation

Collins

Durington

Gill

2017

American Anthropologist

156

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“…The burgeoning body of scholarship that emerged over the next decades, including analyses of Indigenous media work following the launch of communication satellites over remote areas in Australia and northern Canada (see for example, Ginsburg 1993Ginsburg , 2002Michaels, 1986), overwhelmingly disproves dismal Frankfurt School predictions and provides copious evidence of Indigenous Peoples adopting and deploying new media in creative ways that assert and conserve unique identities (see Ginsburg 1995aGinsburg , 1995balso Turner, 2002a). Numerous studies of Indigenous use of new media-in communities stretching from Canada, the U.S., Australia, and New Zealand, to Mexico, Brazil, and Bolivia-that follow in the wake of Sol Worth andJohn Adair's (1972/1997) first experiments in subject-produced film, repeatedly demonstrate that audio-visual media are powerful instruments for the creative expression of identity, self-reflection, political empowerment, cultural transmission, and the preservation of traditional knowledge (see, for example, Ginsburg 1991Ginsburg , 1994Ginsburg , 1999Ginsburg , 2002Ginsburg , 2011Michaels, 1986;Turner 1991aTurner , 1992Turner , 2002aPrins, 2002;Wilson & Stewart, 2008).…”

Section: Faustian Entailmentsmentioning

confidence: 99%

Toward Representational Sovereignty: Rewards and Challenges of Indigenous Media in the A’uwẽ-Xavante Communities of Eténhiritipa-Pimentel Barbosa

Graham

2016

MaC

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Focusing on the communities of Eténhiritipa-Pimentel Barbosa of eastern Mato Grosso, Brazil, this article considers the tremendous shift that has taken place over the last twenty-five years in A'uwẽ-Xavante peoples' use of audio-visual media to achieve greater representational sovereignty. It discusses the adoption of video in the context of A'uwẽ-Xavante ideologies and gendered patterns of dealing with the outside and their prior use of cassette technology. This case demonstrates that, while the adoption of new media has not proven to be the final assault in a Faustian bargain with modernity, media makers face a number of significant challenges and dilemmas, specifically curating, archiving, and also securing and sustaining financial and technological support. Partnerships and collaborations are essential but their often-precarious nature presents difficulties. Dedication, persistence, creativity and adaptability are assets community members draw upon in responding to challenges. Media makers are increasingly gaining more control and are now training the next generation of youths; young people are using new social media, as well as video and film, to achieve greater representational sovereignty.

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“…E isso sugere algo diferente da ideia de epistefilia de Nichols, já que as pessoas podem estar fascinadas pelos documentários, sem necessariamente os entender; eles não despertam naturalmente desejo de conhecimento e de transparência e não respondem necessariamente a isso. (Ginsburg, 1991(Ginsburg, , 1993(Ginsburg, , 1995(Ginsburg, , 2002a(Ginsburg, , 2002b(Ginsburg, , 2003(Ginsburg, , 2005a(Ginsburg, , 2005b(Ginsburg, , 2006(Ginsburg, , 2008 …”

Section: Abunclassified

Cinemas E Mídias Indígenas: Construir Pontes, Recusá-Las. Entrevista Com Faye Ginsburg

Brasil

Gonçalves

2016

Sociol. Antropol.

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Com a hospitalidade que lhe é habitual, Faye Ginsburg, professora titular de antropologia na Universidade de Nova York, nos recebeu para esta entrevista no Center for Media, Culture and History (Centro de Mídia, Cultura e História) -CMCH, espaço que criou e que coordena ativamente desde 1986. A ideia era apresentar aos leitores brasileiros esse trabalho pioneiro voltado para os processos de descolonização e a experiências de autorrepresentação, tendo o cinema e a mídia como lócus de produção e pesquisa. Acompanhando o percurso acadêmico e teórico de Ginsburg, a conversa seguiria solta, não fosse certa apreensão provocada pelos insistentes alarmes oficiais que recebíamos, via celular, sobre uma tempestade que se aproximava, o que acabou adiantando nossa volta para casa.A entrevista foi abrigada, em julho de 2016, pelo CMCH, ao qual estáva-mos vinculados na condição de professores visitantes, em sala que acusava a vocação do espaço: rodeados por estantes com DVDs e fitas VHS, podíamos sentir ali o trabalho de décadas dedicado ao filme etnográfico e especialmente à produção audiovisual indígena em várias regiões do mundo. Não à toa, o CMCH é protagonista nas reflexões sobre antropologia, cinema e mídia, ao incorporar e tomar a sério essa produção como propulsora de novas questões que, inelutavelmente, forçam esses campos a repensar conceitos e teorias a partir do diálogo intercultural inscrito nas imagens.Faye Ginsburg nasceu em 28 de outubro de 1952, filha de Benson Ginsburg, importante cientista dedicado às pesquisas sobre comportamento gené-

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The Parallax Effect: The Impact of Aboriginal Media on Ethnographic Film

Cited by 209 publications

References 13 publications

Multimodality: An Invitation

Multimodality: An Invitation

Toward Representational Sovereignty: Rewards and Challenges of Indigenous Media in the A’uwẽ-Xavante Communities of Eténhiritipa-Pimentel Barbosa

Cinemas E Mídias Indígenas: Construir Pontes, Recusá-Las. Entrevista Com Faye Ginsburg

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